darc 21

DECORATIVE LIGHTING IN ARCHITECTURE #21 MAY/JUN 2017

MILAN DESIGN WEEK GRAND PACIFIC STUDIO JOB BEN ROUSSEAU • CRYSTAL CRUISES • HOTEL LIGHTING • FAVARETTO & PARTNERS • NEW YORK DESIGN • RUYA RESTAURANT

HELEN FLETCHER โ ข EDITOR Welcome to the May / June issue! I'll kick things off by introducing you all to our new Assistant Editor Emma Harris pictured here with me! If you took part in April's Milan Design Week / Euroluce, chances are you've already been introduced as we threw Emma in at the deep end with her first tradeshow, just three weeks after joining the team! Luckily she survived, although I'm not sure her feet will ever quite be the same again - regardless, she's raring to go for her next trip, which takes her to New York for ICFF and WantedDesign. So if you see her pacing the aisles, feel free to stop her and say hello, I'm sure she'll welcome the break!

This year's Euroluce was an amazing experience for the darc team. It was incredible to see such innovation and dedication to moving the decorative lighting sector forward in the world of design. It was also a real pleasure to co-host some of you for drinks on the Anglepoise stand on the Wednesday afternoon - the prosecco was certainly flowing! Having caught up with existing clients and met plenty of new ones, our Milan Design Week coverage is extensive to say the least - our product guide alone is fourteen pages long! We've also got some specially selected interviews with designers for you to browse through, including Andre Fu, Marcel Wanders and Anthony Dickens, all talking about their product collaborations launched at Euroluce. We also focus on emerging talents that caught our eye while in Milan, such as Matthew McCormick from Canada, Duncan Meerding from Tasmania and David Pompa from Mexico.

Elsewhere in the issue, as always, we've got some stunning projects starting on page 28, ranging from a cruise ship by dpa lighting consultants and AD Associates, to restaurants from into lighting and Michelle Derbyshire, to a private residence from Staffan Tollgard - all making use of decorative lighting in individual ways to bring a touch of glamour and grandeur to the space.

You will have seen a lot about the decorative darc awards recently. The voting process has now closed and we've got our winners! We're really excited to share the results with you on May 18 at London's Bloomsbury Ballroom, at the very first darc night dedicated to decorative lighting. It's going to be a wonderful evening celebrating the very best in lighting design (there will be free gin too!) and I'm looking forward to seeing some of you there!

As always, our July / August issue is handed over to our annual design directory 3D. Sent to tradeshows for a full 12 months, it's a great issue to get involved in, so feel free to contact me directly for more info.

#readinginthedarc

Cover: North by Arik Levy for Vibia | Inspired in Barcelona exhibition.

Pic: Xavi Padrรณs

Welcome

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

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

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

be part of creativity. be part of darc night. the darc awards / decorative event celebrating the best in decorative lighting design. bloomsbury ballroom, london, uk 18th may 2017 www.darcawards.com/decorative

#wheredesignmeets #djkx Trade tickets are free in advance / ÂŁ15 on the door www.thedesignjunction.co.uk/register

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DETAILS

Contents

028 Grand Pacific Restaurant

080 Barcelona Design

The Manchester venue gets a new look with a fresh approach thanks to Michelle Derbyshire.

082 Matthew McCormick

Inspired in Barcelona exhibition brings a Spanish influence to Milan Design Week.

The Canadian product designer headed to Milan with his Halo chandelier launch.

089 Studio Job

The designers team up with Italian lighting brand Slamp for their latest collection.

REGULARS

FEATURES

PROJECTS

016 DESIGN NEWS

020 FAVARETTO & PARTNERS

028 GRAND PACIFIC RESTAURANT

072 MILAN DESIGN WEEK

A round up of the latest decorative

The Italian design studio partners

darc's overview of showroom events

lighting news from around the world.

with Vistosi and Torremato for this year's Euroluce.

018 FOCAL POINT: GOTHENBURG COURTHOUSE 026 FOCAL POINT: JW MARRIOT HOTEL

048 BEN ROUSSEAU Childhood loves including James Bond and anything sci-fi play a part in the British designer's product designs.

080 FOLIO: FIREFLY LIGHTING

056 HOTEL LIGHTING FEATURE

Introduced by product designer

LONDON / HONG KONG

ON SHOW

MANCHESTER

036 CRYSTAL MOZART

074 ATELJÉ LYKTAN

EUROPE

042 KNIGHTSBRIDGE RESIDENCE

LONDON

New York-based design studio

launches new designs in Milan.

BARCELONA

061 ART HOTEL

DENVER

WONDERGLASS INSTALLATION

068 COMMENT

062 THE WAREHOUSE

Astro Lighting's founders John

DESIGN SHOWS FOR 2017

130 SOCIALIGHT

INSTAGRAM HIGHLIGHTS

their thoughts on considered hotel bathroom lighting.

its new hospitality range.

076 STICKBULB LAUNCH

Robert Sonneman.

Fearon and James Bassant share

The Swedish lighting brand launches

059 GRAN MELIÁ PALACIO HOTEL

086 FOCAL POINT:

128 CALENDARC

and parties from Italy.

080 INSPIRED IN BARCELONA Spanish lighting brands take to the stage during Inspired In Barcelona

SINGAPORE

exhibition.

102 EUROLUCE REVIEW

Thirteen pages of new launches from 064 RITZ CARLTON Italy's biggest lighting show!

PUERTO RICO

089 STUDIO JOB

066 RÖNNEBERGA KURSGAARD

The Belgium-based design duo

explore the world of lighting.

