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Cover: Luceplan's Javelot Macro designed by Odile Decq, 2010

Welcome HELEN FLETCHER • EDITOR The March / April issue is here and Spring has finally sprung! And with the change in season comes a change to the darc team, as this is sadly the last issue our assistant editor Femke will contribute to. She's making the move from Manchester to The Big Smoke (a.k.a London), to pursue her next adventure in life! Thankfully she's staying within the world of interior design so I'm sure we will see plenty of her at upcoming tradeshows and events! We took Femke on as an editorial intern just over two years ago and it's been lovely to see her flourish as a writer and in the world of lighting. Stephen and I will be sad to see her go, but we wish you all the best for the future Fem! Thankfully Femke stuck around long enough to help me with this latest issue, which is huge thanks to Milan Design Week being just around the corner! If you're planning on heading to Milan then you will want to turn to page 142 for our guide to all the showroom events and lighting installations that are a must see while you're there, followed by our interview with Lolli e Memmoli on their design influences and latest product launch on page 144; along with our Euroluce product preview on page 152. Another must while you're visiting Euroluce is our drinks party, held in conjunction with Anglepoise, on Wednesday 5 April, you'll find us - prosecco in hand - on stand F03 in Pavilion 13 from 4pm onwards! Project wise we have got plenty to choose from including the spectacular Redwoods Treewalk in New Zealand on page 73, featuring a gigantic, customised lighting installation from David Trubridge; Kebaya restaurant by UXUS at Schiphol airport in Amsterdam on page 44; and Sunset Walk in Milton Keynes from Lighting Design International on page 68. Our interview with jewellery designers Boris de Beijer and Benedikt Fischer on their recent lighting collaboration is a fascinating read and can be found from page 30 onwards. Elsewhere we profile the work of kinetic artist Ivan Black on page 82 and Hideki Yoshimoto's recent collaboration with WonderGlass on page 122. I mustn't forget to mention the very first darc awards / decorative either... If you're an interior designer, architect or lighting designer then we need your votes to decide on a winner! In exchange, you will receive a free ticket to the awards party on May 18 at the Bloomsbury Ballroom in London. To find out more head to:




Salone Internazionale del Mobile 2017

from 3rd to 9th, April 11 a.m. – 9 p.m.

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

U – Line photo Lorenzo Pennati

Artistry from Nature

Visit us at Euroluce, Milan Pavilion 13, Stand H05

Navicula Light

soft collection by molo acoustic partitions + luminaries ¡ design by Stephanie Forsythe + Todd MacAllen




030 interview: Boris de Beijer and Benedikt Fischer

044 project: Kebaya

068 project: Sunset Walk

Amsterdam based design studio UXUS brings eastern style and flavour to Schiphol airport.

We look at the jewellery designers' work with light.

Lighting Design International bring glitz and glamour to a Milton Keynes shopping centre.

122 interview: Hideki Yoshimoto The Japanese designer teams up with WonderGlass for the recent Maison et Objet Paris.







A round up of the latest decorative

Jewellery designers Boris de Beijer

This year's imm cologne attracted

lighting news from around the world.

and Benedikt Fischer collaborate to


produce a beautiful lighting range.

Entries are flooding in thick and fast


for darc awards / decorative.

The kinetic artist talks through





the attention of the international 052 CITIZEN M

design industry.



The Paris edition of Maison et Objet

inspirations, the Welsh countryside


brings a wealth of design trends and

and his own style.

product launches.



088 OUTDOOR LIGHTING Introduced by Mark Sutton Vane.




Scandinavian design comes into its

own at this year's show.


122 HIDEKI YOSHIMOTO We catch up with the Japanese designer following his recent work with WonderGlass.


Want to know where the key lighting


installations and showrooms events are taking place this year? Look no





We delve into the duo's past and

further than our Milan map.



how their creations aim to bring


something unique to the world of





We bring you all the key lighting launches making their way to the show this year.




Editor in Chief : Paul James

Artwork: David Bell

Chairman : Damian Walsh

Editor : Helen Fletcher

Editorial: Mel Robinson

Assistant Editor : Femke Gow


International Advertising : Stephen Quiligotti

Finance Director: Amanda Giles

Editorial Contributor : Maria Elena Oberti

Credit Control: Lynette Levi

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

alo The Alo custom light pendant is a versatile and energy efficient micro pendant. It features plated brass and frosted glass with clear accents. The metal is customized in multiple proprietary finishes while the frosted glass serves as a diffuser for even light dispersion. See the installation at this year’s




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

DesignAgency opens LA studio

Prandina opens new store

(US) – Toronto-based DesignAgency opens studio in Los Angeles, led by newly appointed West Coast Director Alexandra Bruemmer. Making the move from Perkins Eastman in Washington, DC, she brings with her hotel and design expertise and a network within the US industry, she will manage the DesignAgency’s west coast clients.

(Italy) – Prandina opens flagship store in historic centre of Bassano del Grappa. After various flagship stores abroad and in Milan, this space marks another milestone in the strategy that aims to strengthen the brand’s presence in the national and international design scene.

New lines from Hubbardton Forge

Acoulite partners with John Cullen Lighting

OLIGO buys RSL from Trilux

(USA) – Hubbardton Forge has introduced two new lines of lighting – Synchronicity and Vermont Modern. Synchronicity represents the unity of craft and glamour, incorporating Swarovski crystals in many of its designs. Steel from the fires of the forge join with crystals and hand-blown artisanal glass to juxtapose elements in beautiful and unexpected ways. Vermont Modern introduces 32 unique, contemporary designs in bold colours, perfect for modern spaces.

(UAE) – Acoulite adds John Cullen Lighting to its portfolio of international lighting manufacturers. With its client base including Flos, Future Designs and Tom Dixon, working with John Cullen Lighting on projects in the Gulf Region was a natural step. A leading name in discreet lighting, John Cullen Lighting is celebrating its 35th anniversary by opening its new Dubai office to better serve the region. The design team is headed up by Creative Director Sally Storey.

(Germany) – OLIGO expands field of activity with acquisition of RSL – a new partner for challenging project-focused solutions. RSL will offer customised luminaires as projectbased solutions. At the beginning of 2017, OLIGO took over the company based in Sankt Augustin, a former member of the Trilux group, further expanding its expertise by multiplying synergy effects within its divisions. OLIGO has now become a one-stop-shop of lighting products across the range.



Calypso Outdoor DESIGN BY SERVOMUTO + CONTARDI TECH. Get a taste of the Caribbean with the new Calypso Outdoor lamps, an unexpected combination of patterns and colors with brightly diffused light. Waterproof fabrics and IP65 rating for any outdoor space.






The first ever darc night event - celebrating the decorative darc awards - will take place on May 18th at the stunning Art Deco Bloomsbury Ballroom in London. Last year's darc awards took the design industry by storm, with the unique format combining architectural and decorative lighting entries. This year, we have split the awards into two distinct elements - decorative and architectural - to reflect the focus of our two magazines, darc and mondo*arc. The awards dedicated to architectural lighting took place in September and received over 400 entries and 6,000 votes, resulting in over 500 designers attending the awards party, darc night at MC Motors in London.

The categories for the awards reflect the diverse range of decorative projects and products we cover in darc ranging from: residential, workplace, hotel, retail and bar/restaurant schemes to a complete range of product categories. Entries are being accepted via the website until March 31st and from then on, it's over to you, the design industry, to choose your favourite projects and products.

PEER-TO-PEER VOTING The decorative darc awards showcase the very best in decorative lighting projects and products, all voted for by interior designers, lighting designers and architects. This results in the winners receiving the highest accolade of being voted for by their peers and all the kudos that ensures.

SEE YOU THERE! What's more, every single interior designer, architect and lighting designer that votes will automatically become eligible for a free ticket to the awards party darc night on May 18th, meaning junior designers and smaller practices have as much a chance of attending as the usual larger practices.

NOVEL CONCEPT The darc awards is a novel concept utilising darc and mondo*arc magazines’ reputation as being the most widely read and respected lighting design publications in the world. We have a database of over 6,000 international lighting design practices, interior designers and architects. In collaboration with creative consultants Light Collective, we have created a unique opportunity to get every design studio involved in the awards process.

Over the next few pages you will find just a small selection of the beautiful entries we have received so far. To see the full list of entries head to:

Any decorative lighting manufacturer that is interested in becoming a partner for the darc awards / decorative should contact Stephen Quiligotti on: (


Project: LinkedIn London | Category: Suppliers: Foundry; Moooi; Decode; Factorylux









CONCEPT: The client requested an immersive working environment that represents the diverse culture found in the UK today, through individually themed floors and rooms. The interior design had to appeal to both visiting global workers and native Londoners, whilst providing an engaging, efficient workspace for their staff. Acknowledging LinkedIn is built around professional communities, Denton Associates commissioned local artists to illustrate the narrative of each of the themed floors (transport, music, book & film, food & drink, and sport) while Foundry was appointed to design the lighting scheme and its multitude of bespoke elements.

Project: Fairlawns | Category: Live | Lighting: Rousseau Design | Suppliers: Rousseau Design; Mr Resistor; LED - Supplies; Christopher Wray; John Cullen; Talisman; John Lewis; The Lighting Warehouse; Rako, Crestron CONCEPT: A luxurious functional family home with private office spaces in a newly developed Victorian building. Rousseau Design was commissioned to create a sense of personality and wow factor in a beautiful home and garden with many period features. The five-bedroom 4,000sqft property was split over three floors with two of the bedrooms given over to an office, each for a busy pair of professionals. One of the centre piece lighting elements is a huge custom chandelier featuring eighteen GU9 dimmable LEDs in gold and crystal. One of the office spaces offered the biggest challenge as it needed to double as a glamorous dressing room - a crystal pendant above the desk provides ambiance alongside led downlight.













CONCEPT: Turnip Rose intended to be a modern, delightful and cozy cafĂŠ. The core idea, established by the client, was to create a relaxing island paradise in the crowded cityscape. While this thought was highly compelling, it was something that has been pursued again and again by others. As a result, AFX's design brief involved adapting island style concepts and presenting them within a completely different framework. Accordingly, the design process started with creation of a focal piece - a round seating booth in the middle of the space. This feature then blossoms and branches out on the ceiling to replicate the petal structure of a rose. A set of pendant lights are organised in a linear form directing towards the focal piece, and in contrast, a scatter of light fixtures are positioned at the centre of each focal piece.

Project: Ovolo Woolloomooloo Hotel | Category: Rest | Interior: Hassell | Lighting: Medland Metropolis Suppliers: Nocturnal Lighting; IBL; Volker Haug; Le Lampe Gras; Fred International; Christopher Boots CONCEPT: The brief was to create a versatile environment with the lighting as a key element for the re-branding. Lighting in the public space of the hotel, works together with the new interior design in order to create a tailored dress, which suits the new eclectic soul of the heritage building. Lighting similar to soft rain, adheres to the surfaces, creating a light curtain which welcomes visitors at the entrance. Lighting as a holistic element, which differentiates areas, is faithful to the overall soul of the place, while LED filament lamps recreate a vintage feel. The lighting design was an ongoing creative discussion, which helped overcome unexpected obstacles and reinforce the architects' vision.



Project: Yizheng Brand Experience Center | Category: Shop | Lighting: Light Collab | SUPPLIERS: Bespoke by United

| Interior: United Design Practice Design Practice and Light Collab

CONCEPT: Yizheng Stationery is a market leader in children’s erasers in China; this experience centre is situated in the factory as part of an entire sales journey. United Design Practice's branding concept of 'things that can be erased and things that cannot be erased' aims to bring the brand to life, making it relevant to both business partners and consumers. The approach was to deliver a visual spectacle; impress and intrigue. Light Collab experimented with making rubber light fixtures - it took a while to get the right mix of both rigidity and translucency in the white and black rubber tubes but finally made three sets of rubber chandeliers. Two bespoke lighting fixtures were also created using rubber blocks that protrude from the wall in a seemingly random fashion.

Project: The Clubhouse Supplier: Tyson Lighting











CONCEPT: The Clubhouse Liverpool makes use of low level ambient lighting to complement the pastel colour scheme and seaside wall painted murals, with clear glass pendants hung throughout to keep a light and fresh feel. Simple, beautiful pendants were fashioned from natural materials and neutral fabrics, while two feature pendants were commissioned to add the wow factor. The Tyson design and manufacturing team also worked to bring to life lighting designer Paul Danson's magical hot air balloon in what has proven to be a grand and romantic feature pendant at the venue.























kinetic light sculpture, designed by Ivan Black




Project: Schlosshotel Fleesensee | Category: Rest | Interior: Kitzig Interior Design | Supplier: 2F Leuchten CONCEPT: The new design of the Fleesensee Schlosshotel melds the old architecture with new and makes use of modern and opulent lighting aspects. In contrast to the partially heavy historical architecture in the entrance hall there are custom-made light objects, which seem to be floating, creating a perfect symbiosis. Natural materials, unostentatious colours and eye-catching light objects are used to achieve a unique atmosphere in the high-ceilinged premises. To connect the separate zones in the public area a unique custom made lighting object was created. The objects are made of small golden metallic pipes, which are connected. Its curved lines merge the bar area and the Salon. In the restaurant, opulent lighting objects were used.
















CONCEPT: SpaceInvader worked to create a world-class workplace for Astra Zeneca employees at its Macclesfield campus, providing an exciting opportunity to re-purpose the fading building, originally built as a manufacturing and packing facility in the 1960’s. The design is a ground-breaking adaptation of the AZ workplace guidelines – i-Work – and has transformed this once traditional cellularised office into a progressive and collaborative activity based working environment.

Photo by Gu Photography. Design by seventyfour.

Salone del Mobile. Pavillion 13, Stand F03.

Original 1227™ Brass Maxi Pendants showcased at Wilmslow Park House, Manchester. | Workspace | Hospitality | Retail | Residential



Project: Jacques

Park Garcia

Chinois | Decoration


Category: Play | Lighting: Light

Architecture: MPA IQ | Suppliers:

Architects Zonca;

| Interior: Lucien Gau

CONCEPT: The quality of the lighting at Park Chinois had to marry the elegance and sophistication of the interior decor, yet be ultra-discreet and compatible with the style and function of each space. The decorative lighting was carefully selected by Light IQ - from single lamp sconces to the monumental hand-painted silk leaf lantern at the entrance. There was no room for compromise: carbon filament lamps with decorative glass covers, halogen lamps with filters and dim-to-warm LED general service lamps comprise the palette of lighting used for the project. The result is the ultimate glamour experience.

Project: H&M Department |

Barcelona Lighting:

| Category: dpa lighting

Shop | Interior: Hennes & consultants | Suppliers: Flos;

Mauritz Osram;

(H&M) Interiors Optelma; KKDC

Concept: H&M’s brief was to depict and celebrate the original character of the historic spaces, to accentuate the key architectural features, while ensuring that good levels of illumination were designed to highlight the merchandise and display areas. One key challenge was to ensure that the daytime look and feel was bright, warm and inviting and resembled a retail experience, as opposed to a commercial interior as part of the building's former use, or an interior that was too municipal in appearance. The lighting scheme features decorative custom pendant luminaires with dedicated, directional lighting to the merchandise displays and upward light to the domed ceilings.

Ginger by Joan Gaspar Taking care of light



focal point TORSGATAN 21 STOCKHOLM, SWEDEN Housed in a historic building, Torsgatan 21 - a restaurant and delicatessen in Sweden, designed by Tengbom Architects and KS Project - features handmade pendant lights from Niche. Located in the main dining area, a grouping of Delinea and Axia pendants in crystal glass hang above custom table tops. “One of my goals with designing the Crystalline Series was to really do things that we hadn’t done before with glass,” says Niche’s Creative Director, Jeremy Pyles. “We called the series the Crystalline Series because I’m inspired by the idea of crystal structures and how there are different layers and angles that mesh together in perfect harmony.”




Plastic Fantastic

Pics: Courtesy of Boris de Beijer and Benedikt Fischer unless stated

Inspired by ancient obelisks, the sculptural Menhir collection by jewellery designers Boris de Beijer and Benedikt Fischer turns light into precious works of art, as Maria Elena Oberti discovers.




I think it’s safe to say that, when it comes to the world of interiors and design, lighting is our crown jewel. Lights do more than just illuminate, they supply that special touch, the sparkle that makes a room truly outshine the rest. Evidently, we’re not the only ones to think so. For Dutch-Austrian team Boris de De Beijer and Benedikt Fischer, both graduates of Amsterdam’s Rietveld School of Art & Design, jewellery and lighting design go hand in hand. With studios in Amsterdam and Haarlem, the young designers met during their studies at the academy, where they each earned degrees in jewellery design. The shift from jewellery to lighting came gradually, and, as I come to learn, somewhat by chance. I climbed aboard the SS Rotterdam earlier this January to meet the duo at the Object Rotterdam fair, where their aptly titled Menhir collection of decorative floor lamps was on show. Following a dazzling tour of the lights on display, we make our way to the ship’s luxurious Captain Lounge, where we get to talking about beginnings, lighting design, materials and much more.

