darc 19

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HELEN FLETCHER • EDITOR Here it is, the first darc of 2017! On behalf of Femke, Stephen and myself I would like to start by wishing all of our readers and clients a very Happy New Year! In light of certain events during 2016, I'm sure many of you will be glad to see the back of the last twelve months and like me, are hoping the new year brings a fresh outlook and as an industry, we continue to push forward the boundaries of creativity. With this in mind, in case you hadn't heard, the darc awards / decorative are now live! Celebrating the very best in decorative lighting, this is YOUR opportunity to shout about products and projects you've been involved with. Whether you're a product designer, lighting designer, interior designer or architect make sure you get involved and enter the work you're most proud of! For those of you yet to familiarise yourself with the darc awards, it is a concept that flips the traditional awards ceremony on its head. The darc awards / architectural held in September have grown from strength to strength and as such we've decided that on May 18th 2017, we will hold the first ever awards ceremony dedicated solely to decorative lighting design. No more stuffy, boring sit down dinners where you spend the majority of the night texting your friend two tables along rather than engaging with what's happening in the room - instead we throw a party in a central London location with free food and booze - after all it's a celebration of you, your colleagues, your competitors! Which is why the winners are voted for by YOU, the design community... Even better, every designer that votes is automatically entitled to a FREE ticket to attend the awards. For more information on how you can get involved, hear from darc awards director Paul James on page 12. Continuing on the creativity trail, this issue we focus on decorative lighting in dining environments. We were inundated with examples of dining projects featuring stunning decorative lighting - with comment from Andrew Orange, who discusses what is required to get the ambience 'just right' - take a look at our Dining with Light feature from page 70 onwards. We've also got a really interesting article on the use of 3D printing in lighting on page 55 - as the technology improves, the design possibilities are quickly becoming endless as Femke discovers. Meanwhile, I caught up with Mac Cox and Ben Rigby of design studio Haberdashery (page 62) to find out what makes them tick and how this is reflected in their latest venture. And for those of you making the trips to Cologne, Paris or Stockholm - we'll see you there!


Cover: Tom Dixon / Megaman for The Alto Bar & Grill.

Photo credit: Inga Beckmann


BRITISH HANDMADE & BESPOKE LIGHTING +44 (0)330 223 3940 | alchemist@thelightyard.com | www.thelightyard.com NEW GREATER MANCHESTER SHOWROOM NOW OPEN (APPOINTMENT ONLY)

18 MAY 2017 / LOND ON







016 interview: Piet Boon

Studio Piet Boon discusses bespoke contemporary architecture and design.

025 project: Room Mate



010 DESIGN NEWS A round up of the latest decorative lighting news from around the world.

contemporary architecture and





Studio Piet Boon discusses bespoke

Drawing our attention to the far East,


Decorative lighting manufacturers


embrace the advantages of 3D printing as the future of the design industry.





070 feature: dining with light

darc looks at how restaurants use decorative lighting to enhance the dining experience.


for darc awards / decorative.


3D printing takes the decorative lighting world by storm in design and manufacturing.


Entries are flooding in thick and fast


055 in detail: 3D printing

We take a closer look at Room Mate Hotels' various openings over the past twelve months.


At Europe's latest hotel, design and




Haberdashery designers Mac

development event, darc saw new and old friends alike celebrate their latest launches.



at the 2016 show. 101 SLEEP REVIEW


we look back to who caught our eye



This year's Maison et Objet designer


Cox and Ben Rigby discuss the

078 NOTA

of the year is Pierre Charpin - an

philosophy and spirit behind their


explorer and dabbler of the arts and






work and latest creation - Canopy. 070 ANDREW ORANGE British lighting expert Andrew Orange offers insight from his wealth of experience into the secrets of dining with light.

design worlds.








Looking ahead to the new year, darc investigates the decorative lighting delights in store for us at Maison et Objet Paris in January 2017.




Editor In Chief : Paul James p.james@mondiale.co.uk

Artwork: David Bell d.bell@mondiale.co.uk

Chairman : Damian Walsh d.walsh@mondiale.co.uk

Editor : Helen Fletcher h.fletcher@mondiale.co.uk Assistant Editor : Femke Gow f.gow@mondiale.co.uk International Advertising : Stephen Quiligotti s.quiligotti@mondiale.co.uk

Editorial: Mel Robinson m.robinson@mondiale.co.uk

FINANCE Finance Director: Amanda Giles a.giles@mondiale.co.uk Credit Control: Lynette Levi l.levi@mondiale.co.uk

darc magazine, Waterloo Place, Watson Square, Stockport SK1 3AZ, UK Printed by Buxton Press, Palace Road, Buxton, UK • ISSN 2052-9406

VEGAS SO design Massimiliano Raggi Thought for a luxury ambience and to illuminate large dining tables as well as commercial spaces. Combinations of technology and high craftsmanship.

Handmade by CONTARDI LIGHTING www.contardi-italia.com

Visit us at IMM Cologne HALL 11.2 STAND K015



Hitting the Headlines For the most recent decorative lighting news head to www.darcmagazine.com and sign up to the design line newsletter.

Chelsom strengthens operations team

dpa lighting consultants expands

(UK) – With a trio of new appointments, Chelsom strengthens its operations team by appointing a highly experienced Operations Director, Eddy McLoughlin. He will facilitate the continued expansion of the Chelsom brand from an operational perspective, accompanied by a series of high profile international project wins.

(UAE) – dpa’s Dubai studio welcomes Senior Designer Deeksha Surendra to expand its Middle Eastern team. Surendra has worked in lighting design and architecture practices in India and UK. Deeksha’s interest in the symbiotic nature of art and architecture led her to pursue a degree in a multidisciplinary art course in Edinburgh.

Occhio opens flagship store in Cologne

Artemide on show at Musée des Arts Décoratifs

Zaha Hadid Architects opens Middle East office

New colours for Martinelli Luce’s Elmetto

(Germany) – Occhio opens innovative store in Cologne, pointing the way to the future of light. On November 10, 2016 Occhio, the lighting and design company opened its new store at Kaiser-Wilhelm-Ring. The multifunctional store concept, planned and implemented together with the architecture office eins:33, offers consultation and sales, uniting a showroom and information platform in a unique lighting and brand experience.

(France) – A new exhibition showcasing the works of renowned architect Jean Nouvel and Italian lighting experts Artemide at Musée des Arts Décoratifs in Paris launched in November 2016. The “Jean Nouvel, mes meubles d’architecte – sens et essence” exhibition, running until February 2017, displays over 100 works by Nouvel, who is considered a master in his field, and includes special products designed with Artemide.

(UAE) – New ZHA Dubai office opened in response to growth in demand from new and existing clients across the region. Zaha Hadid Architects has announced the opening of a new Middle East office located in the Dubai Design District. With 30 years’ experience in the Middle East and North Africa, Zaha Hadid Architects (ZHA) is collaborating with visionary clients throughout the region on sixteen transformational projects.

(Italy) – The new Elmetto lamp in pastel pink and blue is part of the Martinelli Luce’s remake project of timeless icons, including Elio Martinelli’s Elmetto designed in 1976. Still unchanged in aesthetic form, Elmetto has been updated with new colours after the red-ruby version for its 40th anniversary. Presented in Milano Design Week 2016 in the classic pop colours of the original lamp, Martinelli Luce now proposes the pastel pink and blue.


EMMA&CLIO The tradition of blown glass combined with the elegance of a vintage style.




the decorative darc awards are here! Last year the innovative peer-to-peer voting concept of the darc awards took the lighting design industry by storm. The unique format combined architectural and decorative lighting entries that were voted on by the international lighting design community to discover what were the best projects and products of 2015/16. The darc awards is a novel concept utilising darc and sister title mondo*arc magazines’ reputation as being the most widely read and respected lighting design publications in the world. With our database of over 6,000 international lighting design practices, interior designers and architects and, in collaboration with creative consultants Light Collective, we have created a unique opportunity to get every practice involved in

the awards process. This year the darc awards has been split into two distinct elements - darc awards / architectural for the architectural lighting industry and darc awards / decorative targeting, you guessed it, the decorative lighting industry. darc awards / architectural, launched in 2016, has been yet another incredible success with the awards event, darc night, taking place at MC Motors in London on September 15th. There were over 400 entries and 6,000 votes for this year’s architectural awards, which resulted in over 500 designers attending the darc night event. darc awards / decorative was launched at this year’s London Design Festival with its own decorative darc night set to take place

on May 18th this year in London, just ahead of Clerkenwell Design Week. The awards will showcase the best in decorative lighting, with projects and products being voted on by lighting designers, interior designers and architects. This will result in the winners receiving the highest accolade of being voted on by their peers and all the kudos that that brings. The categories for the awards will reflect the diverse range of decorative projects and products we cover in darc magazine ranging from residential, workplace, hotel, retail and bar/restaurant schemes to a complete range of product categories from pendants and chandeliers right down to the lamps that power them (see the table right for full category listing). As with darc awards / architectural, the


sponsorship package for the decorative awards allows manufacturers to get more actively involved in the awards event by displaying their products during darc night. All of the pictures above show installations from darc night / architectural by lighting designers using the manufacturer partners’ products. It is an excellent opportunity for sponsors to get their products in front of specifiers instead of just having a logo and a free table at a traditional awards. In fact, there are no tables at the darc awards. The atmosphere is very informal and relaxed with a free bar and street food all night so that attendees can explore the venue and the lighting products inside. But the best bit about darc night is that all independent lighting designers, architects and interior designers that vote are eligible

for a free ticket to the awards ceremony (non-sponsor manufacturers must pay a fee) so that junior designers and smaller practices have as much a chance of attending as the usual larger practices. The website (www.darcawards.com) features both the architectural and decorative components with the decorative awards now open for entries and displaying submitted projects and products. www.darcawards.com

Any decorative lighting manufacturer that is interested in becoming a sponsor for the darc awards / decorative should contact Stephen Quiligotti on: (s.quiligotti@mondiale.co.uk)

DARC AWARDS / DECORATIVE THE CATEGORIES PROJECTS LIVE - the best residential project WORK - the best workplace project REST - the best hotel project PLAY - the best leisure project SHOP - the best retail project

PRODUCTS BESPOKE - the best bespoke fixture CEILING - the best pendant / chandelier WALL - the best wall fixture FLOOR - the best floor standing fixture TABLE - the best table standing fixture EXTERIOR - the best exterior fixture SOURCE - the best lamp



focal point PLANT FOOD + WINE MIAMI, USA Stickbulb collaborated with award-winning architect Rene Gonzalez to create a custom installation for Plant Food + Wine, a completely vegan fine dining restaurant in Miami’s artistic Wynwood neighbourhood. The lighting company, which has previously worked with brands including Google, Facebook, and Whole Foods, produced this series of made-to-order fixtures specifically to match the creativity of the cuisine. “Dining out is an experiential, sensorial experience, and lighting is critical to creating the right ambience for patrons and the presentation of food,” says Gonzalez. “With Stickbulb as a partner, we developed fixtures that hover over the tables like branches of a tree, and, in a nod to Miami, we painted them mamey, the deep orange color of a Cuban fruit. The company’s production methods and materials tie in to Plant Food + Wine’s philosophy of sustainable, plant-based cuisine, making them a perfect fit for this project.” www.renegonzalezarchitect.com www.stickbulb.com Pic: Michael Stavaridis




The Balancing Act Studio Piet Boon creates bespoke contemporary architecture, interiors and product designs. Renowned worldwide for its exceptional craftsmanship, quality and vision, darc takes a closer look at the man behind the practice and discovers a philosophy based on the delicate balance between functionality, aesthetics and individuality. Pics: Richard Powers

ZAANSTREEK Is a beautiful region very close to Amsterdam in The Netherlands. I was born and raised here and feel the rich cultural heritage and typical mentality of the region has influenced me greatly in life. Zaanstreek is known for its typical innovative spirit and ‘getting the job done’ mentality; it was here where painters, woodworkers, carpenter, masons and other master craftsmen turned smart entrepreneurs and tastemakers as early as the 15th Century.

SINCE I CAN REMEMBER I have always been fascinated and interested in the world around me, different cultures, food, people, various materials, building techniques, crafts, architecture, you name it. I also really enjoyed working with my hands growing up and so I pursued my studies at the technical school. After I graduated I began my career as a carpenter and shortly after that I started my own building contracting company.

I FIND INSPIRATION In people, cultures, architecture, fashion, nature, cinema, art… Everything actually. I find people such as Rick Owens, Frank Lloyd Wright and Wes Anderson, amongst others, very inspiring as well. MY PHILOSOPHY Of balancing functionality, aesthetics and individuality grew out of a frustration at designs by others. They were either ill-thought-out or aesthetically not in




tune. I started designing myself, taking full ownership of the design concept and together with my business partner, Creative Director Interior & Styling Karin Meyn, I was able to develop the building contracting company into our multidisciplinary design firm; Studio Piet Boon. OVER THE YEARS The studio has grown into a global design company, delivering exterior, interior and product design solutions for both private and corporate clients. True to our roots, our headquarters are located in the Zaanstreek and our international versatile design team consists of interior and spatial designers, architects and stylists. We are recognised for

our multi-disciplinary design services and our talent of balancing functionality, aesthetics and individuality into one of a kind design experiences. We put focus on the interiorexterior connection and make optimal use of space and natural light. OUR WORK Is recognisable for how we line spaces as well as our use and view on dimension and shapes. Initially we started out with designing private homes but over the course of 30 years we have broadened our scope of work from private homes to include corporate spaces, hospitality venues, residential developments, products and kitchens. One of my most memorable

projects is the first penthouse we did in New York city - a 700sqm home. This was a long time ago and since then we’ve done many projects in New York, but you just never forget the ‘first’. THE CORE INGREDIENTS That define the Studio Piet Boon experience are based on a thorough analysis of how we create balance between functionality, aesthetics and individuality, making it suitable for every discipline and applicable to any industry. As I mentioned, our work is known and recognisable for how we line spaces, our use and view on dimension and shapes. Every element is very important to create the balance and harmony we aim to


achieve in our work. One of the hallmarks of our style is that you, down to the minute detailing, experience the same atmosphere and signature throughout the entire design. LIGHTING Makes or breaks a space. Decorative lighting and lighting in general have a huge influence on how people experience an interior design, perceive a space and are directed within a design, not to mention the functional importance of light. By adding or subtracting lighting you can, amongst endless possibilities, create all kinds of moods, put focus on elements and play with colour, something we feel is very exciting. We always advise to invest in a good lighting

scheme - it will be one of the best decisions you can make, along with comfortable furniture. THE JANE IN ANTWERP Saw us work closely with Beirut-based .PSLAB – a site-specific design house and manufactory that is invested in the production of sensory experiences. Our intent for the interior design at the Michelin-star restaurant was to invest in the artisanal feel of the existing historic chapel and propel it forward with a contemporary underground atmosphere. We incorporate lighting and decorative lighting in all of our projects. The lighting elements designed by .PSLAB play a crucial