STOCKHOLM

124 DESIGN IN NEW YORK We speak with the WantedDesign founders on what makes New York's design scene unique.

THE MAGAZINE

DESIGN

CORPORATE

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

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

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

Editor : Helen Fletcher h.fletcher@mondiale.co.uk

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

Assistant Editor : Emma Harris e.harris@mondiale.co.uk

FINANCE

International Advertising : Stephen Quiligotti s.quiligotti@mondiale.co.uk Editorial Contributor : Maria Elena Oberti maria@meoberti.com

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

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

FIRE & ICE T H E

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C A P A B I L I T I E S

O F

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

Italian design heads to London

Pic: Pierpaolo Ferrari

(UK) – Following the success of Milan Design Week, Artemide will exhibit at this year’s Clerkenwell Design Week taking place from 2325 May in London. The Italian lighting brand will showcase its latest novelties by leading international designers and architects against the brick backdrop of Icon House of Culture.

Latest releases shown at Euroluce included collaborations with Foster & Partners on the Orsa pendant; the Unterlinden table lamp by Herzog & de Meuron; and the Yanzi, a collaboration with Shanghai-based design studio Neri & Hu, which merges nature and technology.

Clerkenwell Design Week will feature seven exhibitions taking over distinctive spaces across the area, including world famous nightclub Fabric, which will host Icon House of Culture. This year the exhibition will feature a careful selection of top international lighting and design brands with the show’s first stand-alone lighting show. Over 80 showrooms also welcome visitors to explore a host of product debuts, collaborations and installations. www.artemide.com

Lee Broom designs Bergdorf Goodman windows

Cox London launches South Belgravia showroom

UK artist presents light installation at INDEX

Panzeri celebrates 70th Anniversary during Euroluce

(US) – British designer Lee Broom partners with Bergdorf Goodman men’s store to design its four menswear windows located on the exclusive address of Fifth Avenue, New York. The windows will be unveiled on May 11, 2017 to coincide with the launch of NYCxDesign and Frieze and will run until early June 2017.

The partnership will see Broom curate his unique product collections alongside the latest Summer 2017 menswear fashion. www.leebroom.com

(UK) – Cox London has launched its first ever showroom.

Located on Ebury Street, London, the showroom is in the heart of the Pimlico Road design district. The new opening will bring a valuable contemporary edge to the famous design-focused area in South Belgravia.

The space will showcase its new collection of lost wax cast bronze furniture and lighting, designed by Nicola and Christopher Cox in the North London design studio. www.coxlondon.com

(UAE) – Artist Debi Keable will present her latest work ‘A Walk in The Trees’ at this year’s INDEX show. The installation formed part of the Hull Freedom Festival in the UK, which saw the opening ceremony ‘The Long Walk to Freedom’ light trail bring together installations, all inspired by Nelson Mandela, The Long Walk to Freedom light trail saw his greatest moments and achievements reimagined as installations of light, colour and sound. www.indexdesignseries.com

(Italy) - Panzeri showcased a new logo at Euroluce to celebrate its 70th anniversary, based on the silhouette of the Jackie desk lamp and the Golden Rings ceiling fixture, two of the company’s bestselling lamps. Panzeri’s story began in 1947 with Carlo Panzeri, who started a company specialising in manufacturing components for lamps.

Now very much a ‘modern’ company, Panzeri continues to gain success globally in the decorative lighting sector. www.panzeri.it

Classy Outdoor

new MUSE LANTERN BATTERY OUTDOOR Design by Tristan Auer Rechargeable Battery autonomy: 12 hours IP65

www.contardi-italia.it facebook: contardilighting instagram: contardi_lighting pinterest: contardi_light

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FOCAL POINT

focal point GOTHENBURG COURTHOUSE GOTHENBURG, SWEDEN Even by the start of last century, the City Court and borough administrators of Gothenburg had outgrown the courthouse premises. Further expansion was necessary and in 1912 an architectural competition was announced and won by Gunnar Asplund.

His proposal was for an extension in classicist / baroque style, however it took until 1934 before a decision was made to actually go through with the project. By then, the original proposal had been amended several times and the style had become more functionalist.

Finally completed in 1937, the faรงade is now rendered and the internal walls are clad in wood. The interior is dominated by the large hall with its roof lights and glass walls facing the courtyard. Asplund was also commission to design the furniture, lamps and fabrics for the extension.

More recently, Blond was chosen to be part of the restauration of the Asplund-extension and tasked to restore and reproduce luminaires originally designed by the architect. Since this project Blond has been honoured by the Asplund foundation and living relatives to continue producing his luminaires. www.blond.se www.gajdarkitekter.se www.kristerengstrom.com Pic: Krister Engstrรถm

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PROFILE

The DNA of Design Favaretto & Partners has a rich history in the Italian design industry. Having collaborated with numerous design teams on countless products, their most recent work sees them enter the world of lighting, as Helen Fletcher discovers.

Curiosity, tenacity and a passion for research have characterised the work of Favaretto & Partners for more than 40 years. The design studio was founded in 1973 by Paolo Favaretto and went on to be one of the first in Italy to engage in business internationally with companies in North America, Europe and Asia.

Ever since, a reputation for reliability and competence have helped the studio establish long-lasting relationships; using a variety of production methods, the studio prides itself on design precision and a keen interest in research within form and function innovation.

Born in Padua in 1950, Paulo graduated in Architecture at the Higher Institute of Architecture in Venice, IUAV where he attended lectures conducted by Professor Carlo Scarpa. After graduating, he immediately launched his freelance profession, followed by the launch of the

design studio that today bears his name.

An active designer and consultant for the industry, he has collaborated with many prestigious Italian and foreign companies and has won a wide variety of important prizes and awards.

A past president of the Delegation of Veneto and Trentino Alto Adige of the ADIAssociation for Industrial Design, Paolo was also founder and president of IIDD-Italian Design Disability Institute (now DFA-Design for All) and an executive member of the DFA; while he currently represents Europe ADI at BEDA-Bureau of European Design Associations.