“I guess it all started when I was fourteen, with jewellery,” says the softly-spoken Fischer. After attending a technical school for youths in his native country Austria, Fischer started his first job working for a high-end jeweller in Vienna. “It was the kind of place where you had to ring a bell to get in,” he recalls. “It was very different to the sort of thing I do now. After a while,though, I felt the need to do something a bit different, so I looked at schools that offered a more artistic approach to jewellery design.” After deliberating between schools in Germany and The Netherlands, he settled on Amsterdam’s Rietveld School of Art & Design. “I was familiar with the work that was coming out of the school and always really liked the kind of materials they used and their conceptual approach to design,” Fischer tells me. “I didn’t know what to do for a really long time” confesses De Beijer. After a few years of soul searching, he too eventually ‘found’ himself in art school, and like Fischer,

at the Rietveld School of Art & Design in Amsterdam. “I ended up taking this one-year orientation program at the academy, and it was during that period that I discovered jewellery design” De Beijer says. “The decision to study art was in part inspired by my father, who is himself an artist. He’s always been really into materials and techniques, so I grew familiar to this way of working.” After a year of studying the ins and outs of the art world, the time eventually came to select a specialisation. “The jewellery course was really in line with what I saw my dad doing at his studio. It was far more technical than the other courses they had on offer, and it was also really free in that you could choose how far to delve into things. It felt like a perfect fit, so I signed up!” The decision to study jewellery design eventually led De Beijer to another defining discovery, one that would ultimately serve as the foundation for the sculptural Menhir series. “At some point, almost by accident, I started experimenting with plastic and


we design cool London






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resin,” he says. “It was for a school project that didn’t go so well at first. Even still, I really liked what you could do with the material, so I kept experimenting with it and applying it to my work.” After graduating from the academy in 2011, the young designers – both in their early thirties – went their separate ways. De Beijer remained in Holland, whereas Fischer moved to neighbouring Germany. Even when apart, the two friends remained extremely close. “I always admired Benedikt’s work,” says De Beijer. “We’ve always had a dialogue going. Even before working together, we were constantly sharing and discussing our projects and ideas. We thought about working together for a long time, but somehow never quite came around to it.” “We were just waiting for the right moment,” adds Fischer. That moment finally came in 2015 in the form of a conversation. “It was actually Benedikt’s idea to make a light,” De Beijer says. “I’d been working on a material, similar to the one we used for this project, for a really long time, and

Benedikt knew all about it. At the time, the sculptures I was making were much smaller in scale. I would occasionally hold them up against the light and see this colourful effect, what you see now with the lights, but hadn’t really thought too much about it. One day Benedikt came to me and asked ‘Why don’t you put a light behind it? I was like, yeah, that makes a lot of sense!” They both laugh... “So, we decided to try it out,” he adds. By that point, Fischer had already made his return to The Netherlands, and was working on some of his own personal projects, most of which were still in jewellery. “I’d say our roles were really equal thoughout the qhole process,” says Fischer. “Of course we each have our skills, but from a design and decision-making perspective, we were making them together. “Benedikt was better at things like making the scale models and taking care of the finer details,” adds De De Beijer. “Where as I was better at handling the power tools. He goes on to underscore the way in which the collaboration both expanded and

The raw material used for the Meniher collection is liquid and comes in two cans, one of which you add colour to. Once you mix the two components together they get really hot and then, there’s a magical moment when the two liquids collide and become solid. Once set, the resin blocks need to be cut, filled and polished.


Design Minelli





enriched his work. “I went from working on a really small scale to taking a more applied approach,” he says, referring to his earlier sculptures. “We started making more conscious decisions about things, like what colours to mix, as well as what materials were used and where to put them. Everything you see in the lights is an object that we designed and made ourselves. “In most cases, we actually had to make individual moulds for them. One of the earlier lights, for example, was supposed to resemble a kind of tundra. It sounds a bit tacky, now that I say it aloud, but the basic idea was to create a sort of frozen landscape, with the colours and kind of rocks you might find in nature. We collected 20 stones and made moulds from them and then casted the stones in resin. It suddenly all became a very conscious choice, how we made and put the lamps together.” The move from jewellery to lighting design proved to be a fluid, if not intuitive, experience. “There are a lot of similarities between the two,” says Fischer. “In that they’re both applied. You make them for a specific reason, be it for a body or a home. There are specific guidelines and practical elements that require you to master certain techniques, which is the same with

jewellery design.” “Our technical background in jewellery design taught us to be very precise” adds De Beijer. “We spent days perfecting the lamps, trying to get things just right. I think that’s a trick you inherit from jewellery design.” Inspired by the monoliths and obelisks that enchant people worldwide, the Menhir luminaries have a monumental, almost mystical quality to them. When seen in concert, the effect is like that of stepping into an ancient temple, only that instead of marble or stone, the monuments are built on colour and light. “These monolithic structures have a really strong presence,” says De Beijer. “They don’t serve a particular purpose per se, except to impress. We wanted to create that same effect with the lights.” Clearly adding to each lamp’s allure is its soft, ethereal glow. Concealed in each is a fluorescent tube, chosen for its gentle homogeneous light. “We weren’t so technical in the beginning about the solutions for the light itself, so the fluorescent light made sense,” continues De Beijer. “Ultimately, though, it depends on what people want. It could be that someone wants it to be dimmable, for example. For now at least, the lights are more sculptural

than functional.” As I soon learn, a tremendous amount of work goes into sculpting each lamp. Though careful not to reveal too much, the duo agrees to shed a light on their process with a few basic steps: “It’s all about timing,” adds De Beijer. “The raw material is liquid; it comes in two cans, one of which you add colour to. Once you mix the two components together, they get really hot, and then there’s this one magical moment, when the two liquids collide and become solid.” Once set, the resin blocks still need to be cut, filled and polished. The polishing itself can take an entire day. “It doesn’t look like anything much at first,” he continues. “You have this big, massive block. It’s almost boring to look at; it’s only when you start cutting it open that you see what’s inside.” “It’s a great moment,” adds Fischer. “It’s almost like cracking open a rock and finding a fossil.” “The process took us approximately a month to get right,” says De Beijer. “We’re getting a bit faster now, but we had to figure out a lot in the beginning, especially the more technical parts,” adds Fischer. One of the biggest challenges for the pair was finding someone to take on the laborious task of cutting the solid resin

STAND & DELIVER A desk light in its most elemental form, the Enna maintains an elegant stance thanks to its pure architectural structure, while a fully adjustable head allows perfect illumination of the task at hand. Because good design demands simplicity. Model: Enna Desk




1997 - 2017




Inspired by the monoliths and obelisks that enchant people worldwide, the Menhir luminaires have a monumental, almost mythical quality to them. Adding to each lamp’s allure is its soft, etheral glow. When seen in concert, the effect is like that of stepping into an ancient temple, only instead of marble or stone, the monuments are built on colour and light.

blocks into workable pieces, something they couldn’t do themselves. “Nobody wanted to help us at first because it’s quite a specific task, and it’s also pretty bad for the saw blazes,” says De Beijer. Yet with time, and a bit of persistence, they found someone in Amsterdam with the right skills and tools for the job. “It’s all about knowing the resin material,” he continues. “The fumes are pretty toxic though, so it’s not something you want to do everyday.” It’s almost impossible to talk plastic without talking sustainability. Could there be a new purpose for my plastic refuse? I ask. “We used plastic trash for one of our earlier models,” De Beijer tells me, adding that they used rubbish - stuff they had lying around - out of convenience more than for recycling purposes. “It would be nice, of course, but recycling isn’t really our goal” he continues. “It’s not that we wouldn’t want to, it’s just that it’s not always possible, especially when you take a more curated approach to the design” adds Fischer. “There are a lot of different types of plastics, and they don’t always react well together. That said, we’re definitely looking at ways to develop things further. I could see us making it into a larger collection. It’s a very versatile material, so there are a lot of

Pic: Courtesy of Lonneke

different directions we could go in.” When it comes to planning for the future, each is excited by the prospect of diving deeper into unknown. “Where do I see myself in the future? I’d like to be rich and famous, that’s for sure” says De Beijer. We all laugh... He takes a sip of coffee and resumes to answer the question, this time in a more serious tone: “I’d really like to maintain my current level of freedom, and keep maneuvering between different disciplines. I like the idea of not belonging to just one. That said, sometimes it can be a bit problematic because, for example, galleries might not know where to place you or understand where you stand.” Fischer sees no problem in that. “I’m definitely open to new adventures,” he says. “I think it’s very human, to have these different dimensions. In terms of our work together, though, we don’t have any specific plans in the pipeline, but we’d certainly like to keep collaborating. We have a lot of ideas in mind that we’d love to bring into fruition.”



focal point MOREMOTO MADRID, SPAIN Moremoto in Madrid captures the essence of the American motorcross scene in the 60’s and 70’s, merged with touches of traditional Japanese architecture and details of Persian tradition. Everything is delicately combined to offer the client a scene that dazzles, without the fanfare. The warmth of the space contrasts with the coldness of the main counter, remniscent of an old American gas station shelter, or a motel diner. This sits at a contrast with &tradition’s Formakami rice paper lamps suspended from the ceiling. The design team aimed for a theatrical light, which they achieved by painting the ceiling black to allow the reference of the space to get lost. Clients in turn feel less observed and free to roam comfortably in this underground scene. Pic: Alberto Monteagudo




focal point 12,000 FRANCS HONG KONG Interior designer Emma Maxwell has designed 12,000 Francs, a revolutionary French restaurant in Hong Kong that playfully nods to Napoleon and his Empire. The interior blends Napoleonic period references and sharp contemporary context, including the iconic Napoleonic bee, which was synonymous with his reign. As the guests venture through the space, dense clusters of handblown, honey coloured glass Bee Hive pendant lighting float evocatively above them. The ceiling is treated with hand pressed brass metal in a bee wing pattern, and ensures the space is blanketed in a soft, comforting amber coloured glow.





The Seasoned Traveller Dutch design studio UXUS created a space for passengers to idle in Kebaya, Schiphol airport’s Asian offering that provides both home comforts and foreign delights to international travellers. Pics: Chantal Arnts

Schiphol airport in Amsterdam, The Netherlands, has a reputation for going above and beyond what passengers expect of a transport hub in organisation, flow, retail and culinary delights. Restaurants in airports don’t typically have a good reputation, but Schiphol offers something remarkable in Kebaya for customers to enjoy in solitude or share with their fellow travellers. With a large and growing number of Asian travellers passing through Schiphol as a transit destination, or a gateway to Europe, Schiphol is competing to become the most preferred airport in the world. This was the core of Amsterdam-based design studio UXUS’ brief, as they pitched their idea to travel food and beverage provider HMS Host for an airport restaurant that was more akin to something one might find in a city centre. UXUS Chief Creative Officer Oliver Michell told darc: “We were invited by the operators of the restaurant to pitch for Schiphol to create a new flagship focal restaurant in what is their new Holland Boulevard centrepiece, a connector between departure lounges two and three. This is an important corridor that connects two major international hubs within the airport, and caters to most of the transfer passengers going from one continent to another. With increasing numbers of Asian travellers, we knew from the start that it was catering for an international audience with an Asian focus.” Further refined to that, Michell and lead designer on the project Wai Cheung worked

with a food consultant to understand how the menu might come together. With the consultant based in Singapore, the focus naturally became South East Asia. “We came to understand that Singapore is very much a melting pot of Asian cuisine in South East Asia because of the cosmopolitan nature of the city and the openness to street food,” said Michell. This concept is strongly reflected in the restaurant’s name, Kebaya, a traditional dress worn in South East Asia, mostly by Malays, Thais, and Vietnamese people. The layered garment is mostly worn by women, and although it is one type of garment, it takes on different characteristics depending on the country and culture wearing it. The fabrics and patterns tend to be different, but the overall structure of the way it is laid tends to stay the same. Michell continued: “So with that, we really picked up on this idea that the restaurant wasn’t one platform, not just one Asian offering, but it brought together lots of different influences from different cultures. There are a lot of textiles in there but all underlined with this very clean environment.” UXUS set out to create contrast by offering something unexpected to stumble across in an airport. “Schiphol is a great airport; it’s functional and the overall architecture is very clean, using materials such as concrete and glass. So we used warm materials, a lot of dark wood and copper, that really offset from what you would expect to see in the rest of the airport.” This desire to create contrast was met with



a need to emphasise the natural light of the space that floods in from the tarmac. In this light, UXUS designed with the idea of bringing indoor and outdoor together. “In Asia there are a lot of these indoor / outdoor spaces where you can enjoy street food and are sheltered from the sun and rain but still within the elements, so the whole space has the feel of being in a gazebo or pergola,” said Michell. One of the main aspects to consider in designing this restaurant was understanding the flow of passengers coming through, and how people behave in airports. Cheung told darc of the importance of

creating somewhere for passengers who have time on their hands: “Most of the passengers travelling internationally will be there for about three hours on average, which is a long time, so you want to make it comfortable and give them something to enjoy. We created several different seating opportunities, at the bar, in the lounge and at the restaurant, or you can take away if you’re in a hurry, so it caters for everyone.” Placed at an intersection, the restaurant can be approached from two different angles. Understanding this flow played a significant role in designing the layout of the restaurant, as UXUS decided to make

a visible kitchen right in its centre. This presented challenges in deciding which parts of the kitchen they wanted on show, and what should be out of view from diners. “As an airport, Schiphol is particularly transparent, so preserving skylight was very important. We had to find the right balance between showcasing the exciting elements of the kitchen but hiding more mundane parts without obstructing the light,” said Cheung. “We also had to consider this in our choice of decorative lighting, as we didn’t want them to obstruct the skylight.” Decorative lighting played a crucial role in Kebaya in creating atmosphere and defining


spaces within the restaurant. “It’s one thing to have beautiful materials and use colours, but actually, the lighting is what creates the drama,” said Michell. “We made a point of the kitchen being quite bright as the chefs need functional lighting, and then we used Moooi's Emporer fixtures elsewhere. As the space is so vast, these large pendants create a lantern-like effect, which we then accentuated with a series of canopies that go around the glass box of the kitchen with linear lights that diffuse light from the ceiling. The result is a really bright focal point in an otherwise dark space, with wood slats on the ceiling to conceal the spotlights

that create focused bits of light around the tables.” Originally made to hang from the ceiling, UXUS adapted the Moooi pendants into more of a standing lamp, hung from a wooden arc to create a pavilion feel all the way along the façade, akin to something found on a veranda. “Decoratively they’re very sculptural, but simple in shape," said Michell. “They have that kind of woven look, which is very similar to the baskets used in the kitchen, and fishing baskets you might see in South East Asia.” Elsewhere in the restaurant, Seren & Lily's Cabrillo pendants work alongside Habitat's

Previous Spread Seren & Lily's Cabrillo pendants suspended at the restaurant's entrance. This Spread Moooi's Emperor suspension lamps modified by UXUS to act as a standing lamp on a wooden arc, providing illumintation for restaurant.




Birman suspension lamps to bring together the warm, natural tones of the interior. “The way we selected the lighting was that per area, we actually had a very distinctive look, so the lighting enhances the look for each space,” said Cheung. “This helps people define the spaces and understand the intended purpose behind each one.” The Mora S pendants by Zuiver do just this by creating a different zone in the lounge, making customers aware that each space is intended for a different atmopshere. Another design element was the different roles that decorative lighting played in the transitions between day and night. At an airport, naturally the restaurant aims to draw people in at all hours as they travel between time zones. Michell told darc: “During the day, the fixtures are very sculptural, which helps create a focus around the seating areas, but they don’t really do much from a lighting point of view. At night, it’s the opposite. They become even more visual in their drama with light filtering through to create shadows, so they have two different decorative purposes.” Involved in nearly every aspect of the project from interior design to food consulting, Kebaya was a dream job for UXUS. Michell added: “We had the time to work through any issues so what came out was really very close to what we were expecting and hoping for.” Michell had the pleasure of stumbling across Kebaya as any other customer when he was


Random Design: Chia-Ying Lee

Studio Italia Design +39 041 4569266





in the airport and heard it had opened. “I happened to be at Schiphol but didn’t know what the actual opening date was. I was going to my gate, and there it was! I was actually amazed at how similar it looked to our renders. The lighting was the most surprising part in that it worked exactly how we were hoping. “I’ve now eaten there three times and it’s a really enjoyable experience. You have everything you might expect from a food court in Singapore where you find different cultures mingling around all this great street food there to be enjoyed. It’s a place where people can enjoy new things or find home comforts, and that is what travel, and essentially airports, are all about.” Schiphol has fully understood the volume of overseas travellers coming through Europe, and caters for that customer profile.

With a growing number of travellers coming through from China and South East Asia to all over the world, they need their home comforts while travelling. Equally, western travellers are preferring to eat food that they feel is more exciting. Many passengers have a choice in the modern day world of travel of which hub they pass through, if they are flexible with time and budget. Things like food and beverage experience play a vital role in that decision. On a subtle level, it affects how travellers think about airports, and Schiphol has been diligent about introducing that kind of innovation. Schiphol has a captive audience and UXUS has given travellers the opportunity to make tasteful and lasting memories.



Previous Page 1. Habitat's Birman pendants in the restaurant and rice bar. 2. Seren & Lily's Cabrillo pendants in the VIP room. This Page 1. Zuiver's Mora S pendants and custom made solid wood fixtures in the restaurant and bar area. 2. Moooi's Emperor pendants in the restaurant.


Mathieu Gustafsson

Visit us during Euroluce, Hall 13 F02.




A Concrete Relationship concrete design studio collaborates once again with hotel group CitizenM on its Tower of London project, using light to help guests find their rhythm away from routine. Pics: Richard Powers

As co-creators of CitizenM hotel concepts since the hospitality group’s conception in 2005, Amsterdam-based studio concrete stands as part of CitizenM’s Creative Board. Meeting every month to look over all ongoing projects, CitizenM’s Tower of London hotel was no exception to the creative achievements of this collaboration. With open design briefs from the start, concrete has always worked to the idea that CitizenM is not a hotel. Over the years, this idea has given them the freedom to reconsider every aspect of what a hotel should be, and change things along the way. The same approach was taken with Tower of London, as the team worked intently on every creative element of the project - from the concept design of the architecture to the interior design of all public areas and guestrooms.

While every CitizenM hotel has the same DNA, they are always unique in their adaptation of local context and changing needs. As a follow up to the successful CitizenM Bankside in London, Tower of London is a bigger and improved version, now standing as CitizenM’s flagship hotel in London. Tower of London’s lighting design consists of a series of layers, starting with downlighting for ambient lighting, indirect lighting of cabinet and art walls, accent lighting for playful accents and a series of designer and bespoke pendant lighting to highlight the different areas within the hotel. All lighting is part of a lighting management system developed by TDE lighting, which enables CitizenM to have different light settings through the day. The lighting helps guide guests to make

their way through the lobby to the hotel’s living room, where Tom Dixon’s copper and brass Etch shades offer a warm glow to make guests feel instantly at home in a thoughtful and modern setting. The ground floor also hosts one of CitizenM’s latest ideas, the CoffeeM café, where Modernica’s Nelson Bubble lamps and Gubi’s BL2 table lamps offer a little something extra as CitizenM maintains its strong lighting plan that uses decorative lighting to provide accentuation and personality where necessary. The surprises continue upstairs to the hotel’s rooftop, as CitizenM’s SocietyM bar transforms the rooftop into a bar at night, boasting views of London’s cityscape to make the most of the hotel’s surroundings. For this space, concrete designed large bespoke lanterns, produced and developed







by Frandsen lighting, which are visible from street level, marking the rooftop from a distance. Elsewhere in the rooftop bar, Anglepoise’s Giant 1227 pendant and Moooi’s Proplight and Dear Ingo fixtures feature to perfect the space’s ambient evening glow. As with all CitizenM hotels, each guest room is controlled with a tablet mood pad, allowing guests control over their individual environment. They can dim or colour the lights, close the curtains and maintain climate control all from one device, giving them freedom to feel at home away from home. This synchronicity with a circadian rhythm helps guests combat the disruption

from routine that travel often brings, using light to help them find comfort and relaxation. concrete’s Project Architect Maarten de Geus said: “With CitizenM, we always try to create a home away from home: a living room feel filled with art, books and colourful surprises to elevate and inspire our guests.” Tower of London is a perfect example of this in its use of decorative lighting to create an atmosphere that allows guests to find their place of comfort away from all their comforts.