The Jane restaurant in Belgium Antwerp, interior design by Piet Boon – chandelier by .PSLAB, which is nicknamed Lion Fish and cylinder light objects also by .PSLAB.



role in how guests experience The Jane. We were given carte blanche by the client, Michelin-star chef Sergio Herman. The ‘piece de résistance’ in the centre of the restaurant is a gigantic chandelier of 12 by 9-metres radius with over 150 lights. Weighing 800Kg and suspended from one point in the ceiling, the chandelier dips to 2.75m above the ground and then disperses back up to fill the space above the dining area with tubular tentacles each ending with a glass bulb. The chandelier was created in such a way that it contributes to the intimate and ambient divinity of the chapel interior. OUR HEAD OFFICE Is another project where we worked with a lighting design studio, this time Studio





Molen. The light object that hangs in our entrance is a true piece of art that fortifies our design. We always try to orchestrate elements in a way that allows them to complement each other and eventually enhance a design. Another example is the ‘Ginger blimp’, again by Studio Molen, that hangs in the entrance of our project Huys in New York. REINVENTION Is something we do constantly – drawing inspiration from everywhere, progressively applying new contexts and insights to our design values. We’re working on all kinds of exciting projects and while I can’t disclose too much, one in particular relates to a high-end hotel design in Amsterdam. www.pietboon.com

1 & 2. Light installation ‘the constellation’ at Studio Piet Boon Head Office by Studio Molen. 3 & 4. ‘Hot Kroon’ chandelier by Studio Piet Boon (Kroon is the Dutch word for chandelier). In image 4. it is a ‘melting’ chandelier version covered in polyurethaan.



focal point SKY BUILDING NEW YORK, USA The Sky building in New York, developed by The Moinisn Group and designed by Rockwell Group, features a custom-made lighting installation from Lasvit. Located in the building’s lobby - Gravity was created by Lasvit in-house designer Ludmila Zilkova, alongside Rockwell Group, and is inspired by the physical phenomena of gravity. The structure is composed of glass cells, sorted and linked to create one entire structure whose shape appears weighted by gravity. Zilkova says of the design inspiration: “Most stories begin with the desire to create something familiar, omnipresent and indispensable, Gravity is inspired and influenced by one of these forces.” www.rockwellgroup.com www.lasvit.com


MASTERFUL MODERNISM The Deauville exudes an air of confidence through its simple yet elegant lines, adding a mid century modern charisma to any bathroom scheme. Because good design demands simplicity. Model: Deauville



Affordable Luxury Room Mate Hotel is growing from strength to strength with various openings over the past twelve months. darc looks at just four of it's latest offerings and how lighting works to create a friendly yet individual and luxurious, boutique atmosphere.

Bringing an innovative approach to the tourism industry, Room Mate Hotels, founded and chaired by Kike Sarasola, has expanded substantially in the past year, opening a number of new locations globally. Working with various interior designers, each hotel has it’s own personality yet adheres to the brand’s philosophy – with design as an integral and distinguishing feature. The creative process begins with the selection of a property: a city centre location plus a building with heritage that provides a story and personality to the project. Designers are invited to create bold, individual and welcoming spaces that, alongside a friendly service, impart a feeling

of staying at a friend’s home. In April last year, Room Mate Valeria, Malaga and Room Mate Giulia, Milan, were added to the hotel’s repertoire. RM Valeria features interior design by Victoria and Sylvia Melian Randolph and is located in the heart of Malaga, offering 61 rooms and a terrace with stunning roof top pool. The third RM hotel to frequent the city, Valeria’s rooms are inspired by its location and decorated in seafaring shades. Working with lighting design practice Studio Ibu, Melian Randolph Interior Designs looked to incorporate decorative lighting elements that were a modern take on Andalusian classics. In the public areas there needed to be enough light for work, but that wasn’t

overwhelming, while in the bedrooms there had to be a choice of lighting to keep clients content with more of a subtle ambience. “Decorative lighting is of utmost importance,” commented the interior designers. “It can make or break any project; Studio Ibu chose elements that would achieve what we had in mind for the technical parts as they could offer us a wider variety of elements to choose from. The choices in lighting available are unlimited and a lighting designer can narrow it down to follow your specifications.” In terms of challenges at Valeria, in some areas of the building the ceilings were very high and in some parts very low. It was important the lighting felt consistent





throughout so the team worked to adapt the same lighting elements to the different heights. “Lighting is essential to the interior design and can mask any flaws or technical issues that cannot be solved, while enhancing important features,” continued Melian Randolph. “It contributes immensely to the general atmosphere of a space and can change a mood entirely. In a hotel project you can never be too bright or to subtle… there has to be enough of each. “We loved working in Andalucia, an area we know well and we were able to incoporate a traditional Andalusian courtyard into a more modern environment with black pebbled floors and a moorish fountain. As well as this, the glass coloured light sculpture designed by Atelier Mel in the breakfast room is bold and fresh.” The design for RM Giulia comes from awardwinning architect Patricia Uriquiola, who lives and works in Milan and took a personal keen interest in the project. Referencing the city of Milan and taking inspiration from typical Italian domestic spaces, she added a vintage touch to create welcoming, familiar surroundings. For the hotel lobby floor, Uriquiola selected the same pink marble as found in the Duomo of Milan. The predominance of this colour in her designs has become one of her trademarks, while throughout the hotel guests can admire works of different Milanese artists, photographers and illustrators. In terms of lighting for RM Giulia, Uriquiola made use of lighting fixtures from Flos, Fonderia Innocenti, Marset, OLuce and Servomuto. For RM Anna in Barcelona and RM Grace New York, the interior design services of Lorenzo Castillo were called upon. Discussing the lighting for both, Castillo told darc: “The lighting is without doubt, the most important element of a project because if the lighting is amiss then everything else will be a disaster, regardless of how intelligent the concepts are. The lighting has to be adjustable, not excessively bright and comfortable for reading or working. “I use a great deal of indirect light that is as warm as possible. I have always been a defender of incandescent lighting as opposed to LEDs but thankfully, LED lighting has evolved and now has warmth that is similar to that of traditional light alternatives. “In general, my interior designer facet also extends to the light fixtures and I combine classic styles with a modern sense of lighting. For example, one of the most striking elements of the Grace hotel is the lobby, where more than 40 brass fixtures designed by myself, have been installed






along the walls. They are reflected in the mirrored ceiling to create a fantasy world of lights and golden hues inspired by the night. They’re kind of 70s New York glam! “We did something similar in the bar at Grace with a golden, plant-shaped wall lamp from Chelsom Lighting. The light and how it reflects in the mirror is extremely subtle and welcoming.” For Castillo, while lobbies were once places for the sole purpose of welcoming guests and checking in and out, in today’s hotel environment, while they should remain functional there also has to be a surprise element to them. In the same way, hotel bars are increasingly integrated into the lobbies, so that the reception area becomes an experience. “You have to feel welcomed yet feel

the atmosphere of the hotel through its decoration and people,” says Castillo. “The lighting must be inviting and cozy and the decoration must have some kind of magic where guests and locals have the desire to chat and have a drink as if they were in a fashionable bar or pub. “A couple of decades ago, hotel bars and restaurants fell from grace but that’s something which has completely changed thanks to the importance given to their decoration and lighting.” Reflecting on RM Anna, Castillo tells darc that one of this hotel’s strengths lies in its lighting: “Take the brass and glass columns in the breakfast room for example, they create a classic Hollywood style. “I also designed the shell-shaped wall lamps that look like they’re straight out of the film


Previous page RM Valeria features interior design by Melian Randolph that doesn't contrast too sharply with its outside surroundings, yet has a fresh and more contemporary look. 1. RM Giulia Milan is designed by Patricia Urquiola and various decorative lighting elements, including the Oluce floor lamp featured in this picture. 2. The breakfast room at RM Valeria features a stunning coloured glass light sculpture by Atelier Mel. 3. RM Anna in Barcelona designed by Lorenzo Castillo returns to Catalonian Mediterranean roots, Dali and classic Picasso for its inspiration. 4. RM Grace New York, again designed by Lorenzo Castillo features lighting from UK brand Chelsom Lighting and has a 70s New Yorker glam feel to it. Next page RM Valeria's Junior Suite features stunning lighting design elements that envoke a relaxing, subtle environment.

Taking care of light www.marset.com



‘The Little Mermaid’. It is very practical to work with professional lighting companies for projects such as this, which is why we turned to British company Chelsom for Grace and Dutch company Eicholtz for Anna.” Having worked on previous RM hotels, Castillo reflected on some of the challenges faced with these two most recent projects. “Grace took much longer than expected due to certain issues with the construction company and countless permits that were needed in New York. Anna on the other hand was completed in less time than planned, although the design concept was underway for close to three years as the project was more complex. We had already renovated the Grace hotel eight years earlier and the aim was to move up to a higher category. In comparison, Anna was a completely new project that involved converting an office building into a hotel that was to become the company’s flagship establishment. “In recent years there has been excessive use of neo-industrial styles with Nordic, Swedish and Danish influences, when designing Anna I wanted to veer away from this trend and return to Catalonian Mediterranean roots, Dali and classic Picasso, who searched for inspiration in

Catalonia’s Grecian-Roman fountains in the 1930s. “Grace was an extremely complicated project because it is housed in a tall, narrow building with a very cold, industrial feel and little natural light due to its location in the heart of Manhattan. This was addressed through the use of colours and prints, as well as carefully designed lighting. “The building that houses Anna was much more straightforward thanks to its notable architecture, extensive facades and location on Barcelona’s Ensanche. The challenge was to define a different style unlike anything that was being created in Barcelona at the time.” Thanks to considered and inventive design by all the teams involved, all four new hotels have their own personality while representing the Room Mate brand and ethos - taking the hotel chain to the next level in hospitality. www.lorenzocastillo.org www.melianrandolph.com www.patriciaurquiola.com www.talasur.com www.studioibu.com



www.bover.es T. +34 938 713 152

One of the most distinctive signs from Vietnam is the hat used by women in the countryside to protect themselves from the sun and the rain and as a basket to carry food. NĂ“N LĂ is the name used to describe this Vietnamese hat and it is also the name we selected for this lamp. Jorge Pensi Design Studio




Sacred Circles Design firm Bates Smart found what it was looking for in lighting design firm Willowlamp's work, with lighting sculptures that take their inspiration from the ancient Indian Mandala. Pics courtesy of George Apostolidis

Drawing on the Mandala as an ancient Indian symbol of unity and circular wholeness, Australian-based Bates Smart turned to South-African lighting firm Willowlamp to create its most stunning art chandeliers to date at Crown Towers Perth. Bates Smart’s Interior Design Director Jeff Copolov worked closely with Associate Director Kendra Pinkus, drawing on a wealth of experience designing luxury spaces, to create the highly refined lobby, cocktail bar, atrium and ballrooms. Copolov commented: “TheCrown Towers brand is synonymous with the ultimate in luxury, so it’s important that the guests feel that in everything they see and touch.” The scale of space at the Crown Towers Perth was vital to Bates Smart’s scheme, allowing guests to feel a sense of occasion and to celebrate the grandeur of the hotel while experiencing a strong connection to the wider resort landscape beyond. Copolov commissioned Willowlamp’s Creative Director and Founder Adam Hoets to design a bespoke series of four chandeliers to feature in the lobby of the hotel. These pieces, each weighing three tonnes, were unveiled for the first time in December 2016. Hoets commented: “We were first contacted about the project in 2014. Bates Smart discovered a lighting design we made for an office building the UAE, which was a massive extruded geometric Mandala. The initial brief for Crown Towers was four giant-sized 6m diameter Mandalas. This would have been virtually impossible but we adapted the design and developed four clusters of three fused Mandalas.” The Crown Towers chandeliers are a

customised variation of the existing Willowlamp design, the Mandala No. 1, inspired by sacred geometric patterns. The Crown Towers variation was broken down into clusters, with each cluster encompassing approximately 40,000m of ball chain, lending each considerable weight. Illumination for these pieces comes from 150 LED G9 lamps per cluster, chosen to maintain a modern look and provide a spark only offered from small, intense lamps. The design and installation of four clusters on a seven-metre high ceiling posed a new challenge to Hoets, with the pieces being the largest Willowlamp has ever created. “The main challenge was the sheer mass and scale of the installations,” he said. “Each drop cluster is 5.5m long and 3.5m wide, and weighs three tonnes. The installations had to be installed flat against a ceiling at 7m working height with no lifting platform able to reach that height.” The design was extremely complex due to the constraints in the sheet size of the laser cut metal frames. The highly intricate geometric pattern had to be segmented into separate elements, which needed to be done in a way that allowed the three Mandalas to intersect one another. “The hidden bit of genius is the system we developed to cut the chain to the required lengths,” continued Hoets. “When you consider that the geometric patterns made by the extruded chains curve into two planes, you can then imagine how difficult it was to develop a cutting schedule of chain lengths for each of these chains where the form is curved in two planes. In the end, we had the ingenious idea of turning a



CAD drawing into a type of database – that was the hidden solution. But at the outset of the project, I had sleepless nights trying to imagine how it could be done.” The next design challenge was the massive weight of the chains. “We couldn’t have all the chains going right to the ceiling, and it also would have been very difficult to cut such long lengths of chain accurately,” said Hoets. “Our solution was to have a hidden dropped tier within the mass of the light, which meant we could assemble the upper and lower tiers separately. This allowed us to work on separate parts simultaneously, thereby dramatically reducing assembly time.” The installation itself was another extremely challenging aspect of this project. The design team, engineers and project managers came up with numerous ideas before arriving at a workable solution. “We eventually decided to install each of

the clusters’ three components individually. The first step was to attach structural fixing plates to the underside of the ceiling. A huge gantry with electronic pulleys and hoists with cables leading up into the ceiling would then lift each of the three modules into place, one at a time. This had to be designed and engineered for this one purpose and was an engineering challenge in itself.” Throughout the process of working to create this challenging installation, the brief itself went through its own developments. It changed from being four 6m diameter single Mandalas to four 5.2m long, 3m wide and 3.5m drop cluster Mandalas. “The shape of the profiles also had to become more feminine and tiered. I transposed the profiles in the archways of the Taj Mahal as I was working on the design while on a trip to India, giving the tiered shapes a beautiful form.”

As a result of a painstaking and careful collaboration with a client who recognised that lighting is a fundamental design feature, Willowlamp was able to produce an awe-inspiring installation. At Crown Towers, light ties in with space seamlessly, not as an afterthought, but as an integral element to creating the ultimate guest experience. www.batessmart.com www.willowlamp.com


Previous Spread Clusters of Willowlamp's Mandala chandelier installations in Crown Towers Perth lobby. This Page Willowlamp's plans for the Mandala design chandeliers.