Today, the designer holds conferences and lectures at international design universities and institutes, including undergraduate courses in Industrial Design at the Politecnico of Milan and the IUAV of Venice; the Italia Design School of Padova; and National College of Art and Design in Dublin

to name just a few.

In 2009, Paolo’s son Francesco Favaretto joined the studio – taking the business even further into wider areas of design. As such, Favaretto & Partners’ work can be seen across a multitude of platforms from furniture and lighting, to home décor. Born in 1983, also in Padua, Francesco graduated in Industrial Design from the Institute University Architecture of Venice, having attended lectures by architect and designer Tobia Scarpa.

Francesco’s design career started life in the fashion industry, co-founding his own brand Mofodesign following graduation. Once the brand was established, a new challenge was in order and so the young designer set off for Canada to start a new career in industrial design. “Upon my return, I decided to continue in the field of industrial design and approached my father about joining forces to set up Favaretto & Partners

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- the rest is history,” says Francesco. “I moved from fashion to industrial design because I needed something more durable rather than something that lasted for a season only… Today however, product design is moving more towards the pace of the fashion industry. Product lifespan is becoming shorter and shorter. Perhaps I should swap back to fashion?”

For Paolo, industrial design has been a lifelong passion, spending all of his time drawing and experimenting, whether with pen, pencil or watercolours. “I have always been inspired by the old masters,” he tells darc. “But one thing I always try and remember when designing products is that it has to improve someone’s life.”

While lighting is one of the fields less explored by the design studio, it has, in the last three years collaborated with Italian brands Vistosi and Torremato to create three new product lines, all of which were showcased at this year’s Euroluce.

“Our approach to design does not change

whether it’s a lamp or a chair,” Francesco says. “For me, it is important to know the DNA of a client and their industrial process, this influences the end design.”

“Light is important in a lamp, just as comfort is in a chair,” adds Paolo. “My personal goal every time I start to think about a new product is that a design should not only look aesthetically pleasing but should be practical and make life that little bit easiern for the user. Lighting is a really important element to any space in order to create an emotional feeling. From a functional point of view, lighting has to help guide the eye from dark to light.”

Favaretto & Partners’ latest design for Torremato is the Metissage collection.

Introduced at Euroluce, the collection can be defined as a mixture of cultures, flavours, travel and aesthetic influences that have inspired the designers over the last few years.

“We are constantly stimulated by external influences from an unstoppable changing,

of everything that surrounds us,” the duo tells darc. “It is the designer’s task to pick up and assimilate these influences, in order to translate them into useful and original products.”

For the Metissage collection Favaretto & Partners started to think about the archetype of the lamp ‘the lantern’ that is an icon of lighting. With the actualisation of the lantern as inspiration, it comes from the sophisticated decorative effect of the glass – sublimation, which is digitally printed.

Metissage blends together classic, simple, timeless shapes with a futuristic vision and at the forefront of the idea is customisable digital printing technology. This collection combines the essential architecture of the structure with the particular effects of light on the different patterns of the glass.

The flexibility of Metissage comes from the dimensional modularity of the product, but also through the ability to choose the design of the glass, thus giving the user the opportunity of having their own personal

Westfield Chermside

we design cool stuff www.yellowgoatdesign.com London

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Australia

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USA

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Canada |

UAE

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PROFILE

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custom-made lamp.

Over on the Vistosi Euroluce stand, Jube was born from the union of two types of blown glass. Essential, sinuous and delicate, once assembled together they create a play of overlapping and a tone on tone effect with a retro vintage charm. Thanks to a powerful water jet, which allows holes of very large diameters to be created on the glass, the combination of the different glass is integrated in the best way, avoiding the exposure of edges and making them look as though they were a single piece. The lower glass is glossy and white, while the upper glass is one of three colour variants – antique green, smoked and scorched earth. The LED light source, with integrated module, allows for a diffuse and powerful light.

Also new for Vistosi is the Sata lamp, which has been developed off the back of the successful Trepai product shown at Euroluce 2013, which used bi-material of wood and crystal. In this latest edition, the wood is even more emphasised and the collection includes three versions: suspension, table and floor. Talking design in general, for Paolo, when asked about notable collaborations during his career, he says: “Several years ago I designed some lamps for Firme Di Vetro, Murano Due and also for a Japanese brand called Koizumi.

We also started collaborating with a Chinese brand called Candelah in 2012, these were all highlights.”

“For me, it is our work with Vistosi,” says Francesco. “I am really proud of our work designing the first multi-material lighting range for them. I’m also excited to see how Metissage designed for Torremato will be received.”

Looking ahead, the design duo were tight lipped about their future collaborations, a sign perhaps that their enthusiasm for design and creative flair will see some interesting projects unveiled in the not so distant future. www.favarettoandpartners.com

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Previous page Paolo and Francesco Favaretto.

1. The Jube collection for Vistosi is a union of two kinds of blown glass.

2. The Sata collection for Vistosi combines materials glass and wood for an elegant affect.

3. The Metissage range for Torremato brings an interesting and vibrant mix of influences to the design.

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FOCAL POINT

focal point JW MARRIOTT HOTEL KOLKATA, INDIA The new JW Marriott Hotel in India is adorned with light fixtures produced by Czech company Sans Souci. So as to become part of the first hotel of the world-renowned chain in Kolkata and the surrounding region, they had to travel over eight thousand kilometres. This is the distance you would have to cross to the NovĂ˝ Bor region in northern Bohemia, where the light fixtures had been produced in their entirety.

The hotel has opted for natural elegance produced by the gentle shades of white and natural brown. The same style is honoured by the light fixtures in all the public spaces, which are modern and visually simple, yet very impressive. As soon as you enter the hotel lobby, your attention is caught by a crystal braid spanning 21-metres and weighting 650kg.