Previous Spread SocietyM bar featuring bespoke lanterns designed by Frandsen Bolster for Modular, lighting up the living room. This Page 1. Bespoke pendant by Frandsen and Copper Shade by Tom Dixon feature in the hotel's living room. 2. Bespoke lantern by Frandsen making its mark in SocietyM rooftop bar. 3. Check-in area featuring commissioned artwork by Studio Drift. 4. Bespoke pendant by Frandsen in the living room.



lladrรณ lighting

Join us at euroluce and discover the countless possibilities of Lladrรณ porcelain for lighting and home decor. Milan Fair: Hall 9, Stand G20.


An Organic Achievement The Westin at The Woodlands in Texas, US is a testament to The Westin Brand, thanks to the work of waldrop+nichols studio to bring the outside into the design of this flowing interior space. Pics: Mark Knight Photography

Sitting along the northern bank of The Woodlands Waterway in Texas, The Westin hotel sees a picturesque tree-lined canal and path system wind through the entire Woodlands downtown attractions. The contemporary glass façade of the hotel hugs the curve of the water with similar geometry reflected throughout its interior design and architecture. Selected to comprise the hotel’s interior was American-based waldrop+nichols studio, having worked previously with The Howard Hughes Corporation, which owns The Westin at The Woodlands. As a branded property,

waldrop+nichols studio used The Westin standards as a guideline and framework, and the project has since been featured in the 2016 Westin standards book 'Westin Iconic Spaces'. The interior concept evolved through the precise lens of a camera focused on the landscape, synthesising forms, textures and contours that seamlessly transcend into a visibly modern interior. With the expert touches of lighting design practices iWorks and Hallmark Lighting, the hotel's interior comes to life with bespoke fixtures that amplify the hotel's grandeur. An illuminated,

custom light installation comprised of 2,651 glass lamps set within bronze framework spans 137 linear feet and greets guests as they enter the lobby, drawing them from the entry through an architectural flow space towards a waterway overlook. This iconic installation meanders into the lobby bar and crescendos above a two-storey prefunction space. waldrop+nichols studio founder Reggi Nichols told darc: “The lighting of the space is a focal interior architectural element of the lobby and it is the first design element that garners attention from hotel guests. It









sets the stage and creates not only form but function as well.” waldrop+nichols studio doesn't foster a signature style, with its design approach catering to each project in a unique perspective to give every hotel a true sense of place and reason for being. The Westin at The Woodlands is no exception, as Nichols explained: “The aesthetic for its interior design is lighter and brighter than any of our previous projects, and the amount of glazing was paramount. With the vast glazing inside the landing space and common areas, we chose to define these spaces with floating elements in the absence of physical walls in order to create spatial division. These elements include the meandering custom lighting fixture as well as the structural column inside Current, an all-day dining venue, which is inspired by a deconstructed tree trunk and serves as an indoor canopy.” The curved geometry of The Westin at The Woodlands enhances the site and surroundings by emulating the curve of the waterway, providing panoramic views and a stunning building design. “The Woodlands itself was the inspiration,” continued Nichols. “We captured the essence of the Woodlands development and held true to our initial concept. The lobby, for example, offers a design rooted in its wooded, waterfront surroundings. A backdrop borrowed from the landscape seamlessly transcends into the modern interior architecture.” Despite its seemingly natural and inescapable points of inspiration, these design choices presented challenges from an interior architectural standpoint. Special consideration within the design was given to paving and carpet design patterns, layout and installation that embraced and adapted to the building curve. Additionally, 15x20ft light fixtures for the hotel’s ballroom were custom designed to address the segmented footprint. Containing the fixture within each coffer perimeter and not allowing it to protrude below the ceiling line avoided any appearance of misalignment. “When you create a conceptual design and rendering early in the process, they serve as a glimpse of the finished project and

establish a mind-set of the finished design. When the completed project perfectly captures the essence of the vision as illustrated in the renderings, then you know you have achieved your original concept and vision. We feel we were able to achieve this with The Westin at The Woodlands project.” The hotel's solutions and final outcome seem inevitable – it couldn’t have become anything other than what it is, being surrounded by such flowing beauty and natural geometry. waldrop+nichols studio captured the essence of this hotel’s being without hesitation, and in doing so, created something that stands as tribute to the hospitality achievements of The Westin brand.



1. The design concept of bringing the outdoors in also carries into CURRENT, an all-day dining venue, featuring a structural column inspired by a deconstructed tree trunk. 2. The hotel’s iconic light installation meanders from the lobby to the bar. This space features a step out waterfront terrace, adjoining the glass box private dining room. 3. The custom lighting installation in the meeting and event space crescendos above the naturally lit, two-story atrium-like pre-function space. 4. The 1,200sqft Presidential Suite provides the ultimate indulgence with expansive views of the city, open plan living and dining areas.



A New Lease of Life A derelict Grade II Listed house presented a challenge to UK-based STUDIOAida in transforming the space into a home fit for a young family.

With a focus on residential interior design, STUDIOAida brought a wealth of experience to the challenge of transforming a derelict Grade II listed house into a home for a family with two young children. Having worked closely in the past with heritage consultants MVHC, STUDIOAida are well versed in working on listed buildings and were able to ensure their ideas would be considered a welcome improvement to

the property. Studio Founder Aida Bratovic told darc: “The clients bravely embarked on this massive refurbishment project, which was divided into several stages to work around them as they lived in the property while the work was going on.” The interior features an original listed panelling that make some parts of the house extremely dark. As a result, lighting played

a huge part in the design. STUDIOAida called upon the expertise of PSLab in making such decisions around how to best execute the decorative lighting elements. Bratovic said: “Having worked with PSLab on several projects in the past, they were our first point of call particularly because of the entrance hall that is double height, and was quite dark and unwelcoming.” In wanting a scheme that was exciting, yet




elegant and practical, the challenge was to adequately light the minimal monochrome artwork from a considerable height, while providing a striking piece at the entrance of the home that would reflect the clients’ spirit and artistic personalities. “PSLab was commissioned to design and supply the entrance hall ceiling lights, while the rest of the lighting was done by us. We like mixing different brands for a more eclectic and lived in look.” STUDIOAida decided to go for striking pieces that would become focal points in many rooms, and the panelling provided the perfect backdrop for them. The house is set in an acre of garden so in the dining room that opens onto a garden, the idea was to bring the outdoors inside – Moooi’s Heracleum chandelier provided the perfect solution. “It offers a soft glow and even when not lit, the delicate white petals are beautifully juxtaposed with the panelling,” said Bratovic. With the clients living on site while work was taking place, consistency and careful planning in the stages of this project was essential. “Since we were not engaged before the construction started, some of the lights had to be retro fixed to a finished ceiling, and so had to be fixed from the floor above,” Bratovic continued. “We are architects as well as interior designers, so our technical background is essential when coming up with solutions. PSLab’s lights also came with a neat video showing point by point installation, much to a contractor’s delight!” The lighting of this property completely transformed a derelict and uninviting space into a real home. “It plays an extremely important part. One can have beautifully designed spaces filled with the most wonderful furniture but if inadequately lit, it will not be noticeable or enjoyable. Lighting should be practical first but we

Previous Page Muse Lanterns by Contardi in satin bronze and amber glow in the entrance hall, while PSLab's bespoke ceiling fixtures provide another dynamic to the space. This Page 1. Moooi's Heracleum chandelier adding a sparkle to the dining room 2. Bedside tables featuring CTO Lighting's Array lamps in satin brass.







have come a long way since the dreary downlighters of the past. Lighting has become stylish and elegant, and very often a real art installation. “We were very lucky to have a wonderful client who trusted us even with some unorthodox ideas. We think it’s our duty as designers to push the boundaries and sometimes take the clients a little bit out of their comfort zone, and the results are often extraordinary spaces that they never thought they could have.” This project is testament to the importance of working with lighting experts on interior projects. STUDIOAida advises clients to engage with a lighting designer where complexity of project and budget allow,


seeing their expertise as invaluable, especially in an age when technology changes at such a speed that it’s difficult to keep up. STUDIOAida has also been asked to seek planning consent to add an additional floor to the property, opening up another stage of the project, and standing as testament to the design studio's achievements in making a home for this young family. The lighting is not only integral to its interior, but is the most noticed and complemented feature of the house's design.



1. Brokis' Balloon table lamps offer a welcoming glow in the hallway. 2. Kitchen featuring Oluce's Sonora pendant above the dining table. 3. A close up of the Muse Lanterns by Contardi in satin bronze and amber.

GRAFINVEST T - Press Office OGS - Ph. Mattia Aquila

We will be exhibiting at You can find us at Hall 13 - Stand A01/A05


Marco Pagnoncelli - 2015


4/9 APRIL 2017



Up, Up and Away Sydney light artists mcdermottbaxter worked to turn the Myer Department store's toy section into a magical ‘Wonderland’, through the use of a LED cloudscape. Pics Ross Honeysett

The flagship Myer Department store in the retail and business centre of Sydney, Australia, decided to redevelop its toy section into a ‘Wonderland’ experience where children and parents would arrive up the escalators through a set of illuminated clouds. Sydney light artists mcdermottbaxter - Ruth McDermott and

Ben Baxter - were chosen to create this magical cloudscape suspended within the escalator void. The clouds were based on an original award winning design created for the famous Sydney Vivid light festival. The clouds featured embedded LEDs, which were programmed to reflect a cycle of light and weather conditions throughout the day.

The effects included storm, rain, sunrise and daylight, with the ambient lighting levels adjusted to reduce the possibility of the light art being washed out. In the lighting design by SEMF, the retail lighting and escalator lighting were carefully considered and balanced to maximise visibility, traffic safety and shopping.


The light artwork exists within a soft light space with a dark ceiling surface to allow the artwork to have a contrasting backdrop to view coming up the escalators. mcdermottbaxter were able to create a 3D cloud by interlocking 2D perforated shapes. The clouds are large but lightweight for their size with a 40% aperture to allow air conditioning, ventilation and up to 140km wind conditions. Metal was preferable to plastic for longevity and fire safety reasons. The perforated metal channels allow the light to flow around the cloud and reflect the light creating pulsating sparkle effects. This illuminates the object and creates contrast at the same time whilst mitigating glare effects. The uniqueness of this piece is its integration of art, industrial design and lighting design methods such as 3D nurbs,

laser cutting and coding. The LEDs are programed to create contrast by switching on /off and changing light intensities. The transparent perforated material creates the illusion where light and shadow become the form. The riggers brief was difficult with a 7m x 7m void over six floors of escalators with no capacity for scissor lifts, scaffolding towers or other conventional approaches. The anchor points required weight testing, certification and GPS mapping to plot. Rigging the lights required a custom-made 15m truss arm on wheels to place the rigger in location. His dexterity and yoga skills were on display from the rigging team! Light art through LEDs has been the global incubator for innovations and is now influencing lighting design and architectural spaces to become more interactive and

alive through art engagement. Light art creates a joint experience, engages people and creates memories. “We are excited that Myer chose to commission local artists and manufacturers to create a unique lighting piece for this innovative retail design project,� said Ruth McDermott and Ben Baxter.

The clouds featured embedded LEDs, which were programmed to reflect a cycle of light and weather conditions throughout the day. The effects included storm, rain, sunrise and daylight, with the ambient lighting levels adjusted to reduce the possibility of the light art being washed out.




A Place of Principals In a perfect blend of architectural and decorative lighting, Lighting Design International pieced together a lighting scheme that evokes the very namesake of Milton Keyne's Sunset Walk shopping mall. Pics: Andrew Beasley

Shopping mall consumers want their overall experience to be one of visual stimulation and luxury. This was the premise behind the refurbishment of Sunset Walk at Centre MK in Milton Keynes, UK, by British architects Rawls & Co. Combined with a well-designed lighting concept delivered by designer Graham Rollins at Lighting Design International (LDI), the overall scheme incorporates strong design elements and a level of detail that makes the refurbishment stand out from the crowd. Unique in its design, Centre MK is a Grade-II listed building that was originally recognised for its use of daylit arcades, elegant steel framed design and a mirrored exterior façade. It was hailed as a ground breaking design when it opened in 1979 and retains its architectural principals today. The shopping centre is 1km long and 116m wide, and houses over 200 stores, with the refurbishment covering just less than a quarter of the mall’s overall circulation. LDI was invited to work on the project by Rawls & Co following a previously successful collaboration on another mall retail project.

Rollins told darc: “For this project, the brief was consistent and clear from the very start, enabling LDI to develop a clear lighting strategy.” The design enhances daytime and evening ambiance, comfort and wayfinding by smoothing and balancing the transitions from natural to artificial lighting, as customers move around the centre during the day, and as the daylit arcades transition to night. Lumen depreciation and fitting maintenance had left large contrasts between the high ceiling daylit bright arcades, and lower ceiling artificially illuminated areas during the day. This was one area the LDI scheme had to address to achieve better balance and more apparent brightness to the lower ceilings. Conversely, during the evening, the higher ceiling areas were not as luminous as the lower ceiling areas, due to lighting throw distance, and difficult maintenance access to the fittings at high level. While providing scene controlled balanced lighting was a prerequisite to the actual design, it was also important for the final

lighting scheme to provide a touch of glamour and interest, elevating the retail experience beyond standard shopping centre expectations. The scheme intended to enhance the appearance and appreciation of the refurbished zone, making it a destination within the centre as a whole. LDI paid special attention to the entrance atriums to provide a strong visual presence for the centre when viewed from a distance to entice shoppers. Grand gold finished geometric 'kites' were proposed by the architect to emphasise the large volume entrance atriums, and to bring identity and presence to the centre from the adjacent roads and paths. “The architect’s vision for the project had always included a sea of hexagons and they needed a lighting designer to develop this concept while technically designing these fittings,” said Rollins. “The decorative vision needed developing into a holistic architectural lighting scheme to provide the correct lighting levels, balance and surface illumination.” The kites lead the visitor from the high



ceiling atrium through to the lower ceiling mall, where their golden tone is echoed in the bespoke mirrored gold hexagonal ceiling lights. A total of 960 hexagon lights were installed throughout the mall, to lead the customer through the newly refurbished areas, while providing uplight and downlight along with visual interest to the space. The hexagons were developed by LDI in conjunction with Mike Stoane Lighting, and come in three styles; 180mm deep uplighting only, 80mm deep uplighting only and 180mm uplighting and downlighting. These three hexagon styles are swathed in a seemingly random pattern throughout the mall circulation, providing a sculpted landscape of mirrored gold and light to the ceiling. The hexagons in conjunction with beam concealed linear uplighting from ACDC ensure the ceiling plane is bright and

fresh during the day, in comparison to the daylight in Sunset Walk and the entrance atriums. Mike Stoane’s uplighting of these structures using bespoke track mounting spotlight systems provide high contrast dramatic warm white lighting to the kites from the perimeter columns. 2,700K was selected to bring out the kites’ rich gold finish against the 3,000K lighting used for other lights in the project. A special bar mounting system was developed to clamp to the column, allowing maximum fitting adjustability without invasive fixings on the listed columns. An array of large Moooi Raimond pendants were also used to provide sparkle and reflection against the gold finish of the kites and polished beaten metal ceiling panels. Naturally this installation didn’t come

without its challenges, as Rollins explained: “The main challenge was designing such a large number of decorative hexagonal pendants, which would need to be simple and easy to install, while exuding glamour and quality. The mirrored gold stainless steel finish brought durability and elegance, tying the fitting into the architectural finishes. Through three rounds of mockups, the pendant suspension and lighting characteristics were focused to ensure high quality light and functional standards. As the pendants are so abundant, and constructed from mirrored gold stainless steel, their loading on the ceiling was significant. The team was not able to reinforce the plasterboard ceiling with ply due to fire loadings, and hence specialist plasterboard fixings were reviewed and pull tested to ensure the installation method.”


The hexagons provide the majority of functional and decorative lighting through the centre of the mall halls, and are supplemented by DAL deep cone visual performance X161 downlighters to the high traffic perimeter walkways. The lighting is controlled by a Helvar architectural dimming system, enabling LDI and the client to tailor each space to react to the amount of daylight, at different times of the day or year through an astronomical time clock. The control system scenes are automatic and save energy, while enabling the lighting intensity to be adjusted for better synergy between daylight and artificial light. As a trained product designer, Rollins found a different challenge in his designs for Sunset Walk: “It was a great opportunity to work on such a large number of bespoke luminaires. The considerations when

designing towards such a large number of fittings are quite different, to when working on a single bespoke feature. I really enjoyed considering the installation method, maintenance aspects, time of installation and overall wattage and performance of the hexagons. I feel they work really well to bring the wow factor to the lighting scheme as a whole.� In this intelligent cooperation between architectural and decorative lighting, customers to Sunset Walk shopping mall are met with more than they could have imagined, as they effortlessly navigate the space under the guidance of light.



Previous Spread Moooi's Raimond pendants were used to provide sparkle and reflection against the gold finish of the kites and polished beaten metal ceiling panels. This Spread Kites lead the visitor from the high ceiling atrium through to the lower ceiling mall, where their golden tone is echoed in the hexagonal ceiling lights, which lead the customer through newly refurbished areas, while providing uplight and downlight along with visual interest to the space.



Walking With Giants The new night-time attraction at Redwoods Treewalk, New Zealand, required custom made lighting on a gigantic scale in order to bring mystery and magic to the forest experience. Luckily, the team at David Trubridge Design were up for the challenge.

Redwoods Treewalk and David Trubridge Design have partnered to create an iconic nocturnal tourism experience: the Redwoods Nightlights. Incorporating unique creations from Trubridge and his team; the Nightlights is New Zealand’s first design-led tourism experience. The new night-time experience offers visitors and locals the opportunity to explore Rotorua’s majestic Redwood forest under the shroud of darkness, illuminated by Trubridge's bespoke designs that create an immersive and captivating environment.

“With 30 custom-made lanterns and a network of architectural lights, the nighttime forest comes to life in a magical and surreal experience,” says Treewalk Director Kellie Thomasen. “Trubridge’s unique and inspiring lights add an amazing design element that is sure to become a much admired attraction within the forest. “The idea to marry design and tourism remains relatively unexplored in New Zealand and enhancing an already magnificent environment like the Redwoods was no easy task,” continues Thomasen.