CAIFA design

Ivan Lolli, Mario Memmoli 1998 photo Gionata Xerra

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

darc dicembre ok.indd 1

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Rescuing the Refuge The Refuge bar & restaurant at the newly renovated Principal hotel in Manchester, uses decorative lighting to introduce pockets of space and a cosy atmosphere into the previous vast business hall of the Refuge Assurance building. Pics: Tim Winter & Scott Rhode / Courtesy of The Principal Manchester

The renovated Palace Hotel in Manchester, UK, is now the flagship hotel of Starwood Capital’s new luxury hotel group ‘Project 1898’. The grade II* listed building was originally constructed for the Refuge Assurance Group in the late 1800s, and subsequently extended twice in 1910 and 1932; the building was converted into a hotel in 1996. With it’s striking red brick and terracotta cladding, and iconic clock tower, the hotel is a landmark building in Manchester, situated close to both Oxford Road train station and Deansgate tram interchange. Internally, three buildings each have their own character, but are linked with the use of timber panelling and extensive coloured tiling throughout. Newly named the Principle Hotel, this most recent renovation began in early 2015 and continued until September 2016 with the completion of the final rooms and the food and beverage areas. Throughout the hotel, whether looking at the rooms, the F&B or the conferencing suites, the design has been driven by a desire to accentuate and celebrate the extraordinary building. With this as the brief, the designs are simple and luxurious. Architectural practice Michaelis Boyd has developed a scheme that highlights the rich heritage of the original building,

accentuating the original tiling, with its varied and strong colours, and the beautifully carved timber panelling. Colours used respond to those of the tiling, and are muted so as not to draw attention from the existing fabric of the building. In addition, the furniture selected and designed makes use of simple raw materials, such as oak, brass and leather, which have their own personality but work well against this vibrant backdrop. In the public areas this philosophy has been applied to a greater extent, sensitively dividing up the F&B spaces with low-level glazed screens to maintain the impressive scale of the Refuge Assurance Company’s old business hall. Everything has been designed to complement the uniqueness of the building itself in order to introduce new comfort and luxury into a space filled with history and idiosyncrasy. Focussing in on The Refuge bar and restaurant area, which is run by Manchesterbased Volta, this vast space is now the true centre of activity and interest at the hotel. The previous large business hall had been partitioned up and painted over, hiding the incredible scale and rich tiling. Michaelis Boyd’s design has sought to return the space to that glory, removing partitions and repairing original details throughout.

While a 10,000sqft double height space does not immediately lend itself to intimate dining or a cocktail bar, Michaelis Boyd has divided the space with large crittal screens that allow views through but provide a number of spaces within, that each have their own function and personality. The restaurant is lit with bespoke decorative light fittings designed by Michaelis Boyd in association with Northern Lights - from the large brass pendants hanging from the coved ceiling, to lower level pivoting lights that reach over from the banquettes to cast light on to the dinner tables. In the bar the emphasis is on intimacy and comfort, with leather chesterfield sofas and upholstered wing chairs, and a long curved banquette seat that creates, with low level lighting hanging over from the wall, cosy areas for groups to sit within a much larger space. A long bespoke table has been made for people to sit and work during the day, and a large communal table sits in the centre of the space to allow smaller groups to socialise. The bar itself is clad in a water-jet cut copper with lights set behind, giving a warm glow visible as you enter the space from either the hotel or the street. Behind it, bottles line shelves that back on to the crittal glazing, with views through to the




Winter Garden. This sits under a large original roof light, and surrounded on all sides by crittal glazing has the feel of an atrium or conservatory. The tiled floor and metal framed furniture work alongside two large trees and large amounts of greenery and planting to accentuate the relaxed outdoor feeling. Last but not least, The Refuge plays home to the Den. With a low level structure above supporting lighting, this is a more intimate space with higher seating, pool and foosball tables, and a custom designed dispense bar that folds away to look like an oversized roadie’s travel case. “We put a lot of effort into creating something that had its own personality but complemented the building’s heritage,” Luke Rowett, Senior Architect at Michaelis Boyd tells darc. “The rest of the hotel is slightly more understated, whereas the bar and restaurant is the epicentre and has a lot of activity going on. It’s definitely got a bit of a schizophrenic personality! “It’s a delicate balance between lots of different personalities for the restaurant, den, Winter Garden and bar. They’re all connected and there’s a common theme running throughout the design but they each have their own feel to them, as each space is used in a different way.” For Rowett the decorative lighting elements played a key role in creating these different ‘personalities’, working to bridge the gap between the new and the old. “The decorative lighting created little pockets of space that hightlight elements and create areas. Some of this was down to the structural constraints we had to work around. We weren’t able to put fixtures everywhere we wanted as we couldn’t drill into the tiled columns, so we had to come up with interesting ways of using the lights to create a really nice localised space, so it feels like you’ve lit just that specific area you’re using at that time. “In such a huge space, it works to bring everything very close and intimate and I

Previous page The bar is clad in a water-jet cut copper with lights set behind, giving a warm glow visible as you enter the space from either the hotel or the street, while the decorative lighting in the restaurant creates pockets of space. Michaelis Boyd introduced interesting ways of using the lights to create a really nice localised space. This page The column lights in the restaurant are large, vast structures that are quite slender and have a light at the top of them. Michaelis Boyd couldn't fix the lights to the columns in any way and so they are braced against the column using a rubber stopper interesting pieces that highlight the heritage columns without ruining them.





think the decorative lighting really is what’s creating this. If we had lit everything by architectural lighting we would have ended up with a wash of lighting; the decorative lighting has helped us create a space you don’t feel lost in.” Having enlisted the skills of lighting design practice LDI, which was principally responsible for the architectural lighting at The Refuge, the Michaelis Boyd team were able to exploit their experience to inform how architectural lighting was used alongside the decorative elements to add drama to the space. “Any project needs an element of both architectural and decorative,” Rowett tells darc. “If they’re

thought of separately then there’s going to be clashes and issues, it’s really important to get an understanding of the design… how the space is going to be used, where you actually need light and where you can afford not to have it – that is the key.” While a select few lighting pieces were specified, the vast majority of lighting featured throughout Principal and The Refuge has been bespoke designed by Michaelis Boyd in conjunction with the previously mentioned Northern Lights, featured throughout The Refuge; Chelsom in the Excalibur Rooms, Oak Rooms and Ballroom; and Heathfield Lighting in the guest room bathrooms.

“We like to create bespoke pieces as and where we can,” says Rowett, “and particularly for this project, it was hard to immediately think of ‘off the shelf’ products that would fit in with the space, so it was a really good opportunity to design something that worked in exactly the way we needed it to. “Take the column lights in the restaurant for example. They are large, vast structures that are quite slender and have a light at the top of them. We weren’t allowed to fix the lights to the columns in any way and so they’re braced against the column using a rubber stopper – so they’re freestanding if you like. They’re really interesting pieces




and highlight the heritage columns without ruining them. “Our approach to every project is that if there is a constraint or structural issue, we should work with it, as it creates a richer design and in turn can become part of the brief. As it stands now, there’s nothing we would introduce from a lighting perspective on top of what’s already in place but we had to go down various routes before we got there. “For me personally, it was a great experience working with the lighting companies on all the different elements featured at the hotel,” continues Rowett. “They were all incredible - for us to be able


to come up with a design and then work through with them, how it would actually happen is a great thing to be able to do.” As with most projects, the balance between lighting and the flow of natural light was another key consideration for this project and the end result creates a really nice change in the building throughout the day. This goes hand in hand with how the space is expected to be used as Rowett explains: “The large roof light in the Winter Garden has the hotel all around it - going up as far as four storeys, so the light you get through that is filtered – apart from midday when you get sunlight coming straight down. So the roof light is important because the

1. Waterhouse Way at the Principal makes use of festoon lighting to create the perfect street party vibe. 2. The Refuge public bar area features bespoke lighting features throughout from Michaelis Boyd in collaboration with Northern Lights. 3. The Winter Garden makes the most of natural light flowing through the space, but uses floor lamps from Restoration Hardware during the darker hours of the day. 4. Elsewhere in the hotel, The Directors' Suite has a more subtle feel to it, bringing out the building's heritage in the design - including original lighting features. 5. Fixtures from Heathfield Lighting, designed in collaboration with Michaelis Boyd, provide an elegant touch to the Principal's guest bedrooms.



The original Refuge Assurance building, an integral part of Manchester's history, now has a bold and beautiful offering both inside and out.

sunlight comes through but there’s also a real necessity for additional lighting because while there’s lots of windows around the edge of the building, it’s not direct bright sunlight. “During the morning when the restaurant is being used for breakfast, lighting isn’t such a big thing, because natural light is quite prevelant, as it is in the bar throughout the day while people sit and work… then as you move into the early evening the lighting elements become more of a feature and the venue turns into an intimate, fun space that you can eat, drink and play in… the lighting really does inform what’s happening at different points in the day.” Brought back to life during a time when the food and beverage scene was changing quite dramatically in Manchester meant The Refuge design was continually pushed, progressing at every stage, however the end result is a space that is a welcome addition to the city centre. For Rowett, while the project experience was an intense one,

when completion day came it felt as though something quite special had been achieved, telling darc: “It’s such an incredible space on its own and to be able to have a positive impact on that space is a really nice feeling. I was travelling up to Manchester every week for almost a year and it became a huge part of my life – for better or worse I became completely immersed in it. I’m from Yorkshire originally and spent a lot of my teens going over to Manchester and so I knew the building already – it is a pretty noticeable landmark and part of the city’s history. For it to have been what it once was and now is, particularly with everything else that’s going on in Manchester, it feels like we’ve had a part in the rebirth of the city following the recession… that’s a nice feeling.” www.michaelisboyd.com www.3dreid.com www.lightingdesigninternational.com





Kitty vs Burns Biasol: Design Studio used Kitty against Burns to bring together two girls that inspired Melbourne's iconic Skipping Girl in a structured yet playful restaurant. Pics courtesy of Ari Hatzis

Nestled below Melbourne’s iconic Skipping Girl sign, restaurant group Pell Five’s Kitty Burns combines both the tranquillity of the Yarra River with the quirkiness that remains key to both Melbourne design and dining.

Kitty Burns allowed Australian design firm Biasol: Design Studio to combine their experience in interior, product and branding design to create a unique space and character for the restaurant.

Inspired by the Skipping Girl story Kitty Burns’ interior design reflects the character of five-year-old Kitty Minogue whom the original figure was modelled off, and Alma Burns who was later also attributed to the


sign. The contrasting elements of the Kitty Burns personality are creatively woven into every design element – Kitty’s fun loving, playful personality juxtaposed with Burns’ more serious and structured side. Pell Five’s brief was fairly open from a conceptual point of view; their main objectives were to take advantage of the sites surroundings, respond to their business as an all day eatery and be highly functional in operation. Biasol: Design Studio wanted to establish Kitty Burns as a home away from home for the residents of the Haven apartment complex; a pitched roof design

was incorporated into all elements of the project. Biasol: Design Studio Principal Jean-Pierre Biasol tells darc: “We played with both scale and displacement of the roofs, forming a 3D effect that we utilised to create intimacy throughout the various dining spaces. The home concept was also carried through into the brand identity we created for Kitty Burns.” These pitched roofs also played on the Kitty vs Burns theme, where Burns brings in the physical structure and clean lines, closer inspection reveals that each pitch

is at a different height, paying homage to Kitty’s playful side. The lime washed timber bulkheads forming the house shape above the dining areas are lined with 3D cladding detail, allowing natural light to create a shadowing effect, changing the colour of the timber depending on how much light comes through. Two main areas of the bar include the coffee bar and the elixir bar, individually housed within framework that ensures each area is distinctly identifiable, aiding on a practical level with ordering and service. The bar is lined with handmade pale turquoise tiles




framed by a strong overhead structure constructed from Australian natural timbers. Kitty’s light-hearted theme is reflected in Biasol: Design Studio’s bespoke pendants that hang down through the bar’s timber frame, and are suspended all around the venue at varying heights above tables and elsewhere, creating a sense of unity between spaces. The coffee bar features a waiting area as well as a mobile coffee cart that echoes the design language of the main bar. Each element of the design was considered in the context of the space, with the custom designed and manufactured pendant lights conveying both the playful and serious sides of the brand most effectively. Biasol commented: “The light fittings were created in copper and white tones, both sympathetic to the overall colour palette of the space. Each light was created in two parts allowing us to mix and match for a playful finish.” Throughout the overall outcome of Kitty


Burns, the lighting design was carefully considered to create a strong atmosphere, whilst trying to maintain the balance between natural light that fills the space, giving it an open and airy feeling. With tranquil surroundings and view of Melbourne’s iconic Yarra River, Biasol: Design Studio took advantage of that tranquillity to create comfort and a sense of serenity. “We introduced a strong element of greenery inside to embrace the surroundings, making the dining spaces feel one with the environment. It was important for us that the space would never compete with its surroundings. When you look at the Kitty Burns interior, it really flows into the exterior, and vice versa.” Fusing mischief with structure, frivolity with discipline, Kitty Burns embodies the iconic Skipping Girl woman in one light-filled space. www.biasol.com.au


Previous spread Bespoke copper pendants suspended above individual dining tables, complementing the overall design scheme of the open plan dining area, adding to Kitty Burns' playful and serious sides. 1. Bespoke pendants in copper and white tones suspended above and intertwined with the wooden framework of the elixir bar. 2. Biasol: Design Studio's bespoke copper pendant above elixir bar.




Surf & Turf DesignLSM and The Light Corporation bring a warm, comfortable atmosphere to Burger & Lobster's laest London location. Pics: James French Photography

Leicester Square, London, is one of the newest homes for restaurant chain Burger & Lobster. Featuring interior design by DesignLSM and bespoke lighting from The Light Corporation, it forms part of the brand’s current expansion along with the openings of London sites in West India Quay and Holborn. The restaurant is housed beneath the five-star W hotel’s striking exterior, in an arresting double height space with a vast mezzanine upper floor, featuring an open kitchen and dining area. DesignLSM worked to retain some of the site’s original features including the grand brass bar front, central spiral staircase and timber flooring, carefully curating these existing elements into the brand’s unique design scheme. Inside the restaurant, a dazzling hanging light chandelier takes centre stage, designed to be evocative of the luxury hotel’s external lighting facade. The signature

features of lobster tanks and bold banquette seating create an instantly recognisable connection to the Burger & Lobster brand, accompanied by the addition of a refined and relaxed downstairs bar and lounge area. “The idea behind the look and feel of the restaurant is that diners walk in and immediately know they’re in a Burger & Lobster location,” says Tim Henderson, Director at The Light Corporation. “Having worked on every restaurant since the first opening in Mayfair, we have key signature pieces that we use across all restaurants, which includes two styles of pendants and a ribbed glass wall light. We put these in every branch, along with illuminated lobster baskets so there’s a direct palate of information available - on top of that we’re given free reign when designing the rest of the lighting elements. “We have worked very closely with DesignLSM on all the Burger & Lobster

restaurants and this most recent location was no different,” continues Henderson. “The team at DesignLSM has got a very good feel of the brand and how it can move forward. When we’re working together, we’ll bounce ideas around and make sure that all the features we put in work well together.” For Henderson, the key role of the decorative lighting at Burger & Lobster is to bring a warm, atmospheric feel to the space; with all of it bespoke fixtures made in-house by The Light Corporation. “We’ll always use warm colour temperature lamps at Burger & Lobster, while the lighting is heavily zoned and makes use of a dimming system that we designed and specified particularly for the project,” he tells darc. “It means the walkways can make use of different light levels to the tables, and then can be different again to the features and the wall lights etc. We’re able to create a lot of scenes for the restaurant to use





throughout the day, so whether customers are dining at lunch, early evening or later on at the weekend – they’re able to set up different moods and atmospheres with the lighting. “It’s a very warm and friendly lighting scheme with the central feature giving a really warm focus to the space. The central chandelier feature spans through two floors so you can see it from any level. It has a real interest to it because at first, it’s difficult to work out what it is… but then in certain angles you can see that it’s clearly a lobster.” Working simultaneously on all three London projects was no mean feat, with just twelve weeks to transform initial designs into a finalised project and it took a lot of energy from the teams at DesignLSM and The Light Corporation to ensure they all came together as intended and finished on time. Looking back on the project, DesignLSM’s Projects Director Andrew Harwood concludes: “It has been a pleasure to work with Burger & Lobster and assist them with their ambitious growth – we have relished the opportunity of developing the brand and interiors as they have expanded, creating a truly recognisable personality and engaging environment. We look forward to continuing this exciting and enjoyable journey with our client.” www.lightcorporation.com www.designlsm.com


Previous page & This page The Light Corporation produces bespoke decorative lighting pieces for all Burger & Lobster restaurants to create a distinct look and feel to every venue, ensuring a sense of familiarity to its customers. The most recent addition at W Hotel in Leicester Square, London, features a bespoke lobster chandelier that flows through the two floors and can be seen from various angles. While the majority of lighting used is decorative, architectural narrow beam LED spotlights are used to highlight walkways and other architectural features.