It is made up of 40 metal rings of different sizes which are equipped with LED strips and interlaced with cut pendants. An incredible 8,000 cut prisms were needed to produce the rings. www.ss-gd.com

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Layer Upon Layer of Light Formally Manchester’s historic Reform club, Grand Pacific was the perfect venture to restore the building to its former Victorian glory. Taking inspiration from the grand colonial hotels of South East Asia, the restaurant feels timeless, classic, yet very contemporary.

Pics: James Brown

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Built in 1870 -1871 the Venetian gothic style building was a former Victorian Gentleman’s club. More recently home to Room restaurant and bar, Living Ventures took over the property in 2015 and handed the brief to interior designer Michelle Derbyshire who had previously worked with them designing restaurants Australasia and Artisan. Derbyshire was wholly immersed in the project from conception, taking on more of a creative director role, designing everything down to the uniforms, overseeing the graphic design for the menus and the website, she even had a part in curating the sound for the space.

“I felt like the marketplace was flooded with restaurants and bars and Manchester really needed something with a point of difference, something classic and old school, an establishment that feels like its been here forever,” she tells darc.

Referencing Raffles flagship Singapore hotel, Derbyshire wanted to bring a relaxed,

colonial feel to the grand Victorian dining room, citing the building’s beautiful arched, floor-to-ceiling windows as inspiration.

Climb the grand oak staircase towards the first floor entrance and you’re greeted by a vast chandelier made up of antique Chinese birdcages housing filament lamps, adorned with ivy and finished off with life-size majestic looking peacocks. The installation, greenery and huge mirrors give the space a menagerie feel, Derbyshire’s nod to the Palm courts of yore.

“It’s a transitional space, so I wanted it to have an impact, I wanted people to stop and explore it a little more, wonder what was going on and what was to come further on in the dining area,” she says. Enter the historic dining room and immediately you’re drawn to the spectacular bespoke palm chandelier that overhangs the 25 seat long bar. Born from Derbyshire’s love of 1950's toleware chandeliers, she designed the piece right down to the ornate finishings

and lamps, collaborating with Tyson Lighting to make the vision a reality. Luke Artingsall, Lighting Design Director of Tyson Lighting explains the process: “The chandelier was hand fabricated and individual leaves were laser cut and hand formed to make each of the large palms, which array from the central clad stem structure. Various samples and leaf options were manufactured and presented to Michelle as part of the development process and the final chandelier was constructed and fabricated in Tyson’s Blackburn headquarters then broken down in component form for construction onsite.

“In this day and age, objects of this stature which, celebrate hand craftsmanship are few and far between, I expect the chandelier will go down in history as an iconic piece for Grand Pacific and Manchester. The design is just timeless.”

The chandelier isn’t the only lighting feature in the spacious dining room.

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Separating the bar from the dining area are two, 5.5 metre screens, inspired by the building’s window arches. The screens are lit by amber tinted bespoke, cut crystal decanters; something Derbyshire describes as very “English and old school service based.” In a nod to the building’s previous life in the city’s financial district Derbyshire took further design inspiration for the screens from an old Chinese abacus.

“I wanted the lighting to read at the same level of warmth as you look across the space. We have a lot of grey skies in Manchester and I wanted to counteract that through the light and furnishings,” she explains.

Derbyshire’s vision for the decanter screens was a particular challenge for Tyson Lighting: “We had to overcome detailing issues related to fixings, wiring and also the sheer size of the structures,” says Artingstall. The decanters were fixed bottom-to-bottom creating symmetrically lit

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features on each rod structure. Tyson had to work to extremely tight tolerances with this feature and as such designed and fabricated each rod to the millimetre. The Grade II listing of the property also restricted any architectural lighting or altering of the walls, to combat this problem - suspended from the truss, above the fixed banquet seating area - each table has an individual mirrored disc drop pendant, helping to lower the ambient light source whilst creating the perception of a lower level and more intimate space. Tala filament lamps create a sense of warmth and are set to a comfortable dimming level, ensuring the decorative aspect of the filament is visually exposed without causing an uncomfortable glare.

“In an ideal world we would have had wall lights instead of the candle sconces,” says Derbyshire. “I would have also put pendants over all of the tables, which would have looked wonderful silhouetted against the

windows, but I couldn't do that, so we used the existing truss and added a couple of struts, using par cans to light the two seater tables from above.”

The height of the space was also a key challenge for Tyson when it came to implementing the two seater table lighting: “To achieve the contrasting pools of focused light and pin spotting to tables we needed to ensure the specification of equipment was tried and tested,” says Artingstall.

“As such, ETC Source Four mini LED gobo projectors were specified to provide punch and accuracy across the 5,000mm height.

The gobo projectors allowed us to focus and defocus the beams giving both sharp edged pools of light. In order to achieve a very narrow pinspot of light onto the tables, bespoke Rosco gobo discs were designed and tested to ensure the diameter of the pool of light worked with the table.”

It’s clear that the lighting in every aspect of the restaurant, inside and out, was a

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big consideration for Derbyshire; even the bathrooms have a thoughtful, classic scheme. Making use of Jim Lawrence brass wall scallop lights and soft architectural lighting, when inside the cubicle through the slotted louvre, layers of gold light filter through. Given the building’s height and first floor location, Derbyshire was also very keen on gaining awareness of the space outside, mindful of how long the building had been empty. As such, RGWA LED projectors were specified for the external windows revealing light to draw the gaze upwards and towards the first floor restaurant. Compact LED spotlights were specified with narrow beam optics and finished in the A stone RAL colour to blend with the building’s natural stone façade.