“The Trubridge design team and the arborists at the Treewalk worked hard to place the 30, 2.5m tall lantern creations in areas embracing the natural beauty of the forest, to provide dramatic contrast for visitors. It will be an experience Rotorua can be proud of.” In addition to the Trubridge lighting, over 40 infinite colour spots and feature lights illuminate the 115-year-old redwood trees, forest ferns and pungas. “The Treewalk day walk has proven extremely popular and it was a natural




progression to look for an innovative and world-class night-time product to offer additional opportunities for visitors to experience the city’s wonderful forest,” says Redwoods Treewalk General Manager Alex Schmid. Located within Rotorua’s Redwood Forest, which attracts more than 500,000 visitors annually, the Redwood Treewalk is the world’s longest suspended walkway. The walk, consisting of 23 elevated swing-bridges and living platforms, showcases one of Rotorua’s most visited natural attractions. Speaking with darc exclusively about the project, the David Trubridge team explained: “We became involved through a previous project with the owner of the Redwoods Treewalk. After experiencing how our existing range of lights come alive at night, they saw the potential of the night time experience in the treetops and asked us to turn their forest into a night-time wonderland!

“The initial brief was to design and produce a series of decorative lights to hang in the Redwood forest to create a night-time offshoot. It took almost twelve months from initial brief to the opening of the Night Walk experience to complete.” As the project is outdoors, sourcing materials suitable for outdoor conditions was a challenge for the team, however during initial explorations for the project they found a new product that had just launched to the market that has a 30 year lifespan and is highly sustainable - the perfect solution, as the Rotorua geothermal enviornment has the added complication of corrosive sulpher fumes. “The other big issue was the scale,” the team told darc. “The forest environment is vast compared to the architectural spaces we're used to and our normal lights would have been totally lost in it. As such, we had to design the lights in a larger form to compensate – they looked ridiculously

enormous in our workshop! “We had to move from our usual method of clipping together thin pieces of flexible plywood to bolting much thicker, rigid pieces onto a custom made stainless steel frame. As we built prototypes we learnt more about the structure and how to stabilise it. “As well as the size and material issues, because of the fragile and dense nature of the forest floor, the large lights couldn’t be carried in, already assembled. We had to send up a shipping container with everything we might need packed inside, then assemble each light in situ right below where it hangs. “The lower canopy of bush was thick and up to three-metres high and as such, the install team devised ways of swinging the lights into place using ropes so that the forest wasn’t damaged. Only fabric straps have been used, wrapped around the trees with the horizontal suspension lines connected to them, to ensure the trees can expand without any permanent fixtures or damage.”


A team of skilled climbing arborists were involved in the installation and continue to maintain the lights – some of which are up to 25m above the ground! As the project progressed, aspects of the initial agreement had to be negotiated; the number of lights had to be reduced to fit the budget for example, yet the arrangement still had to achieve the same aim of creating an exciting experience for visitors. The decorative element of the lighting was the only driver for this project, with the installation of lights creating a whole new visual experience, emphasising the natural beauty of the forest by illuminating it in new ways. The intensity, specularity and direction of the light were key considerations throughout, as the team didn’t want to add to light pollution by aiming the light skyward. “We discovered that much less light was actually needed in the darkened forest environment to achieve the desired lantern

effect,” the team told darc. “Trying to control glare from the light sources while still maintaning the lovely shadow play on the forest floor was also a significant challenge.” To overcome this, the team built three test versions, which were installed in the forest before completing the final order. This allowed them to ensure they had the correct light levels, that the concept worked and that the designs were as good as they could be. In order to achieve their goals, the David Trubridge team also worked closely with New Zealand lighting manufacturer Hunza, which makes a waterproof downlight housing. The locally made products are precision engineered out of the highest quality materials and meshed well with the lighting design needs, they also fulfilled other considerations such as long life span and servicability. Reflecting on the project, the installation

A team of skilled climbing arborists were involved in the installtion of the 30 giant David Trubridge lanterns, some of which are 25m above the ground. Standing at 2.5m tall the design team had to move from their usual method of clipping together thin pieces of flexible plywood, to bolting much thicker, rigid pieces onto a custom made stainless steel frame.

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was all the team had hoped for and more, as they explained: “None of us had anticipated just how well the lights would work in among the giant redwood trees. There is a reaching perspective, accentuated by the overlaying silhouettes of trunks and branches as the carefully placed groups of lights appear in the distance. The scale is so large and yet the effect so enveloping.” There was no second chance for the team once they had strung all the wires - it had to be right first time! As such, the design team went around the walk, very carefully visualising how they would look in order to work out the best placements. “Our lights have created a new sense of wonder in the natural environment and encourage people to enjoy and rethink the outdoors. The combined sensual experience of being in a forest at night, 25m high on a swaying platform looking out to seemingly weightless giant lanterns, illuminating the trees is memorable and romantic.” The lighting created by the David Trubridge team is the entire design and


defines – in fact, creates – the space and the experience. Some of the lights hang inbetween the trees, casting patterned shadows on the ground below – not unlike the nearby spreading Punga Tree ferns. “The most successful light for us, is the tree-hugging Titi, which has been built around the tree trunk,” the team added. “It is partly inspired by the bracket fungi that similarly grows on tree trunks and was David's idea, but he had to fight hard to keep it when it was becoming difficult to make and install! “Because it is more expensive, we had to compromise with less of them. The most challenging part was working out how to install the horizontal luminaires so that they weren't directed at the walkways. “We are proud of the natural cohesion happening between the lights and the forest and are especially proud that we completed this demanding project ahead of time and within budget.”


The decorative element of the lighting was the only driver for this project, with the installation of lights creating a whole new visual experience, emphasising the natural beauty of the forest by illuminating it in new ways. The intensity, specularity and direction of the light were key considerations throughout, as the team didn’t want to add to light pollution by aiming the light skyward.




DesignAgency Folio is our regular feature highlighting the importance of decorative lighting in the work of a design studio. This issue we present Canadian studio DesignAgency.

Founded in 1998 by partners and long-time friends Allen Chan, Matt Davis and Anwar Mekhayech, DesignAgency unites interior design, architectural concepting, strategic branding, and visual communication in a unique and innovative way. With clients in more than 26 cities and nine countries worldwide, DesignAgency’s global success is based on its high level

of design excellence and ability to create unique environments through narratives developed with clients. Working for leading companies, developers and hospitality groups, its clients work directly with one or more of DesignAgency’s partners, reflecting the team’s belief that great design requires leadership, focus and commitment. DesignAgency has built a legacy of award

winning spaces and places driven by the three words that form the foundation of its practice; innovate, design, change. The in-house designers work closely with local artists and manufacturers to realise visions, giving each project a unique and bespoke feel, bringing another dimension to the spaces that the team designs.

STK TORONTO, CANANDA STK introduces Canadians to the dining concept that has swept cosmopolitan cities across the US, blending the qualities of an upscale steakhouse and a chic, nightclub lounge. The ONE Group commissioned DesignAgency to articulate STK’s vision to its first Canadian outpost. The design team created a complete sensory experience from a dramatic, staircase entrance to custom-designed light fixtures and brass sconces that theatrically dissipate light to create a warm glow upon the guests, tables, architecture and floral arrangements.

Pic: Nikolas Koenig

Pic: Nikolas Koenig

Generator Barcelona BARCELONA, SPAIN Generator Barcelona is a unique moment in the hospitality industry. In collaboration with Patron Capital real estate group, DesignAgency worked to use the historic and artistic treasures of its surrounding city to weave together with its energy-contemporary culture, fashion and graffiti. The flagship hostel features unique graphics, unusual light fixtures and signature 'G' sculptures, evoking a tapestry of layers and styles. Guests are met in an energetic hotel lobby featuring a vibrant mix of textures and patterns, inspired by Barcelona’s energy and sunlight. A feature staircase winds its way up to a glass balconied mezzanine overlooking the hostel lobby, where guests can relax in the library.


Nando’s Queen West TORONTO, CANADA DesignAgency wanted to connect the Nando’s restaurant to Queen Street West’s layers of subcultures as one of a handful of original roadways that form Toronto’s downtown core. Queen Street’s own brand of chic enters Nando’s through the outdoor patio, furnished with custom cedarplanked picnic seating, leading to the post-modern hostess station with its black-and-white backlit panels. A feature light pendant hangs above; contemporary art hangs behind, sandwiched between industrial wall sconces on an exposed brick wall. A surrounding jumble of reclaimed chairs and a handful of oversized custom lampshades accent the space’s sense of whimsy and textural adventure. Pic: Ben Rahn / A-Frame

Leña TORONTO, CANADA Lena comprises an airy, street-level bar, which is crowned by a fantastic light fixture and a marble and olive wood octagonal bar; Bar Lala. The space is defined by luxurious furnishings, marble and brass finishes,

as well as its art and books; a main dining room that is simultaneously elegant and approachable, and a series of private dining/event rooms offer a personal, residential feeling as if dining in Lena’s home for a beautiful

meal. Whether seeking an intimate alcove for chic cocktails, a high-energy environment to see and be seen, or a refined dining experience, Lena offers an abundance of unique hospitality environments.

Pic: Nikolas Koenig



The Art of Motion Nebula is a range of kinetic lighting sculptures from British artist Ivan Black. Helen Fletcher takes a closer look at the man behind the design and why the tranquil Welsh countryside has a lot to answer for. Pics: Caspar Beck Photography




INK is a new British design studio bringing together art, design and technology to create interactive kinetic lights. Launching with its Nebula range, consisting of the Orb, Ellipse and Ellipsoid, conceived to work in concert or individually, the lights are evocative of distant celestial bodies and in their spiralling motion reminiscent of the DNA helix. Designed by renowned kinetic artist and INK co-founder Ivan Black, the Nebula lights have evolved from the mathematically inspired sculptures that Black has been creating over the last two decades. These are at the forefront of the ‘connected home’ movement – their patterns of rotation and luminosity controllable through

a proprietary iOS app and integrated motor system. But what of the man behind the design - what does he hope for in his latest collection and where does his story begin? Born in London in 1972, Black has always been surrounded by artistry and creativity, with his mother also an artist and his father a dealer in Persian carpets. Surrounded by beautiful antiques, his creative flair surfaced at an early age and Black made his first sculpture at around the age of fifteen; going on to hold his first exhibition at the tender age of seventeen in a café in Portobello. Speaking with darc ahead of the official Nebula launch in London, Black reflects

on this time in his life: “I sold a bunch of stuff and one of my friends told me it was beginner’s luck! It sounds a bit cruel but I think he was just trying to build up a bit of grounding in me because the art world is a hard one to make any headway in… But it was all I wanted to do. I was making more and more sculptures at school and went on to do a foundation course at Middlesex Polytechnic, one of the best foundation courses in the country at the time. I didn’t have any other interests that gave me as much pleasure as art did, it’s as if it’s inbuilt in me and I was determined that art would be a career and not just a hobby.” While Black describes his time doing the foundation course as a “fantastic


Pictured: The Nebula light sculptures being refined and constructed by Ivan Black in his Pembrokeshire workshop. While working with light was a real learning curve for Black in the beginning, he found support in some fantastic craftsmen and engineers based in Pembrokeshire. ‘Keeping it local’ is at the heart of how Black likes to work.

experience”, meeting some great people and learning a lot, he tells darc how he wasn’t quite as well suited to the educational system as most: “I was always arguing with the teachers and was very idiosyncratic – always wanting to do my own thing and that wasn’t always the popular choice with others! During the course I felt as though I was being pushed towards the business side of art and being more conceptual - having to justify everything that I was doing and working within acceptable parameters. I just wanted to do work I felt like doing at the time and didn’t want to be constricted.” Having made the decision to travel around India and Thailand rather than head to

university following his foundation course, this was an opportunity for Black to build on his artistic skills: “It was an incredibly informative experience,” he says. “There were no mobile phones or internet in those days and it really was like going to another planet! Whenever we found ourselves among people who were making things we would always get involved - we did some stone carving in India in fact.” An inherent problem solver, who confesses to picking up new skills rather easily, Black continued to amass multi disciplinary skills on his return to the UK, working with his father, David Black, restoring Persian rugs. “It is a very exacting and difficult trade but I found it fascinating,” he says. “It’s back breaking work hunched over a carpet all day long and when I look back at my time doing this now, I can kind of see my initiation and fascination with craft and repetition. “You look back on your past and you see these moments where you perhaps had formative experiences… working with Persian rugs was definitely one of them.” Black continued to work hard at building his skill set, completing an apprenticeship as a carpenter - a job he held for eight years, before meeting his wife and making the life changing decision to move away from the chaos of London and head to the serene surroundings of the Welsh countryside. Once in Wales, liberated from the need to work - thanks to a very successful ‘final exhibition’ held in London - Black found himself in one of the most creative periods of his life, and for three months the ideas spilled out, he was making something new almost every day. “I’d go to bed with an idea and wake up the next day to make it,” he says. This, is where the story of Nebula begins... Motion had by this time, become central to Black’s work, adding another layer of complexity and interest to his experiments.

Using his unique methodology to create forms that mutate upon the introduction of energy, the repetition of identical elements is a recurrent theme in Black’s work and as such, he builds complex fluid structures. Each work is a section of a potentially continuous sequence, generated in form by the application of systematic rules to his geometry. “I’d always been interested in making mobiles,” Black tells darc. “There are very few dominant figures in the world of mobiles and their work is endlessly copied and recycled. Every time I see another Alexander Calder knock off I feel it’s a shame people aren’t driven to try and find their own angle. “I loved making mobiles but I’d only ever made small numbers of them; it’s difficult to get away from Calder’s legacy, he’s really cornered the market and while I was developing my ideas it felt as though there was almost nothing he hadn’t done. It was difficult – even if you think you’re coming up with an original, you then end up seeing something that he’s done that is similar.” However, Black managed just that when he started exploring the spiralling patterns, which have become a hallmark of much of his work. “It was one of those things – I thought to myself, it’s so simple it can’t be original - someone else must have thought of this because there’s nothing to it…But at the same time, it was so interesting and was creating something amazing.” Black thus spent several years developing and evolving his signature style, with his work being bought by collectors and public bodies around the world. It was the realisation that the introduction of light would add another dimension to his work, but also create sculptures that were as functional as they were beautiful, that led to the creation of the Nebula range.



“By adding light I could create something functional as well as beautiful. Not every room needs a sculpture, but every room needs light.” - Ivan Black

“It’s the spine of the sculptures and its interaction with the forces of inertia, gravity and momentum that is the key to the changes in shape. A chain of connected, off-set vertebrae rotate in series and deliver the transformation between the sculptures’ spiralling patterns and its celestial static form. “But it is the light that enhances and accentuates the aspect of the sculpture that I find most interesting, which is the movement and alignment of the parts. With the addition of lighting, the structures disappear and all you see is spirals of light. In the dark it creates a continuous line - a trail of beads almost.” Whilst the addition of light had originally been an experiment it soon became clear that it would open up many more possibilities. “Not every room needs a sculpture but every room needs light,” says Black. “Why not make that light a work of art? I realised no-one else in the world of lighting was exploring movement in a major way, so I concluded I was on to something unique. “It was initially a real learning curve working with light, but I was fortunate to have some fantastic craftsmen and engineers to support me through the process. I always want to make sure the skills we have in Pembrokeshire are put to good use. This is at the heart of how I want to work.” Interaction with the light sculptures is also a major part of their appeal for Black and being able to directly control the movement of the lights creates much greater engagement. They are not distant and untouchable like a museum piece, you can manipulate and play with their form - thus getting a much more connected experience. As such, Black initially developed a smartphone app to enable the speed, pattern and direction of rotation to be

played with, but has since taken this a step further, introducing a gesture-control system that allows the movement of the sculpture to be dictated by hand or arm movements - you can literally conduct the light with your body. This all serves to create an experience, not just a piece to look at or illuminate a room. Talking inspiration and influences, Black sees his work as more of a progression and conversation with himself, always looking to see where he can take his sculptures next. “If you look at my work chronologically you can see it evolving into different areas. I was quite deliberate about developing my own style. I decided to concentrate on kinetic work because I wanted it to be very much my own, I wanted to create an identity for the work I was doing – I wanted something recognisable.” “There are other kinetic artists out there that I admire but rather than be inspired by them, I’ve always seen their work as directions I can’t go with my own... it’s almost like an anti-inspiration in some ways, it can be very frustrating at times!” For INK, Nebula is just the beginning and there are already plans to reinterpret many of Black’s existing designs with the addition of light. Now at the beginning of a commercial journey with the three Nebula designs, looking ahead, Black is interested to see where the sculptures will naturally fit and what opportunities might lie ahead: “I can see the lights working in lots of different environments – they’re very classical and simple and I can’t see them clashing with much. I’ve seen them in modern settings and more elaborate settings and the juxtaposition works rather well. I think we’ve found a niche in the market, that’s for sure.”

Tekna presents Nautic • Stokkelaar 13 • B-9160 Lokeren • T + 32 9 348 08 02 • •


Visit TEKNA at Euroluce – Hall 9 Booth D15



When Lighting Goes Al Fresco The lighting of outdoor eating areas, bars and social areas needs careful thought. Lighting designer Mark Sutton Vane shares his expertise in exterior lighting and tells darc, how the right decorative lighting product can add to that all-important ambience.