JOI-Design Folio is our regular feature highlighting the importance of decorative lighting in the work of a design studio. This issue we present Germany-based JOI-Design. JOI-Design brings enthusiasm, dedication and a love of detail with decades of experience to its projects for high-end hotels. With a cultural sensitivity that is deeply rooted in Germanic and European traditions, JOI-Design’s distinct approach and spirited imagination are woven throughout all its projects. Whether it’s a privately owned boutique hotel or a property for an international luxury

group, the design firm enjoys creating stylistic elements that reveal its European inheritance though its love of detail. Another key ingredient within JOI-Design’s creative language is authenticity, which means the team strives to create spaces that feel individual and genuine no matter where they are in the world. Its aim is to subtly remind guests of a location’s provenance and strengthen a hotel’s

association with its brand and corporate identity. This value extends into the durable, high-quality local materials the studio specifies to create these unique places. Rather than repeating the past, JOI-Design is passionate about designing vibrant, contemporary spaces that playfully translate classic touches with skill and grace. www.joi-design.com

Carpi by Fraser FRANKFURT, GERMANY Germany’s first Capri by Fraser serviced apartment hotel was brought together with a vibrant energy from JOI-Design. The hotel residences have been furnished with elegant, highquality materials in a manner that reflects the fashion-savvy confidence of young cosmopolitan guests. Furniture, lighting and colours are deliberately mixed in diverse yet complementary styles to suggest the fun of relaxing in a friend’s home. In the hotel’s Drinkx bar, a softly backlit, leather-covered bar emanates a warm glow and, at night, a constellation of pendant lights stretching across the ceiling emulates the magic of a starry night sky to cast an aura of atmospheric sophistication.

Reichshof Hamburg HAMBURG, GERMANY Featured in issue #15 of darc, JOI-Design’s extensive renovation of the Reichshof Hamburg’s architectural structure and interiors reinstates the impressive grandeur of the city’s beloved but worn landmark. The designers aimed to highlight the hotel’s beautifully preserved Art Deco era details such as its impressive marble columns, timber panelling and brass detailing, restoring them as needed in a manner suitable for the listed building. Easily identifiable areas radiate off the central lobby. Standing out against the neutral background are glimmering contemporary chandeliers crafted with pink resin to a bespoke style by JOI-Design, while red pendant lights hang in the lounge’s wall niches. The hotel’s bar sees a soft yet handsome illumination from wall and recessed lights.


JW Marriott Cannes CANNES, FRANCE JOI-Design’s concept for JW Marriott Cannes recalls a sophisticated era of film star glamour, that imbued the spirit of luxury without being excessive. The new narrative begins at the entrance where structural columns have been transformed to emulate eye-catching golden palms. Inside, the lobby opens into an impressive five storey high space, with dramatic vertical features that compel guests to lift their gaze upwards. A spectacular light sculpture of delicate golden leaves cascades 20 metres down into the centre of the space, while striking vertical columns encased in creamy marble are bathed in filtered sunlight from above. The hotel’s bar is a statement piece of sculptural curves finished in a Macassar Ebony timber and burnished gold, with glass pendants above adding a flattering ambience. The restaurant sees a graceful light sculpture as its single focal point, comprised of a crystal teardrop constellation suspended in a cut-out recess which elegantly snakes across the centre of restaurant’s ceiling.

Mercedes Benz Arena BERLIN, GERMANY With subtle allusions to the clandestine allure of an exclusive members’ club in the roaring twenties, the design of the Mercedes-Benz Diamond.Ball.Room evokes the dazzle promised by its name. Four compact private stadium boxes were merged to create an entertainment hub for as many as 72 guests to experience live events. Warm hues of gold, platinum, cognac and ebony create a handsome, clubby feel. When overhead illumination levels are lowered at night, high-contrast lighting accents amplify the drama and excitement, turning the space into an ideal spot for an after-show party. Suspended over a dark timber counter are modern pendant lights whose bent metallic wire frames transform them into glowing asymmetrical shapes. Iridescent golden accents, glittering lights and curved forms recall the effervescence of sipping bubbly.

The Urban Renewal Collection


Visit our showroom to see over 2,500 lighting products: Elstead Lighting Ltd, Elstead House, Mill Lane, Alton, Hampshire, GU34 2QJ | +44 (0)1420 82377 | enquiries@elsteadlighting.com | www.elsteadlighting.com


A 3D Future In a world of production where virtually anything is possible, Femke Gow looks at how decorative lighting designers and manufacturers are using 3D printing to bridge the gap between mass production and personal touch.




3D printing has been revolutionising the world in which manufacturers and designers create for several years now, with its production process allowing the realisation of pure imaginative form. It has seeped its way into the realms of architecture, aerospace and education, and over the past several years, penetrated the decorative lighting industry with ease. Manufacturers now see it as a logical and progressive tool that offers flexibility, while reflecting values of forward thinking technological progression that many companies hold dear to the core of their work. HOW? Also known as additive manufacturing, 3D printing works by adding successive layers of material under computer control to create a three dimensional object. The shape of the object printed is determined by digital model data, which is drawn digitally, and sent to the printer. There are a variety of 3D printing methods, with a process known as laser sintering standing at the forefront of popularity. A laser on the printer traces across a bed of tightly compacted powdered material (plastic, metal or otherwise), according to the 3D data fed to the machine. As the laser interacts with the surface of the powdered material, it sinters the particles to each other to form a solid. For decorative lighting manufacturers, this process enables a complete freedom of shape

that is impossible to achieve with other materials in the same way. WHO? Amongst the many members of the decorative lighting community who have experimented with this process is German designer Ingo Maurer. Maurer uses 3D printing as an explorative technique to push the boundaries of what can be achieved. The designer has used laser sintered 3D printing to produce opaque diffusers for a number of products including Knot in 2013 and most recently Spyre in 2016. “A company like ours, which also manufactures products in limited editions, can definitely benefit from the flexibility and relatively short lead times that 3D printing allows,” says Maurer. “This technology allows designers to manufacture virtually any desired shape without incurring the prohibitive costs of having a mould manufactured. Although 3D printing is not the cheapest method, it offers more value and flexibility in investment.” Similarly enthusiastic about the pioneering production process is Italian designer Alessandro Zambelli, who uses the process to combine innovative technology with heartfelt handicraft. Zambelli has worked with Italian technology designer and 3D printing specialists .exnovo to create Afillia and Maggiolina, two lighting collections that use polyamide laser sintering technology. Afillia is a collection of six lighting products (three table lamps and three pendant lamps), with the base in Swiss pine and a 3D printed light diffuser. Similarly, Maggiolina is composed of a handmade ceramic base with a small, rotund sintered polyamide diffuser. The end result allows a variety of relationships with light in how the 3D printed material and interacts with light. In Zambelli’s experience, 3D printed diffusers embrace the space and create spectacular lighting effects. “Free to waver at will, the light casts fleeting shadows, then beams into unexpected focus, forming compact halos, round and bright,” said Zambelli. “This is energy in fluid form in the noman’s land between stuff and shape, air and light.” As well as laser sintering, there are other methods used within the lighting industry to develop unique parts and products of decorative lamps. British lighting manufacturer Plumen has used the Fusion Deposit Modelling process, in collaboration with Milan-based 3D printing design studio Formaliz3d. This is the most cost-efficient process and works by extruding a filament to build the model. Formaliz3d adapted its


own distinct Rumbles shade to marry with the shape of Plumen’s Baby and 002 lamps in an elegant shade. Made of a material called PLA, a biodegradable plastic made from cornstarch or sugarcane, the shade features punctured edges to produce a visually intriguing lighting effect. Plumen Co-founder and Creative Director Nicolas Roope commented: “We approached Formaliz3d and asked if we could collaborate to adapt the Rumbles form for specific use with Plumen lamps. Seven days later, we had a sample in our hands. After one round of amendments, we had the finished Plumen edition of the Kayan shade and it was beautiful.” Roope explains that although unit costs are higher than mass produced products, there are literally no pre-production costs and the scope is greater for forms as the constraints of moulding materials do not exist. “A lighter design process and less preproduction made the whole thing a lot

faster and more cost effective. This was great for small runs, and allows for many more forms to be created. In many cases, it also does away with the need to join up sections as they are simply fused together in the print.” Another way manufacturers use 3D printing is in the product development stage. Astro’s Head of Product Development Stuart Wells commented: “With 3D printing we can quickly assess form, fit and in some cases function, so we use the technology to prove a concept. This helps shorten lead times for developing a product from initial idea to production.” WHY? The reasons that manufacturers opt for 3D printing seem to be unanimous; Wells also argues for its cost and manufacturing advantages, commenting: “3D printing has been used to create shades for table and floor lights, and as the technology

Previous Page Ingo Maurer’s 3D printed Spyre designed by Ron Arad, made of five segments, with each segment rotatable by almost 360˚ to adjust the direction of light. Pic courtesy of Ingo Maurer. Left Plumen’s 3D printed Kayan pendant made in collaboration with 3D printing studio Formaliz3d. Pic courtesy of Dean Dorat. Above Afillia pendant made by Alessandro Zambelli in collaboration with 3D printing specialists .exnovo.



grows and printing with metallic material become readily available, more decorative components could be made in this way,” he says. Repeatability and no tooling costs are things all industries could benefit from, however material and equipment costs must come down and print speeds increase. For Roope, 3D printing complements Plumen’s process of the unique Plumen light source being the starting point for every project. “We’re specifically looking for shades to show off and enhance the qualities of form and light that each of our models emit.” Kayan’s 3D printed shade is perforated, letting light through and also allowing room for the form of the Plumen lamp to be appreciated. From further back, the material colour becomes more prominent and the form, especially when used in a series, has a strong architectural effect. In further support of 3D printing, the translucency of sintered polyamide lends itself well to decorative lighting products. Maurer says: “The light generated from halogen and LED sources works well and harmonises with this material. The designer can decide the thickness of the print out, and while there is a limited range, at least some choice is available. The homogenous surface of the polyamide blends light well and diffuses it in a warm and pleasant tone. The luminosity of the fixtures is not compromised as the material is translucent and allows most of the light to filter through.” WHY NOT? Despite the attractiveness of this innovative process in its ability to combat issues of fluidity and creative freedom in production, it still comes with its drawbacks as an emerging material. Zambelli deems a good product designer as one who takes the time to discover the secrets of a material and use the right material for the right project, and 3D printing is not always the best solution. With the most frequently 3D printed material being plastic, Zambelli still sees this as a poor material, making it difficult to convey real value. “This is why I combine 3D printed plastics with wood or hand-made ceramics because people really relate to those materials. The combination gives the product value, and I think without it, they

This Page Studio shots from .exnovo showing the craftsmanship of 3D printing production. Next Page 1. Alessandro Zambelli and .exnovo’s 3D printed Maggiolina table lamp. 2. Astro’s team of design engineers uses 3D printing technology in the product development stages to assess form, fit and function.




would be cold.” With this in mind, Zambelli approaches new projects with a “Can I 3D print it?” attitude, and wants to experiment with the process applied to other materials such as metals and ceramics, as Plumen have. Another aspect of 3D printed materials that manufacturers feel needs some attention is the surface of the end result. Maurer targets the limitation of precise and exact tolerances of surface treatments as the main area of improvement of this process. “The surface development would need to be enhanced in order to achieve a smooth finish, thus eliminating the extra time needed to prepare the surface area so that it can be lacquered,” says Maurer. “I know it is only a matter of time before this develops in the 3D printing industry.” WHAT NEXT? With regards to how the decorative lighting community sees the future of 3D printing developing in its industry, there are some


exciting things to look out for. Interested in the blended version of the future where some parts of products are mass produced and some are customised, Plumen is working along the lines of mechanical models that come straight out of the printer and move. “Watch this Plumen space!” says Roope. “The potential of 3D printing is enormous. Mass manufacture is necessary for many things and will continue to define many of the products we consume. But in homeware and lighting, where design and self expression play such a large part in consumer choice, the flexibility and personality that 3D printing offers will eventually redefine this category.” In line with this idea is Maurer’s vision for the future of 3D printing as he sees it creating a platform for innovation. “If well utilised, this technology can help designers produce original designs and superior products. The technological leap with this material and technique into other unknown materials is an open frontier for us and for

all designers to explore.” Astro’s Wells supported these positive prospects in recognising the ability of 3D printing to increase speed to market: “The ability to design, engineer and create all under one roof in an office environment greatly reduces the time to bring a product into the market place. As 3D printing moves into more robust materials, samples for testing in different environments become more useful. This will further assist the reduction of bringing a luminaire to market.” In conclusion, the common consensus draws on the flexibility and creative allowance that 3D printing offers. The result is a direct translation of what a designer is capable of imagining, rendering the process as close to the heart of their creations as possible. Given its minor drawbacks, these seem to be parts of the process that will develop with technology and time, gradually making way for flawless production and a great leap into the limitless unknown.























kinetic light sculpture, designed by Ivan Black







A Natural Remedy Designers Mac Cox and Ben Rigby are possibly one of the lighting world’s best kept secrets. Working under the collective Haberdashery, Helen Fletcher discovers how their new venture will push the studio’s philosophy to the next level. Pic: Julie Aparicio




Lighting design agency Haberdashery might just be one of the industry’s best-kept secrets, with the studio’s prolific output of lighting sculptures having remained strictly behind (residential) closed doors for the past nine years. Co-founders Ben Rigby and Mac Cox are the driving force behind the 24-strong team that makes up the Londonbased studio and with their very different routes to market and design influences playing an important role in the company’s style and techniques, it’s easy to see how Haberdashery has grown into something quite extraordinary. Having met on a film set in 2007, the duo’s creative story starts much earlier in life with Rigby growing up in Reading, UK and Cox in Mexico and Spain before heading to London at the age of ten. “I was a quiet, introverted child fascinated by drawing and I fanatically compiled hand drawn guide books to birds of prey, the deep sea world, poisonous animals and the like, before getting swept up in the romanticism of exploration with further reams of sketches and illustrations about space, travel and lost worlds,” Rigby tells darc.