The lighting system has the capability to be

programmed to provide dynamic animations and lighting sequences via an individually addressable DMX system. Warm sunset animations with pastel tones were used to amplify the conceptual idea of grand old colonial hotels of South East Asia and the sunsets that fall upon them. “The lighting system was used so we could emulate a sunset,” says Derbyshire. “I wanted it to radiate gold, through to dark red and back again. We illuminated the building’s arches, so you’d pick up on all of the high level lighting, looking up from the street below, you see the screen, the chandelier, the sconces, just layer upon layer of light. For me lighting is fundamental to design, you can have the most beautiful space and kill it with the wrong lighting.”

Artingstall cites Tyson’s collaboration

Opening Spread Grand Pacific dining room featuring the stunning bespoke palm chandelier overhanging the long bar.

Previous Page 1. Bespoke pendants housing Tala lamps illuminate the tables. 2. Jim Lawrence brass scallop lights provide a gentle glow in the ladies bathroom.

This Page The eye catching bespoke, menagerie installation wows guests making their way up the grand staircase.

Next Page A closer look at the bespoke, cut crystal screens, elegantly separating the bar from the dining area.

photo Lorenzo Pennati

Aires

darc aprile.indd 1

design

Ivan Lolli, Mario Memmoli

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

20/04/17 17:39

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with Derbyshire as a huge achievement in the company’s history of bespoke manufacturing: “At Tyson Lighting Design, we’ve worked on a range of unusual and visually stunning projects, ranging from hotels, event spaces, light art installations, and high-end hospitality projects. For me, Grand Pacific stands out from the crowd. It’s a classically lit space with the backdrop of the beautiful historic architecture. The lowlevel table lighting creates a real sense of intimacy within the space, similar to a scene from a bustling 1920’s atmospheric table lit restaurant. Even with the architectural heights, your eye is naturally drawn across the low level perspective of the interior, capturing the different intensities of light and shade on the horizontal surfaces.

With the backdrop of the arched windows and the dark wood materials, this really amplifies the warmth and contrast of the lit environment. Both the palm chandelier and decanter screens were testament to our design and engineering skills and stand out as huge achievements in the company’s history of bespoke manufacturing.

“It was a pleasure working alongside the visionary designer Michelle Derbyshire on this project. Her enthusiasm and attention to detail was infectious, and undoubtedly improved our game to make this one of the best projects we have designed and delivered to date.” www.michellederbyshire.com www.tysonlighting.com

design details GRAND PACIFIC, MANCHESTER CLIENT: LIVING VENTURES INTERIOR DESIGN: MICHELLE DERBYSHIRE LIGHTING DESIGN: TYSON LIGHTING

lighting specified BESPOKE PALM CHANDELIER: TYSON LIGHTING ONE OFF VINTAGE PIECES iNDIVIDUALLY SOURCED TALA LAMPS BRASS WALL SCALLOP LIGHTS: JIM LAWRENCE

PERFECT DUALITY The Edge Reader elegantly combines ambient lighting with the directional functionality of an LED reading light.

Because good design demands simplicity.

Model: Edge Reader

2O

YEARS

astrolighting.com

1997 - 2017

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A Ship For All Seasons Tasked with creating the world’s most luxurious river cruise ship for the award winning Crystal Cruises, interior designers AD Associates worked with dpa lighting consultants to deliver Crystal Mozart, a spacious, state-of-the-art river yacht.

Pics: Courtesy of AD Associates

Crystal Cruises is renowned for its superior, all exclusive cruises and is currently undertaking extensive plans for expansion branching into the super yacht, river cruise and air markets.

Mozart is the first release in the river market expansion and so it was crucial that the ship maintained the high standard brand known and loved by many Crystal customers. At 395ft long and 75ft wide, the all-suite Crystal Mozart is the largest river vessel in Europe.

Following its previous work refurbishing the ocean yacht Crystal Espirit, AD Associates was enlisted to work on Mozart’s public rooms and external spaces. dpa lighting consultants was commissioned to work alongside AD Associates as lighting consultants in a collaborative partnership having worked closely with the operator on a number of projects over the last fifteen years, Mozart was a natural progression for the practice.

A fast paced project, with initial briefings taking place in late 2015 and guest’s embarking by mid July, from her time of

purchase to entering service, the Crystal Mozart was delivered in an impressive eight months.

“The pace of the project meant there were four main contractors appointed, which is completely normal for a dry dock and something we are used to working with,” Stephanie Harris of dpa lighting consultants tells darc. “This necessitated the need for close coordination with each contractor to ensure the desired sophistication and continuity through spaces was achieved.”

Entering the river cruise market for the first time, there were many operational challenges faced by the operator and subsequently the design team. For Chris Finch of AD Associates: “Working with an existing structure and preserving the character of Crystal Mozart, whilst creatively reimagining her interiors was a test of skill. Different regulations and the characteristics associated with river cruising meant that we had to distil the Crystal ‘experience’ down into a much smaller package. This was successfully achieved, whilst retaining a six-star

elegance, synonymous with the brand’s reputation.”

For dpa, the main challenge on this project was the lighting programme, but the strong working relationship and trust shared with Crystal cruises, along with AD Associates meant that the programme, design coordination and end result was achievable.

While architectural lighting provides theatre and drama to the ship, the decorative lighting adds personality and character. The lighting on-board helps to tie the various areas together and dpa worked closely with the interior designers and manufacturers on the technical side to ensure the lampings, fixings and dimming were appropriate for the ship environment.

This resulted in a unified design with changeable moods.

“The Crystal Mozart has a great sense of warmth stemming from a subtle layering of textures and design, highlighted by a sympathetic lighting scheme that makes use of bespoke fixtures from Chelsom,” says Harris.

Warm dim technology was used within the

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recessed downlights in the guest areas, enabling dpa to capture the warmth, optical performance and quality of light associated with a high-end quality project.