“Illuminating a building’s exterior is an exciting challenge for lighting designers. The requirements are quite different to that of an interior scheme, as a building’s exterior is often high profile and on public display. It can be decorative or functional, and serve a multitude of purposes, often intended to present a message about the building or space, or about what happens inside the building itself. With such a variety of reasons for deploying a full outdoor lighting scheme, the first decision to make in the planning stages of a scheme is whether it should be lit at all, and if so, why. It may tell the story of the building, or sell the brand of the owners. It may emphasise a new vision for the building, such as when a historic building has been given a new lease of life to be used for a modern activity. Often the lighting is used to simply express the beauty of the architectural structure itself, thereby demonstrating the power of lighting to depict the way a building is perceived. The next consideration is whether these messages are best conveyed through decorative or architectural lighting. Decorative fittings can be placed on the outside of buildings to stand as glowing message in themselves. They may provide no illumination to the building or the surroundings, but the glow of the illuminated fitting is the message. An extreme example of this is the gas flares that some buildings feature on their external walls. These large, bare flames look exciting, they burn a lot of energy and have little effect in terms of actual illumination, but they attract attention

with their movement and offer an air of sophistication. Until the invention of bright electric lighting, the outsides of buildings were not lit. The only fixed exterior lighting on buildings was practical and was there to light entrances. Decorative fittings that aim to achieve a historic look are suited to this pattern and are most effective near entrances or archways. They should aim to match either the period of the building or, if that is not possible, they must fit in with the style and scale of the building. The selection of decorative fittings depends on the message or sentiment that the designer wants to project. Now with the smaller size of LED fittings, it’s easier to achieve more effective lighting from a decorative lamp without revealing the light source. When lighting the outside of a building, hiding the source of this illumination can have a magical impact. If no fittings can be seen during the day, passers-by do not know there is a lighting scheme and it does not clutter the façade. In contrast, at night the building is lit as if by magic from the hidden lights. The effect of this illumination on passersby is also a fundamental consideration in lighting scheme design. A well-lit building can engender feelings of civic pride and reduce the fear of crime. By making the area brighter, it can encourage people to linger and enjoy the space, thereby boosting the evening economy. Lighting the outside of a building can also add to the light levels of the surrounding areas, such as the Titanic building in Belfast, Northern Ireland, which stands

as a tall beacon for the city covered in shiny metal with outward tilting façades. When Sutton Vane Associates designed the exterior lighting, the building had to be bright to stand out to sell its nautical shape, branding and unique metallic finish. Bright yet discrete lighting was designed that reflected off the building to light the surrounding area. This eliminated the need for lamp posts or columns to light the surrounding area so the views of the building were not cluttered. A good exterior lighting scheme can also add to the value of the building, making it stand out as a point on the map. The building can become a beacon and a way finding point for people to use it to give directions, making it stand out from its neighbours. In a multiple occupancy building the designer has to consider whether each occupier will have the same lighting scheme as viewed from the outside. The designer must remember that ceilings and the lighting in them, is what is seen from outside so they can decide whether they want the view to be uniform or not. Where uniformity is wanted - landlords have insisted that, for example, the lighting of the first two metres back from all windows must be of a certain type so that all lit windows look the same. Similarly it usually makes commercial sense to leave shop window lights on all evening, after the shop has shut. It makes the street look more attractive and allows customers to window shop at night, encouraging them to come back to purchase something the next day. An easy solution is to put the lighting of the merchandise in the window



on a different circuit from the rest of the shop and have a timer that keeps it on until around midnight. The lighting of outdoor eating spaces, bars and social areas also needs careful thought. Unlike the indoor versions of these areas, where lighting will probably also be used for breakfast and lunch, the outdoor lighting schemes will only be used in the hours of darkness for evening dining, drinking and socialising. This means that the lighting will tend towards more atmospheric, less bright and possibly romantic moods. As with all environments the lighting in outdoor spaces must also provide practical illumination as well. The bar staff must have adequate light to do their job, the bar should be well lit to advertise the bottles and diners must be able to read their menus. I recall eating at an outdoor restaurant in Lebanon where the dining experience was enhanced by battery powered lights clipped onto diners’ menus. Glare is also a significant consideration for decorative lighting in an outdoor eating or bar area. In an outdoor environment, due to a lack of walls or ceilings to reflect light back and soften it, the lighting can easily have uncomfortable levels of glare and levels of contrast that are too high for comfort. In a traditional setting, exterior style lanterns can reinforce the

atmosphere well, but can also create glare and don’t offer much illumination. It is often good lighting design practise to allow the decorative fixtures to be just that – decorative, glowing, good looking objects that give the right atmosphere then use suitably shielded, hidden spot lights (dimmed down to the right mood) to provide the functional light. We were commissioned to design the lighting for a very upmarket outdoor dining area, where the client wanted outdoor chandeliers, which needed to be waterproof, kept clean, protected from insects and so on. We were able to design safe low voltage chandeliers that could be easily detached and unplugged and were robust enough to be moved indoors at the end of every evening. Compared to interior lighting, exterior lighting faces many more environmental challenges: driving rain, snow, frost, dust, birds, insects and vandals. A high Ingress Protection (IP) rating of say IP65 or higher is usual, and this must apply to not only the light fittings but to the whole electrical installation. While the lighting designer must consider all of this, albeit a daunting task, a well-lit exterior that expresses the heart of the space or the building is a pleasure for everyone to see and enjoy.”

Mark Sutton Vane has spent his whole life designing lighting. After taking a degree in architecture he designed lighting for theatre productions and then moved to Madame Tussauds where he designed and performed live laser light shows. Architectural lighting design was growing so Mark moved into this field. He worked for two different lighting consultancies. In 1995 he started Sutton Vane Associates. This practice works all over the world and has won many awards, including Lighting Design Practice of the Year. Sutton Vane Associates has lit many high profile projects including the Crown Jewels in the Tower of London, the London 2012 Olympic Park and many modern and historic buildings of all types.




focal point PLACE DES HAUTS-FOURNEAUX LUXEMBOURG At the Place des Hauts-Fourneaux, five large round lighting objects hover in a seemingly random way over the square. Also known as the GuddeVol, the first ‘street lights’ designed by Ingo Maurer, each features a disc with an opening in the middle, kept above the ground at a slight angle by three slender, matt black poles with a length of five-metres. Underneath, several curved openings of various lengths are equipped with recessed LEDs; around each pole, a circle of LED uplights is fixed, lighting up the surface of the disc itself, turning the slices into bright white circles that contrast the dark structures of the furnaces in the square above them. The GuddeVol were carefully designed to provide lighting for the ground while avoiding unwanted upwards scattering of light.





focal point PHI BEACH COSTA SMERALDA, SARDINIA The use of light was crucial in enhancing the exclusive open air beach club Phi Beach in Costa Smeralda, to ensure guests were met with the best possible visual experience. As the sun goes down, the stunning location shines bright with Catellani & Smith’s iconic Fil de Fer and the customised Sassi di Luce lights. Aiming to create a celestial space, Fil de Fer recalls a clear night sky full of stars to directly connect the scene to the Earth, creating an emotional experience for guests. Phi Beach also chose to use the customised Sassi di Luce, made of industrial glass in order to set a source of light right in the rocks. The creation of these small lights implies a recollection of tiny shells or mysterious creatures remniscient of the Great Barrier Reef. Pic courtesy of Phi Beach

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A Breath of Fresh Air While lighting is often necessary in outdoor areas serving the general public, it can also work to create an inviting and warm atmosphere - encouraging people to make better use of the space. Over the next few pages we've put together some examples of decorative outdoor lighting at its best.

Art of the Treasure Hunt Chianti, Italy Slamp’s Clizia Table lamps set the mood for a suggestive outdoor dinner, held at the Felsina vineyard last summer. The dinner was held in the vineyard’s garden as part of the ‘Art of the Treasure Hunt’ event, an exclusive experience organised for international art collectors to explore and purchase modern art while visiting vineyards throughout Chianti. The table lamp was the perfect accompaniment for Chianti’s local, rich gastronomy and exemplary wines. A portion of the benefits from the items’ sale go to Robert Wilson’s Watermill Center Foundation, an interdisciplinary laboratory focusing on the arts and human studies, giving young artists from around the world residence and study opportunities. This year’s treasure hunt was in honour of the foundation’s tenth anniversary. Slamp’s lamps were part of two on-going site-

specific installations on the Felsina property, which were open to the public until the end of October. Wilson’s own La Traviata light sculpture, designed in 2015, and Zaha Hadid’s Aria Gold, unveiled this past April during the 2016 Salone del Mobile, were hung in striking contrast to the aged barrels and stone walls of the wineries cellars. Slamp’s Clizia graced the dinner table during the Treasure Hunt’s dinner party. The Clizia Table lamp is part of lamp family that includes an array of functions, finishes and colours. Slamp’s patented Lentiflex and Cristalflex Fumé polymers diffuse light softly and evenly, and the lamps’ 230 manually folded elements create sensuous volume in each of the collection’s forms. The table version has a base that connects magnetically to the diffuser, making

cleaning and maintenance easy. As was the case for the Felsina dinner, the lamp is available in a battery-operated version, making it not only portable, but allowing varying lighting combinations and outdoor use. The soft, slightly opaque polymers refract the light, casting a play of shadow and form onto any surface, and the minimal base sturdily supports the lamp without appearing bulky or distracting from the lamp’s endless folds. The ‘Art of the Treasure Hunt’ dinner was a perfect example of Clizia Table Fumè’s versatility. In a rustic environment, the lamps’ modern silhouette, slightly inspired by the classic bedside table lamp of yesteryear, fit in perfectly. The illumination looked like contemporary candlelight, perfect for an al fresco Tuscan evening.




Limehouse Conservation Area Ontario, Canada Lighting installation ‘12’ at Limehouse Conservation Area in Ontario, Canada sees twelve handmade lighting balls designed by Nargiza Usmanova, bring the forest floor to life - evoking a sense of mystery and magic. As the general public walk through the space, the lighting balls give the illusion that they will start to move at any given moment...Working to create this effect are 500 zip-ties woven into each knitted lighting ball, along with 60 LEDs IP-SF-3 from GVA Lighting. Adding to this, in the area chosen for the installation, there was a crack in the soil and several light balls and linear STR9 RGB floodlights were implemented to achieve a glowing effect appearing out of the cracks and illuminating the tree tops from below. “The RGB-programmed light added mystical and dynamic effects,” said Usmanova. “It created a deep sense of space. When

I visited Limehouse Conservation Area in Ontario I was overwhelmed by the scenery, which is part of unique Niagara Falls landscape,” continued Usmanova. “It was then that I had the idea of combining the spheres of light with a natural wood environment.” The combination of such an unusual landscape with tall trees penetrating through the cracks and rocky surface of the park area, with twelve bionic light balls created a magic atmosphere and mood. “The artistic example of this installation, has inspired me to create a final product series that can be implemented in any public parks or private gardens,” concluded Usmanova. “They will be able to create special and extraordinary atmospheres in any public parks or private gardens.”


The Four Seasons Doha, Qatar The Four Seasons hotels are located in some of the most fascinating destinations in the world and known for offering unique relaxation, sophistication and pleasure experiences. This hotel chain pays special attention to the smallest of details to provide a unique and personalised luxury experience. The Four Seasons Doha hotel perfectly suits business traveller needs and at the same time is a relaxing resort by the sea. The Shisha terrace, overlooking the marina, has a roof that can be retracted to enjoy the sun and the breeze in a relaxed atmosphere.

EDG California, responsible for the interior design, opted for the Bover Barcelona Fora lamp to illuminate the nights in this luxurious space. Fora is specially designed for outdoor spaces. Its screen, made of synthetic material, is highly resistant to weather effects, while its design provides a pleasant atmosphere, with enveloping or diffuse light. Its light source is protected by an elliptical polyethylene balloon which ensures a highly watertight seal. The result is a light that adapts well to all types of interior and exterior spaces.



Hermann J. Wierner Winery New York, USA The Hermann J. Wierner Winery is a space overflowing with craftsmanship and artistry. The wine is produced using oldworld knowledge combined with modern techniques. The same can be said for the lighting that illuminates the outdoors and indoors of the 90-year-old scissor-trussed barn. The state of New York had traditionally been ignored as a location for a vineyard due to the belief that the region’s climate is too harsh for delicate grapevines. Hermann Wiemer changed that belief in 1976 when he established his winery. In 1982, he enlisted the help of an architectural team from the internationally-renowned Cornell University to design his complete wine production area and tasting facility. The oldest part of the winery is the barn, which sits at the entrance of the vineyard. Wiemer brought a wealth of family history and experience into his endeavor, with more than 300 years of winemaking tradition, first started in Bernkastel, Germany,

coming from his mother’s side. His father, a skilled nurseryman, had been in charge of the Agricultural Experiment Station in Bernkastel and was responsible for restoring vines in the Mosel region after WWII. As a result, he recognised the importance of grafting vinifera on American rootstock. Ultimately, Hermann’s father convinced Dr Thanisch – who maintained the most famous Riesling vineyard in the world – to graft Mosel Rieslings onto American rootstock. Like the finest wines, the design aesthetics of the space has improved with age. The cavernous interior of the facility balances white walls with bare wooden walls and ceilings. It houses sleek Italian stainless steel tanks and the space is illuminated by a multitude of Hubbardton Forge’s Ellipse Circular pendants, Axis pendants and After Hours sconces. The winery’s exterior design is just as striking. The roof’s overhang carries the bare wood theme from interior to exterior. The beauty is in the indoor/outdoor nature

of the design. Large glass doors are crowned with equally large four-paned windows to showcase the captivating views within the structure. The lighting choices for the exterior include Hubbardton Forge’s After Hours outdoor sconces and Banded Large outdoor pendants. Like the wine produced on the premises, the lighting has a storied background. Hubbardton Forge, just a short drive away in Vermont, was founded just three years before the winery. Each piece is designed, engineered and handcrafted under the same roof. Today, little more than 40 years after the first vines were introduced to an area where many doubted a tenable vineyard could take root, Wiemer’s winery produces nearly 14,000 cases each year. They continue a three-century family tradition and today is one of the top Riesling producers in the USA.

ph. b. saba a.d. e. martinelli



DARC 03 MARZO 2017 - LED +O.indd 1




04/09.04.2017 HALL 15 B23

08/02/2017 10:24:11



Hotel Brummell Barcelona, Spain Hotel Brummell is an urban oasis off the Barcelona beaten track, a 20‐room boutique hotel in the Poble Sec neighbourhood, next door to Montjuïc. The hotel was built and designed to be relaxing, intimate, imaginative and adaptable. The façade of the hotel remains just as it was in 1870 while the interior has been completely transformed. The architect, Inma Rábano, rehabilitated this historic building into a structure that could house the details. The unquestionable heart of the hotel is the patio, which was strongly influenced by Sri Lankan architect Geoffrey Bawa, who pretty much invented tropical modernism with green plants overgrowing heavy concrete walls and structures. The design was completed by the Australian‐born, Barcelona‐based duo, Blankslate.

On the patio, light and plants play together in order to create a timelessness and it was for this purpose that Marset’s Santorini fixture was chosen. These lamps, inspired by traditional fishing boat lanterns, allow the hotel to create its own composition, defining the final aspect of the lamp by rearranging the order and orientation of the fixture's shades. But overall the most important characteristic of the Santorini is its versatility as well as its ability to give off a laid back, Mediterranean ambiance. This essence - the atmosphere of a town festival - pairs well with bespoke modern furniture and Sri Lankan and European antiques sets. The patio also features Marset’s Soho, a fixture designed in recognition of the merits of the lamps traditionally used in markets, taverns and cafeterías. At the far end of the patio, undercover, you can find Marset’s

Aura wall sconce, which was inspired by the traditional glass carafe. Indoor lighting product Aura bathes the wall in light and creates a luminous effect without harshness. Up on the terrace Marset’s Cala lamp provides a warm, comfortable indoor atmosphere in an outdoor space. This is the aim of the Cala, a highly decorative light with a structure that draws on the simplicity of the classic painter’s trestle. The final result is that the Brummell Hotel is a laid back, casual place to hang out, to rest, and to indulge. Blankslate’s efforts bring together other worlds and times with the local, modern Mediterranean aesthetic, resulting in a design that cannot be totally explained, but must be experienced.



Project T Waasmunster, Belgium Designed by the world-famous architect Vincent Van Duysen, Project T is a magnificent rebuild of a countryside residence into pure, timeless architecture. Due to the fact the villa is a rebuild, the entranceway is situated in a bit of an unfortunate position - with one arriving on the left handside and the main entrance being centrally positioned. As such Tekna tried to attract the attention towards the main entrance in a subtle way by placing the Montrose Floor lamp on the step next to the front door. These floor lamps were chosen because of their harmony with the

architecture, without being intrusive. The south side of the residence makes use of huge windows, which are a natural source of light and create lots of transparency. The windows blend into the multi-level terrace, which accommodates a swimming pool on the lowest level. The terrace, with a total width of 30m, creates an oasis of peace and gives a true holiday feeling. Here, the Ilford Floor lamp from Tekna combines the architectural transparency and illuminates the terraces in both a beautiful and functional way. The fact the light source is invisible allows for the Ilford Floor lamp

to be placed wherever you prefer, without dazzling anyone. As soon as the sun sets, the Ilford Floors light up and create an enchanting, pleasant and cozy atmosphere. The mix of both fixed Ilford Floors (with cable) and portable, rechargeable (on battery) appliances gives the option of placing the Ilford Floor in different settings. Although only one size of Ilford Floor is used in this project, there are three sizes available.

TIME Design Bengt Källgren



Terra Madre Puglia, Italy Combining wine production, leisure and work, Valentina Passalacqua's home sees the surrounding landscape as the dominant influence and force in her stunning villa's design. The philosophy of bio dynamics (used for producing wine), linked to the idea of care and respect to the land, environmental sustainability, and the recovery and promotion of the territory, were all key considerations in the building's design. Built in the middle of vast vineyards, and adjacent to the operational heart of the company and the cellar, Terra Madre is an experimental residential project. Comprised of wood, with a low environmental impact, it is respectful of nature and at the same

time works as a viewing point for the vast landscape. Opening the door to this house, you are immediately immersed into an alternation between indoors and out. From the windows you can see the green hills of the Gargano, the fields of the Tavoliere, the family stone quarries of Apricena; and on the horizon the eye captures the Vulture with the Dauni mountains. Every room preserves and reconstructs the landscape, designed to resemble Puglia. Outside, the garden takes on its own design 'Starry Night', where Ex Moon outdoor lamps by In-es.artdesign are featured in various sizes (35, 50, 70 and 120cm). At night, thanks to the porch and large windows of

the living area, the indoor space becomes one with the outdoor garden. The nighttime sky brings to life lamps that resemble the moon, including in-es.artdesign's Luna pendant, which interacts with the three Ex Moon lamps that light up the stone wall by the pool. It is the philosophy of bio dynamics adopted in the making of Valentina’s wine that inspires this project. This is why the territory is accompanied by views of the cosmos, with the Moon, which is the director of agricultural rhythms and nature, and is the dominant element in the pool area. Using the words of Valentina herself: “It is a villa, designed between earth and sky.”


Hall 13 | Stand F08 - E09



Pic Anna Ă–hlund Photography

Kiruna Church Kiruna, Sweden The Lappish hut is a building that for millennia has provided protection from the weather - built entirely from what nature has to offer - a single building still perfectly formed for its purpose. It is a traditional building, which has survived the test of time and stands as a symbol of a lifestyle and culture that has existed in the area for 6,000 years. The Lappish hut served as the inspiration for architect Gustaf Wickman when the Kiruna Church was built in the early 1900s. A church free of religious symbols except the small crucifix on the altar. A church built in a community that had just started to become developed adjacent to the large iron ore mine. The church was built in the middle of an area that was divided between the indigenous population and the mining company, not without conflicts. It has since been named Sweden's most beautiful building.