A steady passion for creativity saw Art and Design as Rigby’s main subject through school and he went on to study a Foundation Art course at Thames University, all the while teaching himself photography. “I went on to study editorial photography at the University of Brighton,” he continues, “but this was a course I didn’t finish as I embarked on several real world projects that took me away from day to day studying and has left me with fewer qualifications on paper than anyone I work with! As a particularly insular subject, photography allowed Rigby to continue to look at the world through his own porthole and explore the narratives he could uncover through the medium of light. “It has given me a great eye for detail,” he says. “Along with an obsession for narrative, for the subtext and the hidden meaning behind things put in front of us”. “My career in design was a strange evolution; through not earning enough money through photography I ended up working as an art director on film sets and advertising shoots and then moved into working as a self-taught director of photography where I eventually met my

business partner Mac.” For Cox, an education at Central St Martin’s College in London, doing a foundation and then degree in Product Design, saw him make the move straight into the film industry, working his way from Art Department Runner to Art Director within a few years. “I mainly worked on Pop promos for people like Travis, Audio Bullies and 50 Cent to adverts for Persil, Walkers, Mini etc and was fortunate enough to work on the new Thunderbirds film and Tim Burton’s Charlie & The Chocolate Factory,” Cox tells darc. “I vowed never to enter the design world after university but seven years later we started Haberdashery. I decided I wanted a bit more creative freedom and to play with bigger budgets to feed my imagination… It was the perfect mistake! “When we first started I felt overwhelmed with the range of things I liked, who influenced me and what direction to take our work. I was a sponge for everything; getting older, those influences have refined – I guess it’s the process of discovering what you like and what makes a design yours that makes this happen.”



With Cox drawing inspiration from the likes of Bridget Riley for her playful obsession with colour, simplicity and composition; Ai Weiwei for his political artistic rhetoric and dogmatic execration; and Mark Rothko to name just a few, Rigby is inspired by studios that work together to create something unique, telling darc: “In my twenties, studios such as Tomato (graphics) and Heatherwick were inspirational. These days I appreciate visionaries such as Olafur Elliason or James Turrell because they achieve such clear, timeless results. “In terms of actual aesthetic, I look to the world around me – the textures, patterns and beauty found in the everyday. Things such as light falling through a curtain across a bedroom wall can have incredible subtlety and beauty to it, or texture found in nature that can be applied to a process we are using in a project…. Beauty can come from the most unexpected places.” It is this inspiration found in nature that brings Haberdashery’s latest venture to life. Whilst publically known for their bone china Leaf range of lighting sculptures (covered in issue 15 of darc), contemporary lighting products have not come out of the


Haberdashery stable until now, with all other works to date being 100% bespoke. Inspired by the memory of natural light, Evoke is a collection that calls on light manipulation in order to tell a simple story. The first product in the Evoke range is the Canopy pendant, which launches at Top Drawer in London, January. Recreating the effect of dappled light falling through a forest canopy, a specially designed LED display creates a slowly animated pattern of light across a hand blown glass shade, with task lighting falling on the surface below. “The pendant brings the memory of the forest into your space and is the first in a series of lighting products meant to inspire and stand out in a market that can sometimes seem a little one-dimensional,” says Rigby. “Our sculptural work causes the viewer to slow down and adopt their own time, leaving the busy outside world behind. Our new products will harness a little of this magic and Canopy is typical of our approach – it is a beautiful form, communicating subtle, narrative driven lighting generated by a rather clever piece of lighting IP. A custom designed LED display plays an animated GIF passing light through

1. Experimenting with custom wiring looms. 2. Testing early Canopy animations with Arduino. 3. Exploring shade variations for Canopy.



a special polycarbonate lens and chemically milled mask, elevating a decorative modern pendant into a real centrepiece to any space.” “We want a viewer to have the same feeling we get when something magical happens in front of our eyes,” adds Cox. “The audience response is a highly rewarding one and is the best sales tool you can get. For this reason we are now working on far more public sculptural projects in order to showcase our ideas to the wider world, and hopefully through our new Evoke collection the public can also afford to buy into the mindset of Haberdashery.” Seen by many in the industry as artists, designers or makers, Rigby and Cox would ideally prefer their work do the talking, but this has been challenging for a secretive (until now) entity such as Haberdashery. “The challenge we face as artists and designers is to communicate a consistent philosophy through our creative process,” says Rigby. “If we do this, we can approach a broader range of projects without losing a sense of what we stand for and the viewer can understand who we are and what

matters to us. “2016 has been a year of soul searching to uncover what this philosophy really is and how we can show the world,” adds Cox. “We want to ensure the DNA of our design thinking runs through all types of projects from a landmark public sculpture to a contemporary lighting product, even though budgets might be several zeros apart!” With a philosophy based on play, you may wonder how this functions in the workplace… Well the design studio adopts a very flat company culture, resisting the temptation to become just another corporate structure. Instead, Rigby and Cox champion, ‘what if’ moments and encourage the designers to be ambitious wherever possible, always challenging the norm. “A strong part of our culture is trust,” says Rigby. “We try to empower our designers and let them know that mistakes are part of the process. Without understanding our mistakes we do not improve and some of the most beautiful design journeys may never have started. From experimenting and being prepared to fail comes the ability to push on further each time.”

While the design duo might share the same work ethic and creative optimism, their very different ways of working is what makes them unique. “It’s good to be different as we can learn from each other,” says Rigby. “Mac and I share a feeling for when to take risks and when to hold back, it is essential to take big leaps of faith in design but to be calculated in when you take them. We are both along for the thrill of the ride as much as the end result. “This can bring conflicts for sure, but these are a natural part of the process; if we are not challenging each other then we are selling our clients short. It is the idea that counts, not the ego. Mac and I have strong ideas but equally, work hard to draw the best out of every team we work

In the Haberdashery studio testing early chemically etched mask layers for Canopy.

Hollywood Icicles Collection Design by William Brand

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with, as this leads to a greater chance of an exceptional design solution.” “Because we experiment every day with materials, processes, form, narrative etc. we have to consistently adapt the way we work,” adds Cox. “Each and every project has its nuances and all of our clients are different. Putting that all into the mix means that our process inevitably changes, so adapting is in fact our process. We have many mediums for expressing an intent, whether that’s a five-second sketch, a physical model, a walk through render, a trip to a museum or laying out a full scale plan on the floor.” Looking forward, Rigby and Cox have ambitious plans for the design studio… bigger, bolder statements of narrative led sculptural works that embody the micro and the macro; the ability to create wonderful, meaningful forms with exquisite detail; innovative customisable decorative

systems such as their Leaf range, and now contemporary products that harness their creative energy such as the new Canopy pendant. As Haberdashery, the design duo have created a highly evolved philosophy that can be applied to any space or opportunity, as Cox explains: “Every lighting product has a different reason to be conceived, and that is normally dictated by the need for that particular space, but we always believe that regardless of the product’s task it should be beautiful, wellconsidered and evoke something in you. Whether it is task lighting, ambient, to simply light itself and be decorative, it must do any of those purposefully.” “When we create a bespoke sculpture we are looking to create that ‘how on earth did they do that’ moment in the viewer, that slows down time and absorbs them in the moment,” says Rigby. “A good product should have a little sprinkling of this,


combined with a clean, resolved simplicity that the design process can bring. It should be a beautiful object, a useful light and have real personality”. “We want to stand out from the crowd but in an intelligent way. We’re not interested in responding to fashion but rather to an intelligent and innovative interpretation of the materials and technologies to hand, with a little Haberdashery magic mixed in for good measure.” www.haberdashery.com

1. Ben (left) and Mac enjoying the first prototype of Canopy in the Dalston studio. 2. A concept is born through advanced cheese grater innovation. 3. A sample of the new bone china Bloom collection launching spring 2017.





The Secrets of Dining with Light British lighting expert Andrew Orange has seen the world in lights, developing an enthusiasm for illuminating interiors. darc discovers what he thinks the secrets are to creating that perfect dining ambience. Pics courtesy of Chris Orange Photography

There are many styles of dining that broadly fit into two categories – those where the restaurateur wants you to linger, presumably to buy that extra bottle of wine, and the type that wants you to refuel quickly and leave satisfied. In other words, the interior feel ranges from the ambient through to functional, the convivial through to the routine. Lighting is the key factor in creating these settings across all restaurant interior design. Next to the menu, the lighting defines the customer experience and frames the concept of the establishment, with a hundred subtle differences to decipher, from silver service to a relaxed bistro or champagne bar to corner café. THE SCIENCE OF AMBIENCE A candle-lit glow is the very epitome of the fine dining setting. Have you ever wondered why a warm glow is so desirable and seems

to create an atmosphere somewhere between convivial and romantic? A low, warm light tends to be favourable lighting for a lot of people in terms of enriching skin colour, and according to neuropsychologists, there is a scientific link to why skin colour increases perceived attractiveness. It seems people with well-oxygenated blood appear to be more physically fit and represent a good match. A pallid skin has the opposite effect and indicates a weak immune system and hence a bad potential mate. These traits are so powerful that they override other customary signals. A warm white light is about 1800K and when a room is bathed in this colour temperature, the romanticising effect is self-evident. Maybe the colour of a flame is hard wired into our primitive minds. Certainly, the welcome of a roaring fire is a natural reaction on a chilly day - it is the origin of

the word ‘foyer’ in theatre receptions for instance. Whatever the reason for the connection between light and romanticism, it is evident that a warm convivial ambience is highly desirable for fine dining restaurants. Of course, candles on each table offer a simple effect but they are becoming less practical in these health and safety conscious times. LED lamps have benefitted us all with a choice of light temperatures to suit every atmosphere. Recent developments in filament lights have also provided solidstate light sources that look identical to the globes and candle lamps we know well and are best suited to decorative fixtures. So a tone of light can be specified to match the exact concept of the interior. A clever choice of shade material is an alternative way of creating a candle-lit glow. I have seen an excellent use of porcelain and textile shade to create a reddish hue on





tables, wall lights and chandeliers. Amid the ambience, it is important to remember to draw the eye through the flattening effect of a single tone of colour. Choose a focal point for a dining space. Often this is delivered by a physical feature within the room, or a statement light – such as a chandelier as a centre-piece. THE FUNCTIONAL AESTHETIC Increasingly restaurants are becoming one space in a growing trend to make the kitchen and ‘the-pass’ visible to the diner. In new builds, this is the default with refurbishments increasingly featuring a view through to the chef. This underlines the real challenge of lighting a restaurant – the conflict between functional and the ambient. In these multi-functional spaces, lighting needs to be flexible to cater for various activities. It is here that in many ways the designer faces their greatest challenge. Essentially, each lit area or ‘scene’ needs to be planned out meticulously. Smart controls offer a flexible dimension allowing controllability at the touch of a button from different locations, with all budgets including a recommended, if not essential, simple dimming system. Given the variety of scenes, different types of lighting are needed within each space of the restaurant. Full brightness is needed for task activities such as food preparation, while daylight is more inline with the restaurant necessity of relaxation combined with decent downward lumen level to view food. The main purpose of this layered lighting scheme is to create a sociable ambient experience that illuminates the interior and its features. As the mood and natural light changes throughout the day, the evening service needs to intensify the ambience by decreasing the lumen outputs and relying upon chosen pockets of light to create an environment diners want to linger in. Building layers is the key here, so elements of the lighting scheme can be adapted to suit the scene. Position a decorative lamp as a strong focal point over the table to delineate the space. Support the pendant

Kona Restaurant at 51 Buckingham Gate, London is part of St James’ Court Hotel, owned and operated by Taj Hotels. Featuring lounge, dining and private dining areas, Kona balances luxurious indulgence with fresh simplicity, reflected in its lighting scheme that draws out the finess and delicacy of the restaurant’s interior.

light with downlights over the table surface to provide task lighting. Glass pendants or chandeliers often do not provide much light; supplementary lighting will give them sparkle and bring them to life. Further to this, illuminating perimeter walls and surfaces provides a background ambient light to support the tabletop lighting and creates interest. Wash walls with light, use picture lights and wall lights, and light shelving in cabinets. From the outset in the planning stage, ensure the provision of separate lighting circuits to modulate scenes. Another key tip is to illuminate curtains – they look sorry for themselves at night when unlit! On a dimmable circuit, a colour washed curtain can appear like a tapestry, reflecting colour back into the space and providing another aspect of interest. Lighting the outside also creates a scene through a window at night to provide interest and to extend the space into the garden, while breaking up the black coldness of a darkened windowpane. The conflict between the eye line of the diners and the functional lights required by the catering staff is a key consideration. Be careful to specify downlights with good anti-glare characteristics – many feature a light source that is positioned far back into the body of the light. Similarly use ‘snoots’ and louvred shutters on spotlights to direct the light in a single direction and avoid spilling the light into diner’s eyes. To avoid human level lighting altogether, add some up lighters, either on the wall or from the floor to freshen the ceiling and bounce diffused light, which acts as a good background illumination. Don’t forget, table and counter top lights are a great addition and an easy way to provide a middle layer of light especially flexible when wired into their own 5amp circuit. I love designing restaurant lighting schemes – matching the interior designer’s vision is a real challenge, but the growing number of options in this LED era provides endless possibilities. The simple trick whether you are designing a functional or ambient experience is to avoid conflict and build flexibility into the space. www.orangelighting.co.uk

cloud softlight mobile molodesign.com ¡ design by Stephanie Forsythe + Todd MacAllen


A Feast for the Eyes The right ambience while dining is imperitive. Whether you're designing a space for a quick lunch or the experience is to be more of a leisurely affair, decorating the space with the appropriate lighting is key, as the following projects highlight.