“The decorative lighting gives personality to the individual spaces and varying scene settings allow for a layering of light and texture, thus adding depth to the designs overall,” says Finch. “AD Associates places great importance on the decorative lighting with any project - it is a key articulating and rendering element to the final design.”

In terms of structural constraints, weight is a serious consideration when designing a river vessel and as such, suitable fixings

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were very much a consideration when working on the main decorative lighting feature in the palm court.

The organic decorative ceiling fittings to the Palm Court are an eye catching design feature; originally a free form organic structure with integral lighting, concealed supports had to be fitted behind the ceilings to carry the weight of the fittings.

As well as this, a major structural constraint was the low ceiling height (2150mm) and minimal ceiling void, which is something interior designers rarely work with.

“This meant offsets and positions for the

architectural lighting had to be carefully considered,” explains Harris.

To distract from the low ceilings, new skylights were introduced into the existing structural elements of the vessel. Bringing daylight into the spaces they naturally convert to unique light boxes in the evening and have helped to bring an air of space and natural light to Crystal Mozart.

In the short time the Crystal Mozart has been operational the ship has received great reviews, fast becoming labelled as a ‘game changer’ for the river cruise market.

Above all the Crystal Mozart was a team effort Finch describes as ‘refreshing’.

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

One of the most distinctive signs from Vietnam is the hat used by women in the countryside to protect themselves from the sun and the rain and as a basket to carry food.

NĂ“N LĂ is the name used to describe this Vietnamese hat and it is also the name we selected for this lamp.

Jorge Pensi Design Studio

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Opening Spread The stunning dining space 'Vintage Room' features drop pendants from Terzani over the table space, while the onboard bistro makes use of modern decorative lighting elements from Original BTC over the bar.

Previous Page 1. An ambient scene in the Waterside restaurant is created through the use of Neoz cordless table lamps 2. The Blue Bar features plush interiors and is offset by sleek lighting from Chelsom using Segula lamps. 3. Even the restrooms receive that touch of elegance, providing just the right light to freshen up, thanks to Tom Kirk pendants.

This Page 1. The Connoisseur Club is a warm and cosy space featuring simplistic wall and table lamps from Porta Romana.2. The Palm Court and Cove space features a stunning bespoke lighting sculpture bringing glamour to the space.

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“Everyone involved had a common aim and pride, thus creating a truly special vessel which is very much a ship for all seasons,” he says.

For AD Associates, working with lighting designers dpa benefitted the design overall and allowed them to gain the best from the interior schemes created.

“Successful lighting is crucial to any interior and can help bring design details and room features to life, whilst overcoming common problems such as glare,” says Finch.

“We always seek to maximise return on investment for clients and the design studio in general. Carefully considered lighting and

utilising the expertise of lighting designers is regarded as a solid investment.”

Reflecting on the project, Harris adds to this, telling darc: “As a team we have achieved the most luxurious river cruise ship within an extremely challenging programme. The overall ambience of the spaces working together, along with the variation and differing characters of areas and the considered flow of light levels combined, has created a truly sophisticated environment.” www.adassociates.london www.dpalighting.com

design details CRYSTAL MOZART CLIENT: CRYSTAL CRUISES INTERIOR DESIGN: AD ASSOCIATES LIGHTING DESIGN: DPA LIGHTING CONSULTANTS

lighting specified CHELSOM ORIGINAL BTC TERZANI TOM KIRK LIGHTING SEGULA NEOZ PORTA ROMANA

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Bridging Old & New Award-winning architectural interior designers Staffan Tollgård Design Group transformed a Grade II listed Georgian townhouse on the border of Belgravia and Knightsbridge, into a stunning, functional, family home.

Pics: Richard Gooding

With a wealth of experience transforming historical properties, Staffan Tollgård was approached by a leading property developer to fully design a listed Georgian property as part of a wholesale refurbishment.

A mammoth project, that took four years to complete, the company worked closely with the project team and PEEK Architecture + Design to bring the property into the present.

“The client understood the importance of being respectful of the building’s history, but also needed the property to work as a 21st Century family home,” Staffan Tollgård, Creative Director of the Design Group, tells darc. The team modernised the property both functionally and stylistically, without losing the building’s history and original architectural detailing. “It was a very tricky space to make sense of: five floors, two staircases, a modern rear extension and traditional entertaining and living spaces combined in a tightly interlocking footprint,” he says.

To combat this, a consistent palette of materials were used to eliminate the thresholds between the old and new parts of the house. Natural stones and woods in subtle tones are combined with a richer, more textured palette of leather and wall coverings to create calm, timeless spaces while warm bronze is a theme repeated within the interior. used on

lighting, joinery, ironmongery and in the furniture. This speaks to both the historic and contemporary elements within the property.

For Tollgård, lighting was a key element that bridged old and new, and for this reason the design team carefully curated decorative lighting pieces that had a modern take on more traditional forms.

Simple lanterns illuminate the halls and landings whilst chandeliers dominate the main living spaces. During the day the lights double as sculptures, contrasted against the historic architectural detailing and the bamboo grove on the ground floor.

“These sculptural pieces evoke craft traditions of the past with their fine workmanship and use of hand crafted materials and techniques,” explains Rosalind Calow-Harris, the lead designer on the project and Residential Design Director. “Our choice of predominantly American suppliers taps into a new wave of new industrial/artisanal manufacturing in New York, North Carolina and Charleston.

Suppliers like Roll and Hill, Kevin Reilly, Apparatus and Urban Electric use traditional manufacturing processes and solid, honest materials, offering a counter point to the more luxurious materials and soft furnishings throughout the house.”

On the ground floor, the dining room is walled in a hand-painted de Gournay silk

bamboo glade. The angularity of wall and chandelier lights from Roll and Hill add a modern edge and energy.