More than 100 years later, the city has grown, technology has developed and society has changed and when it came time to replace the lighting around the church, it was difficult to find a fixture that would fit. It needed to be solemn stately yet unobtrusive. It needed be beautiful and give a beautiful light. It would be built on nature's terms and resist a climate that many considered extreme. BLOND is know for its customised luminaires in Sweden and became a natural partner and manufacturer for this project right from the drawing board. The idea was simple: Not to take inspiration from the church itself but from the same source as Wickman once did - the Lappish hut with its simple form containing the heat, light and security. The poletop lamp ÄŒuovga, is designed by John Pettersson and uses a wooden pole made of Swedish pine, which is treated

with a tar-paint to protect the post. The luminaire housing has been designed in metal and the crossbar used as a cable entry. With a diameter of 60cm the street light demands its place in a space. The post, which is five-metres tall, features beveled edges and is tapered towards the top, giving the impression of being light and slender. A heavy metal ferrule around the base of the pole serves as protection against large amounts of snow and plow-trucks while also giving the luminaire an adamant appearance. The inspiration came not from Kiruna but from the culture that Sweden's indigenous people have lived for thousands of years. ÄŒuovga, is Northern Sami and means 'light' or 'glow from campfire'.



Wonderland Collective Ealing Broadway, London Bright Goods' LED filament lights were featured in a stunning installation at Ealing Broadway’s 2016 Christmas Market. The Wonderland Collective, a pop up shop curated by Eat Me Drink Me, was illuminated with LED filament lamps from the Bright Goods range. The shop's exterior was decorated with holly and shone brightly with the Victoria LED filament lamps. The Victoria is a popular shape from the Bright Goods range, featuring a clear glass cover and lattice LED filament, the lamp uses just 6W and provides an impressive light output of 100 lumens per watt. Wonderland Collective was also spelt

out in amber metal lettering paired with Victoria LED filament lamps, which created a beautiful, inviting and warm glow to the shop. Ian Hawes, Director of Light Fixation, who supplied the lamps to the Wonderland Collective stand, commented: “We chose to use lamps from Bright Goods because they are high quality, come in a variety of stylish designs and have a good range of colour temperatures to choose from. Also, Bright Goods is a UK company, and as the Christmas market supports UK craftspeople, it fits in with the ethos of the event. We used The Victoria lamps in the festoon

because the warmth of the light gives the perfect glow for a festive Christmas Market, plus the size and shape of the lamp is far more dramatic and interesting than a frosted golfball, without looking over the top. We also lit the inside of the chalet with our bespoke light fittings using Bright Goods lamps.” Inside the pop up shop were five unique light fittings designed by Ian Hawes, including Bright Goods bulbs in an industrial cross pipe chandelier and dangling from steam punk desk lamps.

Danish Decorative Lighting THE NEW ELEGANT

Visit us at: Euroluce Milan - April 4-9. Hall 13 - Stand H13 Â



Bio Restaurant Milan, Italy Bio restaurant, designed by architect Ingrid Fontanili, lies at the foot of what has been named as the most beautiful piece of recent architecture worldwide and winner of the ‘High Rise Award’ - the ‘bosco Verticale’ (the vertical wood) designed by Italian architect Boeri. The restaurant has been designed into two separate parts - an indoor 140msq space and an outdoor terrace of 70msq. The outdoor structure is realised in aluminium and thermal glass, which are used for the perimiteral walls and the roof covering. The design allows customers to enjoy an impressive view of their surroundings and

the fabulous façade of the 'vertical wood'. In-fact the entrance from Pazza de Castilla gives an immediate 'vista' of the towers and winter gardens. The use of natural materials was a focal point for the interiors, using natural and recyled products and all produced by artisans. The main bar is made from a single block of pinewood from nearby producers, all reflecting the concept of healthy and sustainable living and, in this case, eating. The terracotta lamps, designed by Colin Dinley, are a perfect reflection of this. Toscot's Novocento system, which has an IP44 rating has been used throughout the

terrace and outdoor area. It allows the opportunity to develop the illuminated area in a very flexible way without the need for a ceiling fixture thus ideal for outdoor terrace situations. The use of terracotta glazed covers gives a familiar yet new feel to the surrounding and a choice of several colours allows for an individual approach to the design of the interior/ exterior. In this case a more sober white colour was chosen, perfectly matching the theme of the project, the rigour of the aestethics and the clean, formal yet familiar atmosphere.



The Great Outdoors Decorative lighting needn’t be confined to the indoor environment. It can be the perfect addition to an outdoor space, bringing it to life at night and adding character during the day. Looking for that final touch? Look no further...


TOLOMEO ARTEMIDE IP RATING: IP44 The iconic Tolomeo family, by design icons Michele De Lucchi and Giancarlo Fassina, has been synonymous with the Made In Italy label, and is one of Artemide’s signature products since the late 80’s. The range has recently expanded to include new outdoor pieces: Tolomeo Paralume and Tolomeo Lampione Outdoor. Lampione is completed with a diffusing cap which sits inside a transparent unit inspired by the design of traditional oil-burning lamp posts. The family is also enriched with a shade to adapt the lamp for use on terraces or in domestic outdoor locations.

The Iroko LED Bollard provides a wide symmetrical illumination. The design and structure of the glass combined with a top layer of frosted glass ensures the majority of light is directed downward. Manufactured in the UK, Iroko is available in either exotic hard wood, stainless steel or anthracite powder coated. The powerful 4.5w LEDs ensure it is ideal for both hospitality, residential and commercial lighting installations.


JASPER NAHOOR IP RATING: IP65 Designed by William Pianta, the structural pureness and compositional simplicity make the model of the Jasper outdoor collection an example of architecture’s essentiality. In the accurate and rational vision of an enlightened outer space, floor, wall and ceiling lamps find their fitting place. Finished in lacquered matte black, Jasper features a cement base, and is also available in polished or satin chrome, burnished or brushed brass.

Sky is a range of lamps designed for outdoor use. Sky is available in versions with LED with photovoltaic cells and rechargeable batteries, wire-free, or with high-efficiency LED with electronic power supply. Models for electronic fluorescent and metal halide sources complete the range.


ORIGINAL 1227 GIANT ANGLEPOISE IP RATING: IP65 The new Original 1227 Giant Outdoor Collection comprises an oversized floor lamp and articulated wallmounted lamp, engineered for outdoor use with marinegrade stainless steel fittings, a sealed light unit and silicone rubber cable. These beautifully crafted lamps add drama and style to any outdoor space, with the benefit of ultimate flexibility and balance afforded by the unique Anglepoise spring mechanism.

BLOOM VONDOM IP RATING: IP65 With the Bloom Collection, Ibiza- born Eugini Quitllet metaphorically captures the flowering stage found in nature. Intended for public spaces, Bloom’s beauty establishes a relationship between sculptural form and technology, thanks to its LED feature. Inspired by poetry, Bloom is a mirage from the depths of the sea, like a night flower facing the sunset.

BICONICA POL MARTINELLI LUCE IP RATING: IP54 Originally designed by Elio Martinelli in 1987, Biconica Pol is a floor lamp with diffused light, created by a vacuum generated by a ring of nearly tangent circles, forming a canal that connects two worlds; the old and the millenium. The neoclassical form makes it suited to a variety of environments and styles. The frame is available in white polyethylene for fluroescent lamps, and the LED light source is available in white colour or RGB.


Glow is a luxurious decorative floor lamp made of white enameled aluminium, premium teak wood and polyethylene diffuser cap. Suited to any variety to application on the terrace, in the ppol house, restaurant or garden, Glow is a versatile standing lamp featuring an LED engine of 700lm and a warm white colour of 2700K with included driver, this masterpiece is extremely economical.

darc awards entry: Crown Towers Perth, Willowlamp installation. Pic courtesy of George Apostolidis

Calling all designers! Be part of darc night. Vote online to get your free ticket to darc night, the darc awards / decorative winners announcement party at Bloomsbury Ballroom, London on the 18th May 2017. All independent designers and architects that vote at for their favourite decorative lighting projects and products qualify for a free ticket to darc night. Suppliers are not eligible to vote making this the only independent peer-to-peer design awards in the world. Be part of a unique event. Decorative lighting project and product entries are accepted until the 31st March. Voting starts the 1st April.

organised by

in collaboration with



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.


imm cologne review January 16th - 22nd 2017, Cologne, Germany Record Numbers Set International trade visitors grow imm cologne and LivingKitchen achieved a record number of visitors this year, breaking the 150,000-visitor mark. Roughly every second trade visitor came from outside Germany, with international trade visitors accounting for nearly 50%. Of the 104,000 trade visitors, around 56,000 came from Germany and approximately 48,000 from abroad (an increase of 4%). Within Europe, increases in visitor figures were recorded in particular from Spain (up 25%), Russia (up 26%), Italy (up 19%) and the UK (up 13%). Visitors from the Netherlands and Poland also increased. Numbers from overseas rose, in particular visitors from China (up 5%), South Korea (up 12%) and India (up 5%). A rise was also recorded in visitor numbers from the Middle East (up 19%), with particularly strong growth from the UAE.

N3 Chandelier Aaron Scott Design

Uffizi Ta Contardi

ZOME Jaanus Orgusaar

The N3 Chandelier is a rotationallysymmetrical, hand-sculpted pendant lamp. With a solid wood body, four lamps lie behind acrylic diffusers; suspended via lamp wires from a three-armed canopy and mounted directly to a junction box. The N3 Chandelier is available in bleached cherry, black walnut and bleached walnut.

Uffizi is an enlightening onyx marble sculpture, in which the strong artistic identity and the functionality of this lamp perfectly match. Dimmable LED sources, controlled by the touch switch on the base, the Uffizi Ta becomes a timeless and acrossthe-board product, which can blend into classical and contemporary locations.

ZOME consists of identical fluid vermiforms and is a self-constructing bionic structure – the more rhombus there are in the first row, the more flowing and ductile the shape will be. Made of thin aircraft plywood, the lamp appears fragile but its structure ensures a strong shape. The lamp is delivered fully assembled by hand in the workshop.










1. Carronade Large Le Klint

2. Futura Ebb & Flow

3. Larino Masterlight

The Carronade series has expanded to include a large modern pendant with a wide opening that directs perfect diffused light for everyday use. Fashioned in the familiar sleek styling of the earlier models, the exact materials has been manipulated to create a masterpiece in modern lighting design. Available in both black and sand.

Futura, the slim and curvy pendant from Ebb & Flow, was on show at this year's IMM in the new cool shade topaz blue with a platinum metallic band across the middle. Futura is available in two sizes, in a collection of muted elegant colours such as obsidian, smokey grey and golden smoke to name but a few.

The Larino half sphere pendants are part of the Industria collection. This collection has been designed and manufactured by Masterlight in The Netherlands. The lamps are available in sphere diameters varying from 30cm up to one-metre. Furthermore, they are available in many different colours and with accessories.

4. Venus Paolo Castelli

5. Kaskad Schneid

6. The Copenhagen &tradition

Venus, from Paolo Castelli, makes every space rich, with its sophisticated brilliance. It consists of a rich bouquet of metallic elements, a semicircular section and Murano glass slats including 24K gold flakes, placed at staggered heights and collected in an oval metal band, treated with special galvanic finish.

Made of ceramic and available in three colours: soft mint, blush and midnight blue and two sizes, each pendant is hand made by a master craftsman. Kaskad also has a raw untreated ceramic surface on the inside for optimal and even light diffusion, which adds a gentle contrast to the glazed and coloured outside of the lamp.

The Copenhagen pendant evokes memories of maritime gas lamps silhouetted against a striking nordic sky. With this new addition to the series in matt opal, designers Signe Bbindslev Henriksen and Peter Bundgaard RĂźtzou from Space Copenhagen are enhancing the ambient light and the poetic aesthetic appeal.

170222_Wanted Design_Press Add_DarcMag.pdf



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Terminal Stores - The Tunnel 269 11th Avenue NY, NY 10001

Between 27th and 28th Street

BROOKLYN Industry City 274 36th Street

Brooklyn, NY 11232

D, N, R (36th St. station)






Phenomena’s Playground Japanese designer Hideki Yoshimoto works with light beyond its physical capacity. Following his recent collaboration with WonderGlass for Maison et Objet, darc uncovers the story of how Yoshimoto ties this creative approach into his understanding of business and engineering. Pic courtesy of Simone Zecubi by WonderGlass



“I see light as something sacred, as the embodiment of deity.” - Hideki Yoshimoto

As a young technology enthusiast with a creative soul, Japanese designer Hideki Yoshimoto was destined for the world of innovation. Born and raised in Wakayama, western Japan, Yoshimoto grew into a young man with a particular interest in artificial intelligence and humancomputer interaction, fields which he explored through studying aeronautics and astronautics at the University of Tokyo. “My academic roots are in engineering and computer science,” he tells darc. “However I was not interested in the engineering of planes or satellites in aero-astro studies. Rather it was the novel application of aircrafts, which opens up a new relationship between aircrafts and people other than transportation, that really caught my attention.” For Yoshimoto’s final university project, he had to invent an indoor illuminating airship, which could be controlled via sound, iPhones, websites and other interfaces. After winning an award with this project from the Japanese Society of Artificial Intelligence, Yoshimoto moved to the UK to complete a PhD at the Royal College of

Art (RCA). Here, he explored the aesthetic value of simple, pulsating motion as an element of design in his work ‘Pulse and Rhythm’, a concept that carries through in his work today. Upon completing his PhD, Yoshimoto founded his company Tangent to continue exploring these ideas through business. “When I went to Tokyo for university and saw work where technology meets art and design, that’s when I realised this would be the field that would allow me to combine my technological skills and creative mind. It was during my RCA days that I chose design and decoration as my area of business, while some of my PhD work was accepted at shows like Salone Satellite. That’s when I realised there was great potential to bring new inventions to this industry.” With strong scientific foundations in his work, Yoshimoto has always been inspired by artists with similar groundings such as Olafur Eliasson and James Turrell, whose work is equally reminiscent of otherworldly explorations that blur the boundaries between science and art. He looks for creative hints and inspirations in nature,

finding it to be full of interesting phenomena that houses the potential to be reproduced with artificial materials. Yoshimoto’s work with light not only touches on light as an object, a lamp, but more importantly with light as a phenomenon and the human experience with it. “I see light as something sacred. It may be because my heritage, which sees light - as well as other elements in nature - as the embodiment of deity. Light includes time and can be perceived differently. It has a great capacity to house many layers of experience other than just visuals. There’s a lot of freedom in light, and I love playing with design in that capacity.” The Japanese designer has put these thoughts into action in a great body of work, including his most popular product Inaho, under the Tangent brand. This was initially revealed as the winning project of the Lexus Design Award in 2013. Inaho is a




motion-activated light installation where the plant-like stems sway and light in response to the presence of people. “My inspiration here came from an ear of rice, which I see everywhere in my country. We have successfully commercialised this idea and are now selling it as a three-stem floor light and a ten or 20 stem large scale installation.” Another stand out piece from Tangent is Kihou. “In this product, we pour a honeylike golden liquid into a container and, on top of it, float a thin layer of black silicone oil. Beneath these layers is a component with LEDs and a tiny air pump that creates rhythmic bubbles that are lit in gold, rising to the dark surface to burst through.” Kihou has also been developed as a table version and as a small single version in collaboration with ceramic and glass designer Vezzini and Chen. In one of his latest collaborations, Yoshimoto worked with WonderGlass for

Previous Page Tangent’s Kihou designed by Yoshimoto and Vezzini & Chen is a lighting product in which air bubbles, illuminated by LEDs, rise through a clear viscous liquid and break a dark silicone oil surface. Pic courtesy of Massimo Marolda This Page The making and final version of Yoshimoto’s Rise and Drift installation (image showing only Drift) for WonderGlass at Maison et Objet 2017. Pics courtesy of Simone Zecubi by WonderGlass.



Maison et Objet January 2017 to produce the Rise and Drift installation, which invited people to imagine something beyond the objects at the show. “WonderGlass was looking for a new installation idea for Maison et Objet and having seen Kihou, one of the brand’s founders Maurizio Mussati invited me to work with them.” The idea began as a metaphor of water and bubbles. Water is a key element to WonderGlass, and is intertwined with Venice, the home of its production. “WonderGlass invited me to the factory in Venice where I learned a great deal about various glass making techniques used to achieve different textures and colours. This really helped me build the idea and inspired me to develop the two concepts of rise and drift. “Both of these works are a co-creation between myself and the skilled craftsmen. The designs involve a significant amount of randomness, such as the way dye mixes with glass, which can only be controlled by the technicians. Rise expresses bubbles of air rising through water by embedding thin glass orbs in a resin block. Drift shows a cross section of the water, in particular the canal of Venice, with tiny bubbles drifting in water. In both ideas, I tried to



mimic natural phenomena in a fresh way by presenting organic water-inspired textures within a geometric frame. “Such natural phenomena are familiar to everyone in different ways. The bubbles of Rise may suggest a presence of life beneath, while the dynamic texture of Drift may let one imagine a boat stirring the water in a Venetian canal. At Maison et Objet, when they were lit up, they seemed to be given life. Light enhanced the texture and expanded the phenomenon by creating beautiful reflection and shadow. There was even a little moment each day when natural sunlight streamed into the stand, and the work just looked gorgeous.” Rise and Drift is a compelling example of Yoshimoto’s celebration of phenomenon in his work. Having keenly practised the jazz trumpet for ten years, Yoshimoto’s creative understanding stems from his love of music. “Defining a work with shape is not my approach, probably because I was not educated in such a way, or because the root of my creativity is music, which is all about

experience,” he explains. “Instead, I find beautiful phenomenon, often in the natural world, and work out how to reproduce the essence of that beauty as close to the real thing as possible, using various materials and technologies if necessary.” In this approach, Yoshimoto brings the familiarity of nature and the novelty of artefact together to help viewers find something of themselves in his work. With his engineering background, Yoshimoto sees technological trends in decorative lighting as an evolving field. While new technologies such as 3D printing and OLED expand design, he predicts that people will begin to see beyond that, and it will no longer be fashionable to simply show off the technology. Instead, designers should and hopefully will begin to digest the technology and choose to use it for a purpose that contributes to the storytelling of a product’s concept. Yoshimoto’s plans for future launches are in line with his technological predictions as his team works on a project called ‘Fish

Chandelier’, using technology to materialise a kinetic chandelier inspired by a school of fish. Yoshimoto’s work is something that sets itself apart in its capacity to tell stories through intelligent manipulation of material. He works with light for its ability to breathe life into textures, rendering reflection and shadow key characters of his works’ stories.

Previous Page Fluff designed by Yoshimoto for Tangent, features helium-filled luminous balloons, synchronised to music. This page Cluster designed by Hideki Yoshimoto and Hisako Sakurai for Tangent. Light is filtered by layers of small glass or plastic balls to cast a complex and striking lighting effect.