The Lighterman London, UK At the top of King’s Boulevard, on the banks of Regent’s Canal is Granary Square. This public square is the heart of King’s Cross and The Lighterman building is designed as a modern addition to the location, while also complementing the area’s industrial heritage. Named in homage to the workers who operated the lighters, a type of barge used in the 19th Century throughout London, the rich history of the location allowed Toscot to work alongside interior designer Coote and Bernardi to deliver a modern, cool and urban interior, inspired by the area's industrial past. English designer and manufacturer Colin Dinley, operating Toscot from Tuscany aims for lighting and innovative forms that can be combined with traditional methods of production. Positioning itself within the heart of lighting and design in Tuscany and utilising local artisans and products, they can claim their products are ‘Made In Tuscany’ rather than ‘Made In Italy’. With a healthy respect for traditional methods

of manufacture, Toscot’s hand crafted ceramics return the lighting to a time when barges plied the canals and traditional production was at its height. As the three floors of The Lighterman are furnished with pale timber floors, exposed concrete and bare brickwork, the Lighterman required a lighting solution that co-ordinated with this stylistically. It’s perhaps then fitting that a business, built in a reclaimed and renovated industrial area, has chosen a style inspired by one of the most iconic industrial locations in the UK, Battersea power station. Incredible amounts of detail are paid to each product from Toscot and ‘Battersea’ is no different. The colour was specially made to give an older porcelain feel and the engravings and writing that you find on the pieces are inspired by serial numbers that are normally found on these old electrical isolators. The ‘Battersea’ range, chosen to complement both the architectural designs of Stanton Williams and direction of Coote

and Bernardi was designed in 2013-14 after Toscot noticed an increasing use of old vintage items as light fittings. In order to follow this trend Toscot created the ‘Battersea’ range to add their Tuscan flavour to the style. One of the things that Toscot consistently attempt to do, and ‘Battersea’ is a perfect example of this, is to try and design a ‘system’ so that designers can use products in a flexible way. The Battersea range is extensive, from table lamps, spotlight, chandeliers and wall fixtures, the options available can accommodate a wide range of projects and requirements. Working with Toscot’s UK distributor LSE Lighting, the project was not only delivered on time but to the vision of the design team. Toscot firmly believes that attention to detail and the close control of the whole process is important to client satisfaction and ensuring everything really is ‘Made by People’. www.toscot.it / www.lselighting.com www.cooteandbernardi.com




Fook Lam Moon Galaxy Macau The famous traditional Cantonese restaurant Fook Lam Moon is taking its first steps into Macau as it opens a new branch in Galaxy Macau. The successful iconic restaurant of Hong Kong, famed for its authentic Cantonese cuisine and with numerous awards under its belt, is starting a new chapter in its success story, broadening Fook Lam Moon’s horizon as it reaches out to local and visiting epicureans in Macau. Spanning 10,000sqft and designed to combine tradition with modern elegance, the restaurant seats 160 people in a spacious dining room and can welcome intimate parties with a total of nine private rooms, available in various sizes. The largest can accommodate up to four tables of ten people and there is also a special VIP room decorated with a unique hand-painted wallpaper, available for banquets of up to sixteen people. The main dining area consists of a variety of beige, caramel and gold tones, illuminated by majestic Italian chandeliers from Lolli

e Memmoli, where the patrons can enjoy the refined Fook Lam Moon cuisine under a relaxed atmosphere. Every detail has been thought of with the client’s comfort and pleasure in mind. In total the restaurant features five Lolli e Memmoli crystal chandeliers, supplied by Andante Hong Kong, with lighting consultation for the project coming from Tony Luk. “We are very happy to start a new chapter of Fook Lam Moon in Macau,” said Duncan Chui, Executive Director of Fook Lam Moon Restaurant Limited. “With the success of our restaurants in Hong Kong the overseas expansion was a natural move. Thanks to the invitation from Galaxy Macau, this is a perfect opportunity for us to start expanding abroad. This new branch of Fook Lam Moon is more contemporary in terms of design, but the cuisine and the personal touch of our service remain true to our decades of tradition.” www.lollimemmoli.it


Yosma London, UK Yosma is a recently opened Turkish Meyhane, Mangal & Raki Bar in Baker Street, London. Designed by Afroditi Krassa Studio and the concept of Levent Buyukugur and Sanjay Nandi of the Good Food Society and Executive Chef Hus Vedat. Inspired by the streets of Istanbul, Krassa’s design has injected heart and soul into every corner, providing opportunity for the lighting design by dpa lighting consultants to enhance and accent the interiors, while creating a comfortable and honest ambience. Decorative lighting was key to the success of the overall ambience and warmth, balanced alongside architectural lighting accents to

artwork and concealed lighting to enhance and expose further the materiality of the interior spaces. The decorative pendant and wall lights selected by Afroditi Krassa Studio are from Fritz Fryer and provide an honest, simple decorative statement to the restaurant, which complements the bright and bustling restaurant by day and are dimmed down at night allowing the accents of the feature prints and candles on tables to provide a different ambience and focus for the evening service. www.fritzfryer.co.uk www.dpalighting.com Pic: Courtesy of Yosma / Patricia Niven



Noto Marbella, Spain What was an established but tired restaurant has been transformed into a new, vibrant space with a comfortable feel to it, where guests can enjoy honest, authentic Italian food. For the new owner of Noto in Marbella, Spain, the space is about bringing an urban concept to a predominantly tourist area. As the restaurant mainly faces north, the idea was to open up all sides of the space with windows, allowing the maximum amount of natural light to enter the restaurant. Complementary materials and furnishings such as comfortable sofas, a variety of chairs and wooden top tables help create a warm ambience, while

green separation walls create intimate seating areas that are combined with open fireplaces. In terms of ambient lighting, the decision was made to create the same atmosphere in the restaurant whether day or night, which limited the lighting design in some ways, but also meant it had to be adaptable depending on the time of day and the intensity of the sun, while easy for all staff to use. Working with a reduced ceiling height, the choice of light fittings was an important part of the project – as the flow of light itself was a challenge, to get the right fitting design was even more so. The final decision

was to install the Citadel Compostion rings from Quasar Holland througout. Uniting the whole dining experience under not just two or three circles but 24 rings controlled by dimmers to provide sufficient and ambient light any time of the day. Although the project of construction and design compelled of more than just the lighting plan, the Citadel Composition rings of Quasar Holland are valued and recognised as a prominent feature of Restaurant Noto, used in diameters of 120 and 160cm in a brass finish. www.quasar.nl











Alto Bar & Grill Causeway Bay, Hong Kong The Tom Dixon lighting at Alto Bar & Grill restaurant, which is perched on the 31st floor of the iconic V Point Tower in Causeway Bay, creates a dramatic focal point in the main and private dining areas incorporating over 300 of Megaman’s Crown Brass and Crown Silver LED lamps. As well as its beauty, the lighting scheme has the additional benefit of delivering a saving of €4,357 in electricity costs per year, or €21,784 over the lamps’ lifetime, compared to traditional equivalents for the restaurant. Alto Bar & Grill, owned by Dining Concepts, was developed under the creative direction of Tom Dixon, Design Research Studio (DRS) and was the designer’s first restaurant project in Asia. The venue has panoramic views across Victoria Harbour and draws heavily from the elemental influences of wood, stone, fire and water. A monochrome backdrop sets off the stunning pendant lamps that have been incorporated in wide

swathes throughout the main dining space. There is an expansive canopy of 230 Tom Dixon Gold Mini Melt pendant lamps, each containing a Megaman Crown Silver LED lamp. In the dining booths that run alongside the main dining area, Tom Dixon’s Fade pendants have been chosen. Due to the metallised outer of each of the pendants, Megaman’s LED Crown Brass lamps were used to show these lamps off to best effect. The end result is inviting dining spaces that are separated by pools of light over each of the white marble table tops. Additional Megaman Crown Silver LED lamps have been used in the bathrooms to light the dramatic white marble interiors. With three used as standalone lighting statements between each of the sinks, the end effect is sophisticated and minimalist. In addition Megaman Gold Filament Classic lamps have been used in Tom Dixon’s Curve pendants throughout the private dining space to bring

that extra touch of luxury to the room. With a unique silver-plated design and clear light bulb finish, the Megaman LED Crown Silver and Brass range offers dramatic lighting with an aesthetic touch, making it the perfect solution for decorative applications. Megaman LED Crown Silver and Brass lamps deliver non-glare lighting (just like an incandescent lamp with a silver or brass coating). When these lamps are fitted around a mirror frame or used in pendants such as Tom Dixon’s, the light beam is well controlled and dramatic effects can be easily achieved. Dining Concepts aims to exceed customer expectations in relation to quality dining experiences in the areas of cuisine, service and ambience. At Alto, DRS has achieved and delivered a high quality, welcoming space that will keep diners coming back. www.megamanlighting.com www.designresearchstudio.net Pic: Inga Beckmann


Kanji Light Milan, Italy Kanji Light fusion restaurant is located in the Brera district of Milan. It encapsulates the vision of owner Jie Lin, who also acted as Art Director for this project, in which architecture, design and innovative forms combine with the flavours of traditional Japanese dishes. Architect and interior designer Giuseppe Dondoni made use of contrasting elements to interpret the concept of the project, making the venue unique and captivating. Lighting at the venue comes from Panzeri - the design begins at the entrance, where two large windows overlook the street; from here a striking ceiling composition of curved vertical steel sheets draw the visitor's eye towards the back of the room and the staircase, where the elements come together. This divides the space into different ceiling heights and materials and is lit by Panzeri's Candle suspension lamps, with metallic grey ceiling plate and partially matte borosilicate glass tubes.

The two long walls display two extremely different and contrasting decorative styles. On the right is a mosaic whose soft, flowing lines evoke earth themes; this surface covers all the working areas such as the till zone, counters and kitchen. The vertical mosaic composition is reflected in the polished black paving, creating an illuminated continuity between the two surfaces. The left-hand wall provides a contrast with an energetic and dramatic style, a series of protruding iron and steel sheets which meet and intersect. Having crossed the first room, the visitor arrives at the large central area, where the space is enclosed by an arched passage. Arriving on the lower level, there is a complete change of scene. The venue becomes a kind of food club. The background music is well-chosen, powerful and high quality, but the dominating feeling is of being in an exclusive venue. www.panzeri.it



Turin Palace Hotel Turino, Italy As a renewed place of charm and relaxation, the Turin Palace hotel in Turino, Italy, has regained the glory and fame that earned it a leading role in the history of Turin hospitality. Located strategically within the city, Turin Palace has been one of the most exclusive hotels in the area since the nineteenth century and is owned by the Marzot family, which also owns Hotel Spadari at the Duomo and Hotel Gran Duca di York in Milan.

Inside, the restaurant Les Petites Madeleines is a nineteenth-century bistro, where style and atmosphere blend in a refined traditional menu. To light up the space Muse lanterns, Messalina and Cornelia have been chosen in bronze (for both diffusers and finishes) from the Contardi collection. These lamps are able to provide ever lasting glamour and enhance the style and taste of the restaurant. Turin Palace hotel has hosted personalities

from the world of culture, politics and entertainment, with many celebrities having stayed in its rooms, such as Federico Fellini, Helmut Newton, Maria Callas, Louis Armstrong, David Bowie, Sting, Liza Minelli, Madonna, Mick Jagger, as well as each visiting head of State or crowned head from King Carl Gustav of Sweden to Queen Elizabeth of England. www.contardi.com

Danish Decorative Lighting THE NEW ELEGANT

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Goat London, UK Italian restaurant and cocktail bar Goat in Chelsea, London, has recently had all of its lighting upgraded to energy-efficient LED lighting from Bright Goods. Following the restaurant's original restyling two years ago, its many nooks, crannies and architectural quirks have provided huge scope for entertaining evenings - from private dining to cocktail master classes. Guests enjoy exotic surroundings where classic tiles, custom-made wallpaper and leather banquettes are key features throughout and the industrial chic of the restaurant is contrasted by the opulent bar and vintage speakeasy. However, the traditional incandescent filament lamps that initally helped create the overall ambiance proved to be costly to run and maintain. With an ambitious energy upgrade planned for the building, Steve Manktelow, who masterminded the Goat concept, was keen to establish whether any of the expense of the upgrade could be offset against future savings. Whilst harbouring a level of reticence towards LED lamps which he feared would produce a cool white light that would be inappropriate for the venue’s stylish interior, Manktelow went ahead with

the Bright Goods installation. Following a trial, the team at Goat were pleasantly surprised not only with the vintage look and feel of the Bright Goods LED filament lamps, but also with the warm, familiar glow re-created beautifully in LED. They selected some of the most popular products from the Bright Goods range, including the Elizabeth, Rose, Catherine, Charles, Anne and Jane. These exquisite lamps have complemented the sympathetic restyling of an old building and updated it with modern charm. Delighted with both the appearance and performance of the new lighting, Manktelow said: “The new Bright Goods LED lamps are a brilliant match for the incandescent filaments we had previously. The warm glow of the old lighting has been recreated to create the same retro, vintage feel. They have the same impact as the old Edison squirrel cages and other shape styles, so swapping them out has been seamless. Having trawled what is available, these are the first LED lamps I’ve come across that retain the warmth of an incandescent, which was the real deciding factor.” www.brightgoods.co.uk


HostalEmpĂşries Costa Brava, Spain Well-known for its outdoor lighting collections, Bover introduces Fora - a product that while designed to illuminate warm, outdoor spaces, is just at home indoors, as portrayed through HostalEmpĂşries in the heart of Costa Brava. Offering a new concept of accommodation based on the philosophy of respect for the organic and social environment in which it is located, HostalEmpĂşries has earned LEED Gold status, one of the first hotels in Europe to achieve this. It follows strict recycling policies and use of less polluting materials and has a passion for defending indigenous products and ecological origin. Fora's light source, used within the hotel's restaurant, is protected by an elliptical medium intensity and U.V. resistant polythene globe, which grants a water tight electrical fixture, while the shade is made of synthetic marrow; making it highly resistant to weathering while casting a pleasant diffused light. www.bover.es



Roundhouse New York, USA Located in 150-year-old structures that once housed a textile mill, the Roundhouse offers a full-service experience, including a boutique hotel, award-winning American restaurant, and popular event space that accommodates up to 200 guests. The historic Hudson Valley property overlooks a beautiful waterfall, rushing creek, and bustling street corner in charming Beacon, New York. The thoughtfully designed interior features contributions from local artisans, including modern pendant lighting from Niche. In a cozy creekside lounge, a cluster of custom Niche crystal Solitaire pendants in varying sizes hang above the bar. Stunningly minimalist and straightforward in its presentation, the celebration of one single Edison style lamp at the centre of the Solitaire pendant is beautiful to behold. Niche’s handmade clear glass ensures premium quality through optimal clarity and thickness. Each piece of glass is handblown, cold worked, and inspected by an intimate group of skilled artisans in their

upstate New York studio, just blocks away from the sophisticated bar and restaurant. The crystal pendant lights cast a warm glow throughout the lounge, making it the perfect place to sit by a crackling fire while enjoying one of the Roundhouse’s signature cocktails. “We had grappled with many different custom chandelier ideas, always with the focus of trying to create something playful and super shiny,” says Elizabeth Strianese, the Interior Designer who worked on the original remodel of the Roundhouse. “The Solitaire lights are perfect, because they feel like giant bubbles floating above the dark and grounded bar. It feels incredibly elegant and uncomplicated but retains a bit of a flirty air.” Inside the restaurant, tables of all sizes line the dining area and floor-to-ceiling windows provide stunning views of the waterfall. In this room, custom Niche Helio pendants in effervescent glass with a custom mercury overlay hang from the high, wood panel ceiling over the guests. The Helio pendant

light is designed for versatility, with both translucent and opaque colour palettes, as well as an array of available lamping options. The compact shape of the Helio pendant works well when grouped together, and that certainly holds true in this setting. “We worked with Niche to create a custom pendant that had their natural, handmade aesthetic, with some added bling,” continues Strianese. “Our goal was to have original, unique, locally-made lights that hung at varying levels throughout the ceiling of the restaurant to resemble jewels or stars in the sky. The Roundhouse restaurant is a vast concrete shell, and we wanted to keep that industrial vibe to the bones of the space - but the lights needed to bring that bit of luxe that really makes a space sing. Niche was the perfect partner for this, as they were able to create a light that casts a soft romantic interior while the outside sparkles with reflections and bronzey fun.” www.nichemodern.com www.elizabethstrianese.com