In the adjoining drawing room another Roll and Hill pendant picks up the bronze detailing and splayed shapes in a softer configuration, while a Bocci chandelier provides sculptural interest over the masculine lines of the kitchen. The clarity and scale of the Bocci 28 Series work perfectly with the contemporary lines and rich materials of the Eggersmann kitchen.

“We like to choose the decorative light fittings ourselves, but find it helpful to work with a lighting designer on larger projects to help with load schedules and Part L compliance,” says Calow-Harris.

For this particular project the team worked with London based architectural lighting designers Light Vanguard.

“Lighting is such a specialist subject, with advances in technology coming almost daily.

We enjoy working with lighting specialists in order to make sure we have properly understood all the options available to us as interior designers.”

The original townhouse follows a classic Georgian structure with two wellproportioned rooms on each floor, though extensions over time have incorporated a garage within the rear mews and further spaces at half landings and different levels.

A new sub-basement wellness area and gym

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were also planned to further enhance the living space.

The integration of these spaces into a cohesive whole presented a challenge for the interior designers and PEEK Architecture + Design.

“We had to realise a spatial arrangement that would flow through the building whilst accommodating the constraints imposed by both the structure and the listed status,” continues Calow-Harris. “Our client's desire for a contemporary interior had to be worked around the existing period features such as intricate cornices, stone fireplaces, panelled wall mouldings, skirting, doors and original staircase. We preserved these,

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and chose classic contemporary furnishings, finishes and colours to complement and bring this period property into the present day.

“Working with the small proportions of the room meant we had to choose our furniture and lighting pieces carefully.”

Due to the Grade II listing of the property architectural lighting was restricted and the designers were not permitted to alter many of the ceilings in the key rooms.

For Calow-Harris the restrictions of the listed nature of the building felt at first like a compromise, now she says: “They made us think harder about how light works and without the ubiquitous spot light we became

more creative, and in turn the house became more beautiful.

“We used a combination of ceiling pendants, wall lights, picture lights, joinery lighting and lamps on a Lutron system, and chose statement pieces – or functional sculptures – that would provide illumination and dramatic focal points in each of the important rooms.”

The architect’s remodelling of the internal (and external) spaces has created a unique home with some standout features. PEEK Architecture + Design created a central light well and courtyard garden, which is enclosed by a four-storey green wall, a vertical axis connecting all the interior

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Previous page top: In the drawing room an Apparatus pendant provides light, beauty and drama. John Cullen spot lights in the joinery and art lights add another layer around the perimeter of the room.

Bottom: The angularity of wall and chandelier lights from Roll and Hill add a modern edge and energy.

1. The Apparatus Cloud chandelier is accompanied by bronze wall lights from Contardi, while John Cullen art lights softly illuminate the circumference of the room. 2. The clarity and scale of the Bocci 28 Series work perfectly with the contemporary lines and the rich materials of the Eggersmann kitchen.

3. The beautiful study features a Soane mirror flanked by Urban Electric bronze lanterns.

4. Outside Tekna wall lamps bring a touch of elegance to the patio area. 5. In the study, sentrylike floor lamps from UK atelier Porta Romana provide task lighting for this elegant work space.

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and exterior spaces, forming a hidden oasis where glimpses of the greenery can be enjoyed from almost every room.

Bringing natural light into the heart of the house fundamentally changed the property – another example of how modern technology has sympathetically revolutionised how the house is experienced today.

Naturally there were many changes over the four-year project, as Calow-Harris explains: “When you specify finishes, furniture and lighting so far in advance of the construction period, you know that certain things will no longer be available when the time comes to procure them, or the client’s idea of the market will have changed.”

Staffan Tollgård’s understanding of what he calls the ‘red thread’ – the core DNA of the design – remained resolute despite the long programme.

“The design existed in our heads and on paper for longer than on most projects.

Thus when it was finally brought together and the builders finally left, our sense of it was overwhelmingly, (almost emotionally) positive.” www.tollgard.co.uk www.lightvanguard.com

design details KNIGHTSBRIDGE RESIDENCE CLIENT: PRIVATE INTERIOR DESIGN: STAFFAN TOLLGARD DESIGN GROUP LIGHTING DESIGN: LIGHT VANGUARD

lighting specified ROLL AND HILL KEVIN REILLY APPARATUS URBAN ELECTRIC CONTARDI JOHN CULLEN LIGHTING PORTA ROMANA BOCCI TEKNA

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Anatolian Dream Located within the Grosvenor House Hotel and overlooking Dubai’s exquisite Marina, Rüya is an Antatolian themed restaurant and bar where traditional cuisine meets contemporary design.

Pics: Rita Tesandori

The brainchild of Turkish restaurateur Umet Ozkanca, Rüya is an enticing concept that fuses a vibrant restaurant, lounge and bar and explores the rich history and diversity of Anatolian food. The project was backed by d.ream (Dogus Restaurant Entertainment and management Group) with plans to expand the concept worldwide, drawing attention to the region’s incredible cuisine.

Arranged across nearly 800sqm, the restaurant can be accessed from street level or the Grosvenor House Hotel. The venue has a capacity for around 230 guests with a mixture of indoor dining areas including a bar, lounge, private dining and an external terrace offering stunning views of the marina. into lighting design practice was appointed by d.ream to work alongside interior designers Conran and Partners to realise

the lighting aspect of the client’s brief for a glamorous, vibrant and contemporary restaurant and bar, showcasing the rich heritage of Anatolian and Turkish cuisine with a modern styling for a contemporary international audience.

Tina Norden, Director of Conran and Partners, tells darc: “The design seeks to draw upon elements of Turkish history and the meeting of Eastern and Western cultural influences from the Byzantine and Ottoman Empires to the present day, reinterpreting them in the materials, patterns, textures and colours we have used.”