Maison et Objet Paris January 20-24 2017, Paris, France Maison et Objet thrives Record numbers for 2017 edition

This year's Maison et Objet found an increase of 12.31% in visitors compared with January 2016. Foreign visitorship also registered a 17.4% increase, totalling 43,127 international visitors and overall, the fair received 135,875 visits from professionals. Managing Director Philippe Brocart said: “The significant growth we have seen this season in the number of visitors is a very auspicious sign for the interior, design and lifestyle markets worldwide. Over the last few months, we have undertaken a large number of actions and initiatives in order to reach out to buyers and specifiers all over the world, working closely with our exhibitors. This collaboration has created a powerful dynamic that had a direct impact on attendance figures.�

Ratnapura Anne-Pierre Malval

Tempus Ben Rousseau Design

Phenomena Bomma

The Ratnapura pendant lamp is made out of rewaxed craft paper. Transparent when lit, it offers sparkling ambient lighting accompanied by beautiful shadows. Each ceiling lamp is custom made to order and the electric wiring is available in various colours and materials to suit the client’s tastes.

Tempus is a kinetic light art piece that doubles up as a futuristic clock. It uses digital LEDs that illuminate three rings of segments in sequence to represent a 12-hour time path. The central ring is the seconds units, the next ring is the minutes and the outer ring is the hours. Once all segments are lit the cycle continues.

Designed by Dechem studio, the collection is inspired by simple shapes. In Plato's idealist philosophy, phenomena are transient, likenesses of the eternal, perfect forms and so, are not truly real. This seems fitting for a collection made in a material that is so difficult yet versatile, so strong yet fragile.








1. Casadisagne Casadisagne

2. Suspense Christophe Dabi Design

3. Nenuphar Designheure

At this year's Maison et Objet, Casadisagne presented an elegant table lamp named after the company itself. It features a cross base stand in matt gold patina and is also available in bronze and gun metal. The shade itself is classic and simple in design, allowing for a variety of applications no matter the location.

How do you fuse the elegance of a mobile with the creation of a luminaire? 'Suspense' is the fruit of this bold and daring combination. Inspired by Alexander Calder mobiles, with extreme lightness, this ceiling light appears to float in the air, giving off a soft illumination as it drifts with the air current – sheer poetry in motion.

Designed by Kristian Gavoille, Nenuphar from Designheure dresses up walls and ceilings in a fascinating way, while at the same time playing the role of a sculpture, an acoustic wall and a light. The choice of personalised colours and its rotating modular nature of 360° leaves a large part of creativity in the hands of the user.

4. Bullet Formagenda

5. Line Dubai K-Lighting

6. Fliegenbein PL Kalmar

Bullet is a very reduced, iconic product family. In spite of its simple shape, this light brings a lot of associations to mind. The surface of the glass is silk-matt etched and velvety white, while all metallic parts are held in a black silky contrast. The black fabric covered cable perfectly completes the noble look of Bullet.

Designed by Candibambú, the Line Dubai from K-Lighting has been designed to be the central piece of any interior decoration, fitting in perfectly with bigger spaces. Composed using crystal and inox, the crystal is worked inside to create a somewhat magical appearance. The chandelier is available in various sizes.

Fliegenbein PL produces overhead ambient light that filters through a pleated silken shade and a frosted glass diffuser. Its elongated shade injects modern personality into a space. Single and double tubes in light grey, dark grey, or brown matte lacquers harmonise with the Fliegenbein series’ signature splayed leg.









1. AVA Le Deun Luminaires

2. Firefly Lladró

3. Christie Nahoor

The new suspension lamp AVA, from Le Deun Luminaires, is available in two sizes: 90 cm and 150 cm. This lamp is made from 100% metal without the use of any plastic and delivers between 3,700 and 5,300 lumens. Le Deun Luminaires specialises in electronic lighting design with low energy consumption.

Lladró used Maison et Objet to launch Firefly, its first collection of cordless lamps in porcelain. These portable tabletop models with independent LED lighting and rechargeable batteries are inspired by the magical light of fireflies. The attractive lamps are ideal for indoor and outdoor spaces.

The sphere of Christie, hanging on a vertical axis, seems to define the surrounding lighting space along to a metaphysical rhythm. Designed by William Pianta, the lamp series is presented as a floor lamp, table lamp or suspension lamp, using polished chrome and Murano glass and in various colours.

4. Aura Mirror New Works

5. LED Flat NUD Collection

6. Balance Oblure

The bold materiality of the Aura Mirror is what generates its unique inner glow. Its polished metal form picks up surrounding light, creating diverse reflections through a combination of hard flat surfaces and long curves. Designed to be touched and held, its weight and strength is offset by the softness of its shine and sculptural curved form.

NUD Collection has introduced three new LED light sources. LED SPIN with a beautiful soft filament inspired by Edison's original bulb and LED FLAT (pictured above) with a new unique flat design and two different LED filament shapes. These new lines bring an eye catching addition to the lamp collection.

Oblure’s latest lamp uses specific materials to keep it in perfect balance. The base uses black marble keeping the construction steady; hand blow glass is cut perfectly to align with the steel boards; and the metal spheres have just the right density to counterweight the opposite side of the lamp's construction.

darc magazine 333mm(H) x 236mm(W)

LED Filament Lamp Nostalgic Radiance of Incandescent The MEGAMAN® LED Filament Lamp series not only resembles the classic beauty of traditional incandescent lamps in terms of the striking profile and output, but also applies all the energy saving benefits of LEDs to decorative lighting. With an even, distributed light, the series creates a mellow ambience in an interior environment.

Visit us at Stand S7









1. Oda Pulpo

2. Dome Collection Royal Botania

3. SOAP Schwung

Oda is a handblown glass globe balancing on a simple and elegant metal structure. Taking inspiration from the series of water towers' pictures shot by photographers Bernd and Hilla Becher, the designer Sebastian Herkner wanted to create a reservoir full of light, a lamp shining a soft and warm glow.

Ornamental aluminum, coated in white or black and a handmade glass cylinder at the heart of the design, are the ingredients that make the Dome collection from Royal Botania unique. With three varieties of coloured glass available (clear, smoked and amber) you are able to create the perfect atmosphere no matter the location.

Made in Europe, the SOAP collection is handcrafted of solid brass, giving a warm and timeless aesthetic and burnished lacquered for the durability of the finish. The glass globes are mouth blown, dimmable and delivered with extension rods to ensure the right mood can be set for every occasion.

4. Teelo Secto Design

5. Geyser Collection Serip

6. Cloud Thierry Vidé Design

Teelo continues the simple yet stylish lighting collection of Secto Design, bringing in additional sculptural tone. The clear and beautiful lines, together with the light source designed never to blind the user, offer an eye-soothing lighting experience. The detail in the design of the joints gives a sophisticated finishing touch.

The intrinsic force of a geyser carries a blend of aggressiveness and beauty in an unlikely harmony between strength and lightness - this is the basis of the Geyser Collection. The glass primacy embodies the piece with high vigor and energy aiming towards the most intense visual lighting experience.

Cloud is the combined work of the three individuals that shape the Thierry Vidé Design universe: Thierry Vidé and his two sons Jean-Sébastien and Félicien. A real design pièce, in which material is at the service of light, Cloud is the culmination of more than 30 years research. The result is unique: a lamp sculpted by light.










1. Blakes TEKNA

2. Ella Tonone

3. Vivi Vincent Sheppard

TEKNA presents a rechargeable and portable table lamp - the Blakes table lamp. The colourful table lamp (pictured in Orange Rust), with its seven hours of autonomy, is normally finished in dark bronze, but is now available in eight different colours, which can brighten up any room even when switched off.

Lamp Ella is made using a handblown glass lamp shade that is supported by a sturdy steel tripod stand. This combination underlines its strong, graphic yet elegant and light character, while the grey shade provides a soft glow, which works harmoniously with the black tripod stand and brass details.

These rattan lamps are a true eye catcher in every interior. They reflect Vincent Sheppard’s DNA of craftsmanship, natural materials, and a contemporary look. If you’re looking for an item that will light up your room, then Vivi is the perfect find! These lamps exist in two sizes and are available in the colours black and natural.

4. Alva VITA Copenhagen

5. Pitch Vitamin

6. Platonic Woka Lamps

The VITA Alva is a lampshade with a twist. The spiral shape of this alluring yet simple design seduces with its sinuous, curvy lines. Offering a lively gradient-effect glow, it fits into a wide range of interior decors. Best in pairs, these lampshades come in two different sizes and can be arranged in a straight line or in a cluster.

Handmade in the UK and available to buy direct from Vitamin, the Pitch pendant lamp comprises a banded spun aluminium shade poised on an internal dome. The outer shade can be posed to guide light in any direction, while the bands of the outer shade create varying tonal strips of colour.

Designed by Dainel Kage, Platonic sees the light come out through its geometric progression pattern, creating a unique fractal grid, bringing a beautiful sensation of calmness and peace to any space. Made of stainless steel, the lamp’s patten is cut using a water jet laser with each side welded together and mirror polished.

WHY ATTEND ICFF? - New for 2017: ICFF Gallery

featuring curated custom collectibles

- The Best of International Design Weeks

- Luxe Interiors + Design pavilion

- 10 major international exhibitions - NYC borough design districts presented by ICFF

- Collaboration with over 35,000+ industry professionals

- Captivating ICFF Talks panels

- NYCxDesign Awards presented by ICFF and Interior Design

Registration is Open

May 21-24, 2017 • Jacob K. Javits Center

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Stockholm Furniture Fair Review February 7-11 2017, Stockholm, Sweden Holocene Skridskopaviljongen, Skeppsholmen

Swedish lighting company Wästberg has decided to take a step back in time with its latest collection, launching light sources that do not require any electricity. The Holocene collection, which can be seen as a tribute to fire and also man, represents a geological period when man lived in harmony with nature. Developed in collaboration with Ilse Crawford, David Chipperfield and Jasper Morrison, the new collection includes a candlestick and two oil lamps in brass; displayed for the first time at Skridskopaviljongen, Skeppsholmen, during Stockholm Furniture Fair.

Edge Reader Astro

Shade Blond

Hook Faro Barcelona

The Edge Reader is original thinking for bedside lighting, bringing a new aesthetic, where the minimal white floating plane on which the reader is mounted comes to life at night, appearing to float on the seductive light it emits from its edges. Both functions can be individually switched and LED lamps ensure minimal running costs.

The inspiration behind Shade from Swedish company Blond, comes from the silhouette of the archetypal luminaire and its clearly defined shade. The surface treatment applied to the shade creates a fantastic play between light and shadow, where the surface reflects light throughout the luminaire body.

Hook is a portable ECO-conceived lamp designed by Oiko and made from recycled PVC-free plastic with minimum CO² emissions. Multi-functional, Hook has a series of compatible accessories that allow it to convert into a magazine rack, a bedside table or a wall lamp in any of its three colours.









2. Garbí Luceplan

3. Atom Örsjö

The imposing and sculpture-like piece blurs the line between artwork and light fixture. The minimalistic shape is a light fixture in itself, with no additional parts needed. LOOP Giant is a light fixture with an aluminum body. Its LED light source is placed to the inner surface of the lamp as a shape of an arch, under an acrylic diffuser.

Designed by David Dolcini, Garbí takes form from the wall itself, designed as a single full volume of soft, regular surfaces that meet to create clear edges and become graphic signs when turned on. The brightness of the LED bounces on the wall, triggering contrast and sliding back into the shell, igniting it and forming a delicate arch on the wall.

Designed by Jonas Bohlin, raw brass and textured black lacquer is used to emphasise the stunning contrasts in this floor lamp. The curved, swivel arms house the light source at the outer ends, creating an attractive light play on the walls. Atom is a tall, elegant floor lamp and an incarnation of some of Bohlin’s core design principles.

4. Summera Shapes

5. Damn Fashionista Watt A Lamp

6. Aplomb Foscarini

Summera, designed by Phoenix Design, defines itself through all of its small details that round off its profile and let the beauty of this lamp shine. The underlying technology is modern and is kept simple, so it can be installed without any effort and impress with its quality, uniting aesthetics and technological possibilities.

In collaboration with Design by Us, the Damn Fashionista series has been produced in contemporary brass, faceted glass and marble. Fitting in perfectly into today's urge for voluminous drama and maximalism, the new range sets the tone with dark hues and heavy textiles, giving clean Scandinavian style with an edge.

Made by Italian artisans through a specialised, craft-based technique, this contemporary suspension lamp is distinguished by its super thin, wide flattened concrete top, which casts a beam of LED light downwards. Available in three neutral tones, the versatile Aplomb Large is the latest in Foscarini's Aplomb suite.



Milan Design Week

We bring you lighting highlights to look out for during Milan’s week of style and design...

Deltalight Via Pontaccio, 12 Milan Design Week will see Deltalight build an exciting and temporary installation in the Brera Design District, in the heart of the city. The famous Palazzo Crivelli will be the unique backdrop of an atmospheric, captivating and inspiring scenography. New collections will be launched, designed in collaboration with Arik Levy amongst others.

Ateljé Lyktan Palazzo Segreti, Via San Tomasa Ateljé Lyktan has supplied Palazzo Segreti hotel in Milan with a selection of its signature lights. These will feature mostly in the hospitality environments of the hotel, but also some hotel rooms, corridors, lounges, receptions, dining areas, offices and conference rooms. Products on display will be a mixture between existing and new products. Pic: Simone Barbagallo

Tortona Design District Bover Barcelona Archiproducts Milan Don’t miss Bover’s Dome pendant, designed by Benedetta Tagliabue. The integration of design, art and light in architecture dates back a long time. Dome is a light sculpture made of more than 170 large and small wood fragments, intelligently intertwined and sewn one by one to end up in somewhat of a puzzle. Passionate about design and craftsmanship, Bover products are a tribute to the Mediterranean light and lifestyle.

Stickbulb Via Tortona 31 & Via Matteo Bandello, 14/16 Stickbulb debuts Boom, a series of explosive chandelier forms using redwood reclaimed from demolished New York City water towers. Boom and other LED designs will be presented at Stickbulb’s exclusive Italian showroom Rossana Orlandi, and in a temporary installation at the Archiproducts showroom.


Mila n La mbra te

WonderGlass Istituto dei Ciechi, Via Vivaio WonderGlass will present a new collection of blown glass lighting and chandeliers by Marcel Wanders, Nao Tamura and Hideki Yoshimoto as part of a special installation at Instituo dei Ciechi. The new modular chandeliers by Marcel Wanders are inspired by Japanese calligraphy and created out of hand blown Murano glass. WonderGlass will also present new lighting designs by Nao Tamura and Hideki Yoshimoto. Existing pieces by Dan Yeffet will also be on display in the palazzo space.

Brera Design District

San Babila Design District

Contardi Via Paolo da Cannobio, 9 Meet Contardi at M&C Atelier in Milan to understand its philosophy and the lounge concept at its best. Discover the new collection in its natural ambience, and enjoy cocktails from 6pm.

Binova and Panzeri Via Durini, 17 Binova launches a new Milan showroom in partnership with Panzeri. The exhibiting area becomes an unprecedented and fascinating stage celebrating the relaunch of the Binova brand, while Panzeri displays several products, including the Golden Ring, which was recently awarded the German Design Award and the multiawarded Jackie.



Designing Emotions Masters of the chandelier, Lolli e Memmoli will present their latest creation at this year’s Euroluce. Helen Fletcher gets to grips with the duo’s inspiration and how working with crystal is an art in itself.

For Italian architects Ivan Lolli and Mario Memmoli, light is space, colour, imagination and emotion. It is the sign of time passing by, a language of symbolic references and philosophical reflections on which the duo has laid the foundations for their personal vision of lighting design. Since the early 90s, the duo have worked

alongside their team of 20 at their ‘lighting laboratory’ in southern Milan to widen their collection of light sculptures, all defined by the ‘Made in Italy’ stamp of approval. “We try to set ourselves apart by reinventing the classic chandelier design, hiding the heavy metal structure in order to convey the visual effect of an object

made completely of crystals,” Ivan tells darc. “The materials gain an unusual light and a softer feeling through our individual manufacturing techniques.” “During the first few years of our career we focussed our attention on the object itself,” adds Mario. “We started to develop our own designs while completing our studies


at the Polytechnic of Milan. We wanted to revitalise the chandelier’s prestige. Over the years, a new trend brought the chandelier back into the limelight and in some of the most prestigious interior design projects it became a bit of a cult object; it was even considered an ‘essential’ element of a room in some cases.”

It was thanks to the keen eye of talent agent Teresa Ginori that Lolli e Memmoli’s stunning designs were first noticed; one of their blue crystal chandeliers had been installed as part of a renovation project in Milan. Curious to learn more about their work, Ginori offered the designers the opportunity to work on several more

projects and together they developed an exclusive chandelier that would later feature in Moschino showrooms all over the world. This was the catapult to further success for Lolli e Memmoli, going on to complete lighting projects around the world, including: the Plaza Hotel in New York; the



Radisson Hotel in Dusseldorf; the showroom for well-known fashion brand Escada; as well as the famous jeweller Graff Diamonds, which chose their lamps to light up stores all over the world. “We’ve also worked on the meeting rooms at Abu Dhabi Ministry of Environment and private houses of several American artists in Los Angeles and New York,” says Mario. “It is a rewarding feeling knowing that our creations are a part of some of the most prestigious interior designs in the world. “Our most recent work in the contract market later became a source of inspiration for the creation of a product specifically designed for this market, which we introduced at Salone del Mobile 2016. It was

an extremely large chandelier, designed for the new A.Roma Lifestyle Hotel in Rome. Its exceptional size forced us to design a modular system made of a thin crystal net. We designed it in such a way that it can be customised with endless combinations to fit even wider spaces.” The ‘double curl’ technique is at the base of Lolli e Memmoli’s assembly process for their crystal pendants. An ancient union system of two pendants, made by two small curly spikes in order to create a moving link within the crystals, it is a system as old as the history of crystal pendants themselves. It requires manual skills and specific knowledge that lends a lightness to the object that can’t be reached with

Previous page: The new design on show at this year’s Euroluce - U-Line. This page: Ivan Lolli (right) and Mario Memmoli (left) have worked together since the early ‘90s at their ‘lighting laboratory’ in southern Milan alongside their team of 20. Their lighting sculptures and chandeliers are defined by the ‘Made in Italy’ stamp of approval, working tirelessly to reinvent the classic chandelier design, hiding the heavy metal structure in order to convey the visual effect of an object made completely of crystals.