El Cercle Barcelona, Spain The Cercle Artístic is an entity founded three centuries ago in Barcelona with the objective of promoting and supporting all kinds of artistic and cultural endeavours. Inside El Cercle Artístic sits the restaurant El Cercle, featuring several spaces including a spectacular terrace, a Japanese-styled area, and two interior lounges. While the décor of each space has always respected the original architecture, in renovating the space, architectural studio Alfredo Arribas stripped the walls of the restaurant down to their original interiors. The problem of lighting this space, with its five-metre high ceilings, was solved with a framework of cables supporting a series of Marset Pleat Box pendants, from Xavier Mañosa and Mashallah. In keeping with the theme of blending the classic and the modern, these beautiful lamps bring a warm atmosphere to the palace's venerable interiors. www.marset.com


Residential Penthouse Miami Beach, USA This Miami Beach penthouse, the fifth project Smiros and Smiros Architects has completed for their client in locations around the globe including the US, UK and Russia, encompasses an entire floor and rooftop terraces, embracing city and ocean views. It elegantly tackles what is arguably the trickiest challenge of glass-enclosed seaside apartments - not detracting from the spectacular panorama while not remaining subservient to it - with contemporary panache. As part of this, Archilume luminaires were chosen as the decorative pendants for the dining areas. The minimal aesthetic and transparent quality of these luminaires allows for unobstructed views of the striking panorama during daylight hours. During the evening these luminiares provide a luminous presence created by the conical diffuser at their base which emits a flattering,

diffused 2,700K colour temperature light. A low profile linear eight pendant canopy in anodised aluminum was custom configured for illuminating the counter area with seating at one end of the kitchen along with an eleven pendant linear canopy over a longer counter area at the opposite end. The Archilume P28 chandelier situated over the dining table creates a luminous accent providing a cohesive look at all dining areas, while recessed lighting throughout the space provides additional area lighting for the overall lighting scheme. This high end residential project creates a striking balance between natural and manmade beauty, between ever-changing light and landscape and the constancy of disciplined yet comfortable modernism. www.archilume.com www.smiros.com



Treasure Island Resort & Casino Minneapolis, USA Treasure Island Resort & Casino is an entertainment complex located an hour south of Minneapolis, MN. Originally designed as a heavily Caribbean-themed venue, the resort is undergoing a series of major remodeling efforts to present a modern, upscale experience. The $8m renovation of the 16,000sqft Tradewinds Buffet was specifically done to improve the guest experience. Architects RSP designed and reorganised the space to highlight the abundance of options offered in nine buffet stations. The design goal was to celebrate the selections and make an event out of dining. The four elements – earth, wind, water and fire – were used as inspiration, connecting

the inside with the resort's beautiful natural surroundings as well as honouring the history of the owners. Vibrant colour and dynamic materials set the stage, while special emphasis on lighting amplifies abundance and the theatre surrounding food stations staffed with chefs. A dramatic new entry with a state-of-the-art video wall welcomes guests, showcasing the space for 450 guests while making queuing easy, efficient and entertaining - waiting in line along a beautiful, 30ft long backlit onyx wall. Inside the buffet area, consistent bright light aids guests, chefs and servers. Decorative light fixtures designed by Yellow Goat Design, were thoughtfully placed above the salad and dessert islands. The placement

serves as centrepieces for the space and allows for 360º viewing of the lighted sculpture. Working with Yellow Goat Design was, according to RSP, easy and inspiring. Their long history of providing great custom designs and helpful customer experience eased any clients concern about moving in such a bespoke direction. Yellow Goat also provided RSP with a three dimensional model to put into their rendering models allowing the team to accurately showcase the impact the fixture would have. www.yellowgoatdesign.com www.rsp.com.sg







With special thanks to Sir John Sorrell







TEFAF Masstricht, The Netherlands With the 30th edition of TEFAF Maastricht approaching - regarded as the world’s leading art fair - the Dutch lighting atelier Brand Van Egmond is once again involved as the exclusive lighting partner. The design firm, based in Naarden, The Netherlands, has been involved for numerous years and will once more supply the lighting for all hospitality areas and showcase the latest designs in their stand. TEFAF has, since the start in 1988 showcased some of the most beautiful and precious art work of the last millennia currently on the market. A carefully selected group of international art dealers bring their most unique pieces to Maastricht, providing an unrivalled market place for private as well as public collectors. Many royal families also visit for their private buying and selling, while most billionaires seriously involved with art attend: the fair sees almost 200 private planes descending upon the Dutch city. Architect Tom Postma and his team,

specialists in designing art exhibitions and museum interiors, are responsible for the overall concept. This includes three uniquely styled restaurants, and a dozen other bars. The immaculate attention to detail results in a construction phase of almost one month, with lighting playing a key role in all spaces. The art work must be properly displayed, with technical lighting in support and the public areas must be lit with style and character befitting the occasion and audience - the use of lighting is seen as instrumental in changing the atmosphere from a fair hall to a high-end restaurant. For the coming edition Brand Van Egmond - known for its sculptural lights, which are more pieces of art than mere lamps – was again involved. Manon van den Beuken, Project Manager TEFAF commented: “TEFAF represents 7,000 years of art history, from antiquity to contemporary art that deserves a worthy stage. We therefore take great care in the design and decoration of the fair. The in

detail executed craftsmanship and exclusive design of Brand Van Egmond is an excellent fit.” Every year sees changes in the overall design of the fair, as well as the hospitality areas, however the brief remains the same: create an intimate yet sparkling atmosphere in which visitors can relax and celebrate, while surrounded by beautiful works of art. In their design proposal Brand Van Egmond chose for ‘the power of repetition’, to maintain the serene expression of the fair. William Brand, designer and owner commented: “It's a huge honour as a designer of the 21st century, to be granted the possibility to illuminate the old masters.” The 30th edition of TEFAF Maastricht will be held in the MECC Maastricht, 10-19 March 2017. In addition to art and antiques, jewellery is also exhibited. www.brandvanegmond.com www.tompostma.nl

PURO by Lucie Koldova PURO 2016

by Lucie Koldova 2016

PURO by Lucie Koldova 2016 PURO PURO by Lucie Koldova by Lucie Koldova 2016 2016



BROKIS CAROLINE CALVERT BROKISBROKIS at DESIGNJUNCTION BROKIS CAROLINE CALVERT at DESIGNJUNCTION BROKIS CAROLINE CALVERT BROKIS at DESIGNJUNCTION www.brokis.cz 22—25 September w wwww.brokis.cz agentagent for UKfor UK 22—25 September w www.brokis.cz agent for UK 22—25 September BROKIS CAROLINE at DESIGNJUNCTION +420 567 T (0)777 +44 (0)777 923 8778 CubittLondon House, London T T+420 567 211 211 517 517 CALVERT T +44 923 BROKIS 8778 Cubitt House, T +420 567 T +44 (0)777 923 8778 Cubitt House, London w www.brokis.cz E Eorder@brokis.cz agent for211 UK517 E caroline@brokis.cz 22—25 September Stand B39 order@brokis.cz E caroline@brokis.cz Stand B39 T +420 567 211 517 E order@brokis.cz

E order@brokis.cz T +44 (0)777 923 8778 E caroline@brokis.cz Cubitt House, London Stand B39

BROKIS w www.brokis.cz T +420 567 211 517 E order@brokis.cz

E caroline@brokis.cz

Stand B39

CAROLINE CALVERT agent for UK T +44 (0)777 923 8778 E caroline@brokis.cz

BROKIS at DESIGNJUNCTION 22—25 September Cubitt House, London Stand B39



NOGLU Paris, France NOGLU, the boutique restaurant chain with a ‘gourmet gluten-free’ ethos, has opened its doors to its flagship café-restaurantpâtisserie designed by Mathieu Lehanneur. Located on the chic rue de Grenelle in Paris’s 7th arrondissement, the new NOGLU space sits at the heart of an area renowned for its authentic specialist food shops serving the best of French cheeses, breads, meats and pâtisserie. Lehanneur’s design for NOGLU offers local residents and visiting tourists the opportunity to discover lovingly prepared gluten-free dishes and pâtisserie within a welcoming environment that blends contemporary style with comfort and cosiness. Drawing on the principles of the NOGLU concept for inspiration, Lehanneur’s design incorporates both natural materials such as marble and quartz, suggesting

purity and wholesomeness, and soft tactile furnishings, including pale, grey velvet cushions to add a sense of indulgence. The high ceilings, white walls in a striated finish and a powder pink salon have been designed to draw visitors in whilst the comfortable banquette seating and terrazzotopped tables have been designed to make them feel relaxed and at home. At the centre of the space is a gently undulating wall made of stone with a cave-like opening. As Lehanneur explains, it reminds us that: “We’re primitive beings that have been civilised. The stone wall references the fact that we came from caves and that we’re never that far away from them when it comes to questioning our origins and what we’ve become.” Mirrors, brushed brass fittings and Lehanneur-designed ‘Cloudy’ pendant lights

create an ambiance that is recognisably that of a designer known for his lightness of touch and contemplation-inducing design. As part of the decoration, ‘Keep the gluten away’ and ‘Please don’t glu’ are handwritten (in English) on the walls, ensuring the message is heard loud and clear. Passionate believers in the benefits of a gluten-free diet, Mathieu Lehanneur and his family were already regular customers of the first NOGLU restaurant opened by pioneering restaurateur Frédérique Jules (who is herself gluten-intolerant), in 2012. “All the evidence suggests that we really are what we eat,” explains Lehanneur. “Yet every mouthful we take should bring as much pleasure as it does nutritional benefit.” www.mathieulehanneur.fr


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




focal point BOOS BEACH CLUB RESTAURANT BRIDEL, LUXEMBOURG In place of an old bar and restaurant, modern and contemporary architecture and interior design, tightly linked to its context, reflects the new image of the Boos Beach Club restaurant in Luxembourg. Pieced together by design studio Metaform, the idea was to integrate harmoniously the new structure into the existing natural context, while paying respect to the existing architecture by placing a light wooden structure with glass openings towards the landscape. The dynamic design uses an eye-catching lighting installation with Zangra’s Mirror Crown and Mirror Bottom gold lamps, small gold E14 sockets and gold fabric cables to preserve the beach club identity with a raw and golden glow to complement the interior. www.metaform.lu Pic: Steve Troes Fotodesign



Light Middle East Review October 31 - November 02 2016, Dubai, UAE







1. Versailles Astro

2. Sirius Eloa

3. Q Neuhaus

Versailles sees a modern heart within a body inspired by mid-century luxury. With mid-power LEDs for effective, energyefficient illumination, it gives a subtlydecorative cue to the bathroom or any other space. Available in polished chrome with clear glass rods, bronze and antique brass finishes are coming soon. www.astrolighting.com

Sirius combines the liveliness of light with the beauty of organically rounded horizontal shapes - bringing a majestic feeling of levitation into a space. It sparkles, suspended from the ceiling, with its pleasingly irregular form creating an impression of quiet movement throughout the room. www.eloa.co

The innovative Q-series paves the way for home owners to intelligent Smart Home technology. Q means floor, ceiling, wall and table lamps in different designs, retrofit LED-lamps and more. The included radio remote control allows setting individual atmospheres by RGB-White or cool-to-warm white light colours. www.paul-neuhaus.de

4. Mesh Platek

5. Curved Line Segula

6. 6th Element Roxo

The Mesh lamp family, designed by architect Marco Acerbis, includes different versions, with all the lamps using exclusively LED sources, in which the visual quality fully combines environmental sustainability and energy saving. Mesh is the ideal combination of lighting performance, refinement for architecture and contemporary furnishing. www.platek.eu

The brand new Curved Line comes as close as never before to the example of the traditional incandescent lamp and excels with outstanding light quality. The flexible LED filaments look deceptively similar to glow wires and with their warm, glarefree illumination, are ideally suited for decorative lighting purposes. www.segula-lighting.de

Diamonds were the inspiration for Roxo's 6th Element range. Diamond is one well known allotrope of carbon, the sixth element of the Periodic table. 6TH Element suggests the trail of light created by the shooting stars when crossing the earth’s atmosphere. The final result is part of a range that wall, ceiling and suspension versions. www.roxolighting.com

Save the date. Join darc and AnglepoiseÂŽ for drinks. Where: AnglepoiseÂŽ stand, Euroluce When: April 5th 2017 Register your interest now: anglepoise.com/darc-milan

Stockholm Furniture & Light Fair has been reinventing design since 1951. Together with Stockholm Design Week we form the world’s largest meeting place for Scandinavian design. Welcome! stockholmfurniturefair.com stockholmdesignweek.com


Sleep Review November 22-23, 2016, London, UK







1. Flexiled Desk Contardi

2. Laminis Fabbian

3. Han Faro

The Flexiled Desk comes in dark brown, ivory and black leather, while the base is available with or without a switch and can be supplied in different finishes. There are also two options available for the lens, flat for a spot light or thicker for a more diffused effect. Quality and elegance merge in this functional and timeless product. www.contardi-italia.com

Single tiles combine to create multi-sided luminous structures. Great attention has been placed on the production of the glass panels, made entirely by hand by master glass-makers with melted glass, which is moulded and form the set designs. Colour is added where needed by scattering coloured flakes on the work surface. www.fabbian.com

Han from Spanish product designer Faro, is not a wall light, Nor is it a pendant light. It is both things at the same time. A decorative element that provides light; a lamp that, as well as providing light, functions as a coat stand. Han is a multipurpose, functional solution adapted to today’s needs. www.faro.es

4. Talk LEDS-C4

5. The Verge The Lamp Factory

6. Stone Veneer Lights of Vienna

Talk is pure yet versatile, adding personality to any space through its design. With a basic structure it’s able to recreate different compositions through an interplay of lights reflected on its body. Designed by Nathrang exclusively for Grok, it is available in desktop, wall light or hanging versions with white and anthracite finishes. www.leds-c4.com

The Verge foor lamp is an elegant reading lamp which is crafted from solid brass and finished in antique brass. A subtle base blends beautifully into a sleek stem which features an adjustable rise and fall neck. The Verge is a sophisticated floor lamp that would suit any traditional or contemporary hospitality interior. www.thelampfactorylondon.co.uk

Lights of Vienna presents Stone Veneer – translucent, thin marble laminated to glass, allowing for a variety of applications and bespoke products. These new custom pieces are manufactured at the company's works and stone suppliers in Italy in many colour tones, textures with each piece unique since made of natural stone. www.lightsofvienna.com










1. Aurelia Northern Lights

2. King Preciosa

3. Still Moving Quasar

The styling of Aurelia, along with the finishing, in tarnished patinas lean towards an almost mid-century influence juxtaposed with industrial, yet elegant luxuriance. The smoke tinted glass spheres soften the LED lamps and the pendant can be finished with an opulent silk tassel to soften the silhouette. www.northern-lights.co.uk

King continues the tradition of the Preciosa brand via its connection with the iconic historical chandelier, ‘Maria Theresa’, typical for the Czech lands. In production, the glass-masters use a traditional technique of making crystal arms entirely by hand. Its construction is golden, covered in black crystal, filled with golden spheres. www.preciosa.com

Designed by Eugene Paashuis, centuryold films feature in a hyper modern LED lamp. For Still Moving, five colour films have been selected from the collection of the Eye Filmmuseum. They are a mix of documentary and feature film, from the Netherlands and elswhere, with the film moving along slowly. www.quasar.nl

4. OLED Classic LG Display

5. Mashiko Astro

6. LED Revolution Chelsom Lighting

On display at Applelec’s lighting showroom at the Business Design Centre in Islington, London, the OLED Classic re-imagines the traditional incandescent lamp and features a circular OLED light panel in 3,000K CCT. The position of the OLED disc can be moved within its cage to adjust the direction of light. www.lgdisplay.com

Mashiko is a family of bathroom lights for walls and ceilings, which has been enhanced with an energy-efficient LED option - launched at Sleep 2016. Creating an architectural yet decorative statement, the integrated mid-power LED technology provides even, effective illumination through the white glass diffuser. www.astrolighting.com

LED Revolution is a semi-recessed bedside reading light with a push switch operated mechanism that sees the entire central housing revolve and dock in the open position. The light turns on and off automatically and to close, there is a dimple within the housing to rotate the unit back to the closed position. www.chelsom.co.uk

7 www.pld-c.com

Paris Professional Lighting Design Convention 1. - 4. November, 2017

Save the Date: PLDC 2017 Warm-up in London/UK

- shift happens -

A mini-conference on occasion of Round III of the speaker competition The Challenge will take place from 9. - 10. February, 2017

up to 90 paper presentations / more than 1500 attendees expected / latest know-how and research findings / 6 renowned Keynote Speakers / exhibition of leading manufacturers / gala dinner and PLD Recognition Award / marketplace for the PLD community / excursions / pre-convention meetings / Cities’ Forum / experience rooms / social events / The Challenge: Round IV / self-running poster presentations / PLD community lounge / moderated discussions

PLDC is a brand of the

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Maison et Objet 2017 Designer - Pierre Charpin Every year, Maison et Objet Paris chooses a Designer of the Year: a product designoriented profile for January and a designer recognised for their work in interior design for September. An explorer at heart, Pierre Charpin is the January 2017 Maison et Objet Paris Designer of the Year. A dabbler and explorer at heart, he keeps his eye for plastic arts and stamps his unique style on every piece he designs: formal simplicity, softened by curved lines and often highlighted by distinctive chromatic choices. Clean and sensual, elegant and warm, his creations instantly

elicit an emotional response. Born in 1962 in the outskirts of Paris to a family of artists – his father was a sculptor and his mother a tapestry artisan specialising in high-warp weaving - Pierre Charpin trained at the Bourges School of Fine Arts and developed his culture of design in Italy, working most notably alongside various figures from the Memphis Group. Since the early 1990s, Pierre Charpin has dedicated his work to furniture and object design, all the while pursuing a variety of research projects on materials and taking design commissions for world-renowned

brands. He now lives in Paris and works in Ivry-sur-Seine. Charpin has collaborated with numerous prestigious brands, such as Alessi, Crystal SaintLouis, Design Gallery Milano, Hermès, Ligne Roset, Manufacture Nationale de Sèvres, Post Design, Tectona, Venini, and Wrong for Hay. For each of them, he has imagined essential, almost archetypal, shapes. His freehand drawings, on which he works every day, materialise this exploratory process: gradually, ideas emerge, shapes come into focus, materials reveal themselves. For Charpin: “An object has no


existence of its own - it makes up landscapes that we then inhabit.” A regular guest at numerous materials research centres, he is primarily interested in understanding the articulation between an object and its environment. One notable example is his collaboration with the International Glass and Plastic Arts Research Centre from 1998 to 2001. Despite the material’s high degree of plasticity, he chose to focus on a single shape – the cylinder – and investigate all of its possibilities playing with different parameters: height, diameter, colour, density, transparency, luminosity.





At Maison et Objet January, Charpin will present his PC lamp, developed in partnership with Sebastian Wrong. A seemingly simple design, it required three years of research, due to its complex articulation mechanism and invisible technology. The design was adapted to produce various models, with table, clip-on, wall and floor versions. The duo are also currently working on a model of a portable indoor/outdoor lamp with a rechargeable battery. www.pierrecharpin.com

Left Pierre Chardin Pic courtesy of ©Morgane Le Gall 1. PC Lamp will be shown at this year's Maison et Objet, designed in collaboration with Sebastian Wrong for Wrong.London. Pic courtesy of Pierre Antoine. 2. Parabola floor light for Galerie Kreo, 2009. Pic courtesy of Fabrice Gousset. 3. Lao Lamp for Galerie Kreo, 2010. Pic courtesy of Fabrice Gousset. 4. Desa lamp for Ligne Roset 2010. Pic courtesy of Pierre Antoine.




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Maison et Objet Preview January 20-24 2017, Paris, France Rising Talents January 2017 Maison et Objet Paris January will pay tribute to creativity made in the UK with a brand new venture made possible thanks to the assistance of Sir John Sorrell, founder of the London Design Festival and the London Design Biennale. Six star British designers from the worlds of architecture, fashion and design - Tom Dixon, Nigel Coates, Ilse Crawford, Paul Smith, Jay Osgerby and Ross Lovegrove - will sponsor a young artist whose work they wish to support. Amongst those supported by the six British designers is London-based artist and designer Zuza Mengham, sponsored by Tom Dixon. Mengham's creations explore free and autonomous aesthetic worlds with oversized neon and steel chandeliers that play host to plants and minuscule geometrical sculptures. www.maison-objet.com

Metropolis Castro Lighting

_Le Fruit Henri Bursztyn

Jules Mambo Unlimited Ideas

Metropolis is a table lamp that celebrates modern architecture, which is expressed in its boldest capacity in the skyscrapers of big cities. Understated yet bold, the wooden frame lacquered in black contrasts with the gold plated brass where squares are designed to remind one of the outside windows of buildings. www.castrolighting.com

A glass ball with an irregular outline, Le Fruit gives off a gentle light and lies on the floor like a piece of fruit freshly fallen from the tree. Available in bunches of three, Le Fruit is suited to displays on its own or in conjunction with _La Fleur and _Les Herbes of the _e-DEN collection, which draws on encounters between technology and poetry. www.bursztyn.fr

Utu collection of soulful lighting is the response to an urge to create lighting solutions that enrich spaces with individuality and meaning. Jules is the perfect example of unique design with an asian inspiration, mixing different materials and colours to give more character and dimension. www.mambounlimitedideas.com









1. BONSAï Blackbody

2. Tilt Globe Nyta

3. Lotus Serip

BONSAï is Aldo & Tommaso Cora’s creation for Blackbody, an invitation at the land of the rising sun. BONSAÏ suspension is a composition of small spring flowers. It radiates as a luminous bunch of lights, transforming an ordinary space into a poetic place. BONSAï suspension is part of a wider range including desk lamps. www.blackbody.fr

Tilt Globe emanates an open and soft light, and directs it exactly where it is needed. Easy, intuitive handling allows turning and swiveling of the shade along its oblong opening in every direction. It works like a cupped reflector that freely moves around the light source, gathering light and directing it wherever the light is needed. www.nyta.eu

The Lotus collection is one of Serip's lighting lines with a strong tie to its inspiration source - nature. Complete with endless little details, the Lotus Collection finds its form in an entangled blooming lotus, presenting itself as a living sculpture comprised of bronze structure and glass bubbles. www.serip.com.pt

4. Drape SkLO

5. Black Porcelain Zangra

6. U7 Arpel

Drape is composed of eighteen individual lit pendants featuring hand blown Czech glass globes suspended on cloth-covered electrical cords. The chandelier is made from solid brass elements available in three metal finishes - brushed brass with hand rubbed wax finish, dark oxidized brass, and polished nickel. www.sklostudio.com

In a collection of vintage design objects with a modern twist, the Black Porcelain lamp is designed and handcrafted in Belgium by Zangra for its collection of black porcelain lamps. The socket can swivel up to 90˚ due to its brass articulation, and is often used for the decoration of hotels, restaurants, bars and boutiques. www.zangra.com

The U-series designed by Sylvain Willenz is a family of several suspensions. It is based on a single U-shaped module that can either be arranged on its own or in a group to generate circular compositions. The LED is a warm, soft, powerful light with an intensity that can be easily adjusted to suit the desired atmosphere. www.arpel-lighting.com









1. Knot Brokis

2. cloud molo

3. Combe Mullan Lighting

Knot is a collection of stately pendant lights that oppose two dramatically dissimilar materials. The design combines coarse natural fibre with smooth, transparent blown glass to arouse a contrast as striking as it is dignified. Full-bodied globes of varying shapes and sizes are penetrated by robust cords for a bemusing plastic effect. www.brokis.cz

Floor supported and counterbalanced with hanging weights, cloud mast suspends a luminous canopy of cloud-like forms that sway amidst the air currents. cloud mast is ideal for providing overhead lighting that does not disrupt the ceiling. Its boom revolves around the central mast, gracefully carrying light throughout a space. www.molodesign.com

With an eye-catching design, the Combe chandelier is a dynamic and adventurous centre piece to any space. Two parallel tiers of precision cut mirrored panels house four globe pendant lights. The arbitrary placed globes are nestled into the oblique shaped panels, allowing for a dramatic light display. www.mullanlighting.com

4. Acorn VITA

5. Christie Nahoor

6. Phenomena Bomma

Acorn escapes the city and brings the peaceful forest vibe into the home. Chic and exclusive, the VITA Acorn combines a trendy glass look, raw metallic accents and a soft silicone finish, all interlacing in perfect harmony. Acorn is available in either black or white with three different metallic finishes – polished brass, copper and steel. www.vitacopenhagen.com

Designed by founder of Nahoor William Pianta, Christie marries polished chrome with transparent Murano glass, that emanates a clean, fresh glow from an LED light source that sits within the delicate glass bubble. Christie is available as a table, floor or suspension lamp, with each model suiting a variety of interiors. www.nahoor.com

Designed by Dechem Studio, the Phenomena collection was inspired by simple shapes: a circle, a triangle, a rectangle and an oval. The term phenomenon comes from the Greek word for appearance. Phenomena are transient, a fitting name for a collection made in a material that is so difficult yet versatile, such strong yet fragile glass. www.bomma.cz

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Olympia London National Hall 25-26 January 2017 Each day from 13:00 until 20:00 EXCLUSIVE TRADE EVENT for architects and interior designers with over 200 innovative products and services showcased by manufacturers and distributors. All exhibitors go through a strict selection process with an external judging panel, ensuring the presence of high caliber innovations.

FOCUS ON WATER > Seminars by high profile architects Full programme available online > Wateration by SCIN™ > Matière grise photo exhibit by Pavillon de l’Arsenal TER S I > Images by DAPh G RE NLINE > RIBA pop-up Bookshop


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On Show

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

IMM COLOGNE • COLOGNE 16-22 January 2017 (www.imm-cologne.com)

MAISON ET OBJET • PARIS 20-24 January 2017 (www.maison-objet.com)

ARCHITECT @ WORK • LONDON 25-26 January 2017 (www.architect-at-work.co.uk)



7-9 February 2017 (www.surfacedesignshow.com)

21-24 May 2017 (www.icff.com)



7-11 February 2017 (www.stockholmfurniturelightfair.se)

22-25 May 2017 (www.indexexhibition.com)



7-10 March 2017 (www.maison-objet.com)

23-25 May 2017 (www.clerkenwelldesignweek.com)



8-11 March 2017 (www.designshowshanghai.com)

8-12 September 2017 (www.maison-objet.com)



4-9 April 2017 (www.salonemilano.it)

14th September 2017 (www.darcawards.com/architectural)



8-9 May 2017 (www.retaildesignexpo.com)

16-24 September 2017 (www.londondesignfestival.com)



18th May 2017 (www.darcawards.com/ decorative)

21-23 September 2017 (www.darcawards.com/architectural)

AD INDEX Archilume.........................................................................59

Elstead.............................................................................. 54

Niche.................................................................................... 2

Architects@ Work.........................................................111

Fritz Fryer......................................................................109

Panzeri................................................................................. 11




Astro Lighting................................................................24


Quasar.............................................................................. 69


Ink Lighting .....................................................................61

Stickbulb.......................................................................... 43

Brand Van Egmond ...................................................67

Lolli e Memmoli.............................................................35

Stockholm Furniture Fair...................................... 100


Maison & Objet...............................................................91

Surface Design Show...............................................106

Contardi.............................................................................. 9


The Light Yard.............................................................4-5

darc/anglepoise........................................................... 99



David Trubridge........................................................... 115


Yellow Goat Design.................................................... 116

Ebb & Flow......................................................................83

Martin Huxford............................................................109

ZAVA................................................................................. 113

*ADV DARC.indd 2

16/12/16 16:47



#readinginthedarc Take a look at darc’s highlights from Instagram’s world of decorative lighting and interior design!

1. @ines_artdesign


170 In wake of the largest supermoon since 1948 earlier last month, ines_artdesign shared its Floor Luna from the Luna Collection - the original Italian moonlamp from 2003. #interiors #homelighting #lamps #floordesign #floorlamp #lightingdesign #light


2. @seriporganiclighting 178 @seriporganiclighting’s #waterfall collection reminding us all to dive into Monday with positivity and inspiring visuals! #light #design #interior #colour #glass #lighting #lightingdesign #luxury


3. @gabrielscott 197 All dressed up and ready to go! @gabrielscott‘s Harlow pendants now available. #gabrielscott #Harlow #light #lighting #design #interior 4

4. @studioitaliausa 36 Pio and Tito Toso are the designers behind Studio Italia’s Blow collection, a beautifully unique lamp set within blown glass. #light #design #studioitalia #italian #lighting #lightdesign #glassblown


5. @boverbarcelona 112 Designed by Rubén Saldaña, Tria’s organic and modular shape makes for a unique and original object #bover #rubensaldaña #indirectlight #ledlight #wood #oak #lampe 6

6. @wonderglassltd 89 @wonderglassltd’s FlowT chandelier inspired by the colours of the Venetian lagoon, customised to the desires of each owner. #wonderglass #FlowT #light #design #designer #interior #handmade #contemporary #glass #glassblowing

Artistry from Nature Kina light davidtrubridge.com


we design cool stuff www.yellowgoatdesign.com London






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