Paris Professional Lighting Design Convention


01. – 04. November, 2017 - shift happens -

More than 80 paper presentations More than 1700 attendees expected Keynotes given by leading experts Exhibition of leading manufacturers Gala dinner and PLD Recognition Award Marketplace for the PLD community Excursions Pre-convention meetings Cities’ Forum Experience rooms Recognised as an official CPD event by the PLD Alliance The Challenge: Final round Social events

mme a r g o r P w! out no

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Aditi Govil Akari-Lisa Ishii Alberto Pasetti Alexander Mankowsky Alexander Rieck Ali Mahmoudi Allan Ruberg Amardeep Dugar Ana Miran Andres Sanchez Anne Bureau Anuj Gala Barbara Bochnak Barbara Matusiak Birgit Bierbaum Carla Wilkins Carlijn Timmermans Caroline Hoffmann Cashel Brown Chandrashekhar Kanetkar Christiaan Weiler Christian Klinge Christina Hébert Christopher Cuttle Colin Ball Dario Maccheroni Dashak Agarwal Dean Skira Deborah Burnett Edwin Smida Elke den Ouden Emmanuel Clair Emrah Baki Ulas Fanny Guerard Francesco Iannone Gilberto Franco Glenn Shrum Gregor Gärtner Gudjon Sigurdsson Heli Nikunen Henrika Pihlajaniemi Imke Wies van Mil Inger Erhardtsen Ion Luh Isabelle Corten James Benya Jenny Werbell Joe Vose John Mardaljevic Jonathan Rush Juan Ferrari Kapil Surlakar Karolina Zielinksa Kathryn Gustafson Katja Bülow Kevan Shaw Koert Vermeulen Konstantinos Labrinopoulos Linus Lopez Lyn Godley Malcolm Innes Marina Lodi Mark Major Martin Hofer Martin Tamke Maryam Khalili Maurici Ginés Michael Grubb Pascal Chautard Paul Traynor Peter Andres Rafael Gallego Richard Taylor Rozenn Couillard Rune Nielsen Sara Castagné Serena Tellini Sergei Gepshtein Simon Berry Simon Ewings Sophie Caclin Sophie Stoffer Stephen Willacy Susanne Brenninkmeijer Susheela Sankaram Tapio Rosenius Thorsten Bauer Tino Kwan Uwe Belzner Vellachi Ganesan Werner Osterhaus Zhuofei Ren

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industrialised systems. “With crystal we invented a new assembly system using the material as if it were a textile,” says Ivan. “sometimes elastic, sometimes as a dropping drapery, or woven in order to create a weft and a warp.” It is difficult to think of another material so suited to light. Crystal pendants are born with the aim of gathering the light and reflecting it in a spectacular way. “The story of crystals is one that is five centuries old and has been passed down to us in the form of heritage techniques and materials,” continues Ivan. “When realising a new model we make use of our artisan experience in order to better emphasise all of the material’s characteristics,” says Mario. “All parts of the product, from the electrical system and the suspension, to the crystal and metal structure, is manually assembled in our lab, following our own guidelines for every

model. The finishing process is made with personalised aesthetic criteria, which makes every lamp different. Every single product has its own identifying mark, reproduced on a hologram and recorded in our personal archive.” Commenting on design trends within the lighting industry and how this shapes their work, Ivan tells darc: “Lighting design has changed dramatically over the years. In the ‘90s, the main light source in a room was being overlooked and interior designers were opting for spot lighting, with the addition of floor and table lamps. The source of light wasn’t even being taken into consideration. Today, pendant lighting has become an essential decorative object filling the empty space of minimalistic interior designs. Trends will change again though as lighting design looks to blend memory and technological innovation.” And, with a shared passion for travel,

Crystal pendants are born with the aim of gathering light and reflecting it in a spectacular way. The ‘double curl’ technique is at the base of Lolli e Memmoli’s assembly process. An ancient union system of two pendants made by two small curly spikes in order to create a moving link within the crystals. It is a system as old as the history of crystal pendants themselves.

Europe’s leading annual event for innovation and inspiration in RETAIL DESIGN, MARKETING, BRANDING, VISUAL MERCHANDISING, ARCHITECTURE & SHOPFITTING from around the world. 270+ Exhibitors | 75+ FREE Design and Branding Conference Sessions | Designer Pavilion Shopper Marketing Conference | VM Conference and Workshop | RBTE & Retail Digital Signage Expo NEW VM Christmas Awards | NEW VM Christmas Market | Retail Design Student Awards ALL UNDER ONE ROOF! Unparalleled speaker line-up including:

Jon Tollit, Principal, Gensler

Paul Wilkins, Head of Visual and Store Design, Space NK

Mark Stevens, Director of Creative, Debenhams

Bev Dockray, Architect, Coppin Dockray Architecture and Design

Don’t miss out! Free registration now open at

Sian Roberts, Head of Creative Visual, Topshop

Matt Lyons, Senior Design Manager, Boots

Paula Rowntree Head of Branch Formats & Design, Lloyds Banking Group

Federico Schilling, Head of Store Design and Development, Thomas Pink

“Retail Design Expo is fantastic, for a start it’s around twice the size it was last year; it’s growing all the time. And it’s full of both real physical solutions but also great thought pieces, real innovative thinking, and that’s really what’s attracted me.” Guy Smith, Head of Design, Arcadia

Supported by:

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particularly to the Far East, Ivan and Mario draw inspiration for their designs from all around. “We are the kind of travellers who will stop in a place and delve deep into its culture and habits of its population,” Mario says. “The Far East has become our second home with Bangkok the city we know best, we’ve also been visiting the Strait of Malacca a lot recently. The contrast between eastern and western culture inspires new projects in us. Sometimes, it’s the west creating a new eastern aesthetic and sometimes it is the other way around.” At this year’s Euroluce, Lolli e Memmoli will once again be back in the spotlight with their latest pendant lamp U-Line. A unique project, extraordinary and consistent, that came to life thanks to the company’s creative approach of turning light into a sensory experience, it is a masterpiece featuring the highest quality manufacturing. Drawn from traditional artistic chandeliers, reinvented and stylised to reflect the


enchanting light of gleaming crystal drops, U-Line is a horizontal line floating lightly in space. Crystal drops are freed in random harmony from a dense wire mesh covering the source of light yet revealing, as if by magic, the extraordinary play of light multiplied by a myriad of sparkles within the crystal’s clearness. Available in different lengths and colours the chandelier can be combined in pairs or in compositions of different elements to illuminate large areas, while still conveying its sculptural force. The careful selection of crystals, the uniqueness of each design and the skills of master craftsmen reveal the unparalleled value of the ‘Made in Italy’ stamp. With one eye on tradition and the other on the future, the work of Lolli e Memmoli offers a new, erudite interpretation of the past, transforming it without destroying its original character.

1. The bespoke chandelier designed for the A.Roma Lifestyle Hotel in Rome. 2. Alpha Project - composed of two curves and two straights segments of different size. The modules can be combined in infinite ways, original free and asymmetrical layouts. 3. The two casinos and piano bar of the exclusive cruise ship European Vision, features two huge chandeliers in different amber shades. Each piece features over 30,000 crystals, is illuminated by 156 lamps, and is composed of 25 parts which were assembled on site, weighing 800kg and a diameter of 5m. 4. The Viet collection embodies a union between eastern and western cultures. Shaped like a lantern, the almost inexistent structure is softly draped with a fabric-like mesh of crystals that reflect titanium grey and purple iolite shimmers.



Euroluce Preview April 4-9 2017, Milan, Italy

Euroluce Salone del Mobile

With 38,000sqm of exhibition space and 450 industry leading exhibitors, half of which are foreign, the international lighting exhibition – now in its 29th edition – is recognised as the global benchmark lighting exhibition, where technological innovation and design culture take centre stage. The array of goods encompasses products for outdoor, indoor and industrial lighting to lighting for shows and events, hospital lighting and special use lighting, home automation and lighting systems, light sources and lighting application software. Euroluce stands as an avantgarde trade fair in the field of eco-sustainability and energy saving in both the decorative and architectural lighting technology sectors.

Type 75 Mini Metallio Anglepoise

Swing Barovier & Toso

Flintstone Brand Van Egmond

Anglepoise's new Type 75 Mini Metallic desk lamp, available in gold, silver and copper lustre is a high specification task light that brings a new richness to the functional elegance and engineering that is synonymous with Anglepoise. Suited to be paired with the metallic wall light for a fully coordinated lighting solution.

Borovier & Toso's Swing ceiling lamp features parts that can change its position depending on the vision of the client, giving rise to ever changing combinations and lighting scenarios. Like all Barovier & Toso collections, it can be made to measure and thus suitable for use in interiors and for large dramatic installations.

Every stone is unique as well as being a functional counterweight. A movable branch arm allows the light to be adjusted and easily moved. With finishes either in black, white or high gloss nickel, the collection has a basic, yet classic appearance. Every stone captures the emotion of eternity as well as being used as a function counterweight.








1. Timeless Contardi

2. Navicula David Trubridge

3. Marx Martinelli Luce

Timeless is the latest luminaire designed by Staffan TollgĂĽrd as part of his ongoing collaboration with Contardi. Softly curved opaline glass is combined with rich metal detailing to create a satisfyingly solid nod to the past. Timeless is a beautiful example of functional sculpture: an enduring form whose function is at first concealed.

David Trubridge's latest design Navicula is inspired by underwater Diatom. Available in three sizes, the pendant is lit internally by a custom bamboo LED bar. As David Trubridge Design is known for its sustainable bamboo kitset designs, Navicula is no exception and is shipped flat packed to minimise effects of freight on the environment.

Martinelli Luce’s Marx lamp was designed by architect Richard Neutra in 1928. Marx is a wall lamp emanating an indirect light, and serves as a light sculpture that projects luminous signs on the wall. It incorporates diverse materials such as stainless steel, metal and wood, which are used to construct the frame.

4. Hammer Modoluce

5. Povlamp Povlamps

6. Bend Pole Top Blond

Named after the reassuring household utensil, Hammer is a suspension lamp suited to domestic interiors. It features a lathe aluminium body with tapered shapes and can be finished in a painted matte white or black. Available as a single or multiple suspension, ceiling or recessed spotlight, all versions use LED light source.

Povlamp is an interactive ceiling lamp that is able to create a 3D lampshade in the air. Four remote controlled lightguide profiles are set in motion by a brushless motor. The lightguide profiles use rotation speed to create a three dimensional projection of a lampshade. This effect is based on the inertia of the human eye.

The base in the series consists of a galvanised luminaire body, with a highly efficient LED light source. The depth of the shade creates an even and glare free light while also reflecting the light inside the fitting. The family consists of floor, pendant, pole top and table luminaires for indoor and outdoor use.









1. Alo Viso

2. Praha Lasvit

3. Douille Elstead Lighting

Launching at Euroluce, Viso's Alo is a sleek LED pendant made of frosted glass with clear accents. The frosted glass acts as a diffuser to soften the light output. Alo features a plated metal stem, offered in two sizes, and is available in numerous finishes including mirrored silver and hairline bronze.

Praha by Stanislav Libenský will be shown as part of Lasvit's Euroluce exhibition, ‘Laterna Magica’, which builds on the mutual relation between objects, light and space. At the same time, Lasvit will also introduce new collections created in collaboration with Zaha Hadid, Kengo Kuma, Ed Ng & Terence Ngan, and Yabu Pushelberg.

UK-based lighting brand Elstead will launch over 300 new products in the 2017 supplement catalogue at this year's Euroluce. There are lots of great new designs ideal for inspiring projects. Featured is the Douille table lamp in polished Nickel, shown with optional glass shade.

4. Buchi Knikerboker

5. Arbor Icone Luce

6. Sol 03 Luceplan

Inspired by Shakespeare's quote from Julius Ceasar: "The skies are painted with unnumbered sparks", Knikerboker’s new collection Buchi is made of steel covered with different paintings and leaves. Beyond its galactic appearance, the electric supply is composed by COB LED and dimmable power supplies are available.

Arbor is created from linear elements gathered in order to create a stalk of light. The light comes from simple lines and circles and they give life to an aesthetic and lighting concept which represent both an aesthetic and a luminous element. Arbor is available in white, gold aluminium, silver, light grey and copper.

Designed by Daniel Rybakken, Sol 03 is a pendant light that occupies a large physical space with minimal physical volume. A translucent white film or a metallised mirror membrane is stretched inside a circular aluminium profile. A powerful light source projects a beam onto a large disk, either diffusing or reflecting the light.

Save the date. Join darc and AnglepoiseÂŽ for drinks. Where: AnglepoiseÂŽ Euroluce Stand: F03. Pavilion 13 When: 4pm - 6.30pm, April 5th 2017 Register your interest now:









1. Infinity Manooi

2. Overlay Slamp

3. Guise Vibia

Designed by JĂĄnos HĂŠder, Infinity crystal chandelier awakes the power of eternity. Never ending loops awaken the power of the infinity and symbolise eternity, empowerment, and everlasting positivity. LED presents new possibilities and different ways of integrating light into fixtures and other objects.

The main light source, as well as a courtesy light located in the base, create solid illumination on any surface without disturbing the atmosphere. Creating a peaceful, minimal niche for contemplative work, the brushed copperflex adds a refined richness to the minimal shade, furthering the sensual plays of light.

The Guise collection forms an essemblage of beautiful objects that integrate perfectly with spaces, combining a warm atmospheric lighting with the transparency and richness of glass. Guise explores the phenomena that light conducted through glass is invisible until it meets the edge or is refracted by surface striations.

4. bonnie e clyde Zafferano

5. Diamond 7 Filament Style

6. Random Studio Italia

Handcrafted mouth-blown glass obtained with a ribbed finish, bonne e clyde is available in two different shapes in clear, amber, light blue or amethyst. It comes in a singular or modular version with a canopy, of three, five or eight lights. With matte grey or white painted metal parts, the collection can be customised.

The Diamond 7 from Filament Style provides a clean and simple design. Favouring reduced aesthetics and geometric shapes, the lamp highlights the delicate glow of filament lighting through its handmade cage, creating forms that keep it simple to complement the aesthetic power of a classic lamp.

Random features melted blown glass in an unconventional design, allowing a unique and emotional effect intertwined with the use of precious materials and details. Appearing like soap bubbles floating in the air, Random is suited to a variety of arrangements in clusters thanks to its modularity.











1. Kiwi Astro

2. Mongolfier MA&DE

3. Zosia Schwung

Kiwi joins Astro’s growing range of product families, which bring design unity across a lighting scheme. Wall, ceiling and pendant variations are all available, while the pendant is height-adjustable and wall lights suitable to point up or down. Quality diecast construction is complemented by a plated chrome finish.

Mongolfier is an organic self-wrapped structure, in two shapes: one, more open and airy, the other streamlined. Its name evokes visual lightness, and the product is available in varnished iron with copper or black finish. Designed to light a dining or living space, its vintage recall creates the right atmosphere.

The Zosia collection is an unusual delight that will leave an unavoidable stylish presence, while spreading a pleasant glow across any space. Made of solid brass, mouth blown borosilicate glass and hand crafted in Europe, the unique engineered element allows movement in the composition of the design.

4. Mezza Luna Lavagna In-es.artdesign

5. Setareh FontanaArte

6. Plume Oluce

Handcrafted, Italian taste and fine materials - these are the traits of In-es. artdesign’s Matt Lavagna collection. The Mezza Luna Lavagna pendant light uses a blackboard finish, which can be written on and erased like a real blackboard. It is designed to evoke childhood games, and is made for children of all ages.

The lamp is composed of a sphere in hand-blown white satin glass, magically suspended within a thin metal structure. The play of circular masses and trajectories generates a balanced design of gravitational dynamics. The light from the sphere is diffused into the surrounding space, illuminating the frame.

Plume is an ensemble composed of a table lamp and a floor lamp, each with the same shape and proportions but different sizes. Plume creates the perfect match by combining slim, light shapes, Art Nouveau twirls and expressions, with metal and the latest LED technologies, imposing itself as a classic, yet contemporary collection.



On Show

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





18th May 2017 (

8-12 September 2017 (



21-24 May 2017 (

14th September 2017 (



17–23rd May 2017 (

16-24 September 2017 (



20–23rd May 2017 (

21-23 September 2017 (



22-25 May 2017 (

26-27 September 2017 (



23-25 May 2017 (

3-4 October 2017 (

AD INDEX Alger-Triton.................................................................10-11

Fritz Fryer...................................................................... 159

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


GILE................................................................................... 96




PLDC................................................................................ 147

Architonic........................................................................ 118

Hubbardton Forge.......................................................72

Retail Design Expo....................................................149

Artemide........................................................................ 163

ICFF.................................................................................. 139

Rousseau Design...........................................................91

Astro Lighting................................................................37

Icone Luce.......................................................................65


atelje Lyktan..................................................................105

Illuminati.......................................................................... 131



In-es.artdesign............................................................. 159


Bright Goods..................................................................63

Index................................................................................. 127

Studio Italia.................................................................... 49

Clerkenwell Design Week........................................ 151

INK Lighting ..................................................................23



Linea Light Group......................................................107

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

darc awards ........................................................... 116-117



darc/anglepoise.......................................................... 155

Lolli e Memmoli...........................................................6-7


David Trubridge.........................................................8 9


Wanted Design............................................................. 121

Designheure................................................................... 113

Martin Huxford............................................................. 161

Woka................................................................................ 137

Ebb & Flow.......................................................................111

Martinelli Luce...............................................................101

Yellow Goat Design.....................................................33

Elstead.............................................................................. 161

Megaman........................................................................ 135

Filament Style.............................................................. 129

molo............................................................................... 12-13






#readinginthedarc A roundup of darc’s highlights from Instagram’s world of decorative lighting and interior design!

1. @aqua_creations


119 Same Same shelf lamp in Curry silk #aquacreations #light #lighting #lightingdesign #lamp #sculpturallighting #contemporarydesign #design #designinspiration #interiordesign 2

2. @moooi 2,136 Whether you are flirting with your beloved or with a box of chocolates, enjoy the sweetness of love! Picture by Valerie van der Wal #happyvalentine #valentinesday2017 #marcelwanders #bertjanpot #allyouneedislove


3. @formagenda 21 The Pearls Chandelier 5. Get creative and design your own version. #Design by #BenjaminHopf. #Formagenda #Chandelier #Lustre #LED #Glass #Brass #Gold #Chrome #Lighting #MO17 4

4. stickbulb 90 Bonnie and Yasemin assemble a 9ft x 9ft diamond shaped lattice out of 3ft maple Stickbulbs in our shop. #XDiamond #XCollection #LightFromWood #RUXdesign #maple


5. @prandina_lighting 55 #Equilibre floor lamp, design by Luc Ramael for #Prandina, in the new #Emmegi catalogue. Photography by Andrea Pancino. #interiordesign #lighting #illuminazione #equilibre #interior #officedesign 6

6. arturo_alvarez_lighting 70 Ideal for wall and ceilings, they allow for interesting compositions through their unusual shapes. #arturoalvarez #handmade #unique #lighting #emotionallight #design #interiordesign #pendantlamps #newdesigns #newcollections

ADV DARC_Ch2.indd 1

03/03/17 01:11

darc 20  

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

darc 20  

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