Guests are greeted on entrance by a freestanding hexagonal shaped bread oven overhung by a striking installation of suspended rolling pins, illuminated using linear LED profiles with diffuser to provide subtle light; while miniature recessed LED

fixtures shine through the feature to cast shadows of the pins on the façades of the oven.

Over-scaled, gold lined Skylume domes are suspended within an illuminated ceiling coffer in the dining area, housing bespoke chandeliers, designed by Conran and Partners. Consisting of metal rods with filament lamps, the chandeliers give off a warm amber glow against the gold backdrop of the lined domes, anchoring the spaces and defining the central banquette areas.

“The central tables in the restaurant are usually the least popular so we wanted to create a special moment for the guests sitting below these amazing structures, it was important to us that the domes made a big impact on the space,” explains Chris Thornley of Conran and Partners.

All dining tables are lit overhead using light

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fittings with a deep-set lamp and narrow beam halogen light sources, which control the light onto the table while minimising glare. Several of the walls and columns are highlighted with the use of floor recessed narrow beam LED uplight fixtures, whilst a linear LED is concealed above the bespoke 3D tiles to illuminate the wall and give the tiles a floating feel on the façades.

The open kitchen area, where guests can watch their food being prepared is illuminated with recessed halogen downlights, which provide high colour rendering properties and a controlled beam, illuminating the task areas whilst controlling any light spill into the restaurant.

The main feature of the bar area is the large ice machine suspended from the ceiling and illuminated with miniature LED downlights to highlight the metallic finish.

Moving outside, the external terrace area is lit by bespoke pendants, which give the exterior space a warm, intimate feeling. A linear LED festoon system and recessed LED uplights illuminate the living wall providing functional and key focal point illumination.

The control of the lighting was a careful

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consideration for into, ensuring smooth and low level dimming within the various scenes from day to night.

“All LED lighting throughout the project is a very warm 2,200K-colour temperature to provide a warm ambience and is controlled using a DALI protocol to allow for smooth dimming to a low level,” Darren Orrow, Director of into explains.

Lighting has been successfully integrated into the venue where possible, so as not to detract from the finishes and materials within the space itself. into and Conran and Partners have achieved a theatrical lighting scheme, reflecting the quality and authenticity of the food whilst creating a warm and relaxed ambience for the venue.

Norden concludes: “Our design is an interpretation of the high value which Anatolian culture places on nurturing a direct relationship between host and guest in a setting that is warm and generous.” www.conranandpartners.com www.into.co.uk

design details RUYA, DUBAI CLIENT: UMAT OZKANCA AND D.REAM INTERIOR DESIGN: CONRAN AND PARTNERS LIGHTING DESIGN: INTO LIGHTING

lighting specified EL KIAZIM WALL LIGHTS ORBIT SCONCE WALL LIGHTS BESPOKE SKYLUME LANTERNS TOM DIXON ETCH TABLE TEA LIGHTS ICE ROUND 85 OUTDOOR TABLE LIGHTS SKYLUME DOMES BESPOKE CHANDELIERS FROM CONRAN AND PARTNERS

1. The Skylume dome and bespoke chandelier make a striking focal point in the restaurants dining area.

2. Locally sourced bespoke pendants give off a warm amber light providing the stunning terrace with a true Anatolian feel. 3. The main feature of the bar area is the ice machine illuminated by miniature LED downlights to highlight the sleek metallic finish.

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Time to Shine While his dream of becoming a stuntman might not have panned out, other childhood loves such as James Bond and anything sci-fi certainly play a part in British designer Ben Rousseau’s product designs, as Helen Fletcher discovers.

Pic: Joe Mcgorty, Stem Agency

With a background as colourful as his latest clock design, the career of British designer Ben Rousseau could have gone down a number of routes at any given time. Whether it was his childhood dream of becoming a stuntman; or his time in the events industry working with clients including Xbox and on music events in Ibiza; or dressing up as a children’s clown entertainer for a Swedish cruise ship (and at 6ft 4ins that’s a pretty terrifying thought), he’s almost done it all…

Thankfully for the design industry, Rousseau knew from an early age that his calling was something that sat between art, design and engineering. “My dad had classic motorbikes all of his life and had an old 1955 Chevy bell air hot rod when I was at school,” he tells darc. “It was mirror black and amazing! I was really into what some of the American hot rod designers such as Boyd Coddington and so on were doing, I was amazed by the tricked out interiors, the lighting, and wheel design as much as I was with the amazing bodywork on the vehicles.”

Born in Australia, but with an upbringing in England’s oldest recorded town of Colchester, a younger Rousseau soon became tired of the town’s historical tales

and children’s rhyme references of Humpty Dumpty and Twinkle Twinkle Little Star and following his time at Colchester Institute, left to pursue a BA degree in Product and Industrial Design at Middlesex University in North London.

“I left Colchester institute art department wanting to make film sets and special effects models, so went to study 3D model making at KIADW (Kent Institute of Art and Design) in Rochester. While there I spent a lot of time in the workshop and also dj’ing, putting on parties at the weekend. This turned my attention to event props and creating nightclub furniture and hospitality interiors.

“I always felt I had been blessed with plenty of imagination but needed to learn how to get things made, how to use the precision machines I’d seen making those cool hot rods in the States.”

So, throughout his studying Rousseau befriended the workshop technicians, learning how to use the machines, the lathes, drills, milling machines and so on - taking in advice on materials and limitations of assembly and so on. Learning how to fabricate and build while ensuring his designs could actually be made and if

not, then pushing the boundaries of what people and machines could do to get them produced.

It was Rousseau’s university partying days that in fact saw him first introduced to light. Spending a lot of his spare time in “crummy night clubs”, there was always something about UV light and mirror balls that mesmerised him. “Lighting always did something to me and I knew that somehow it would be the secret ingredient in my design work that meant it was different to the person next to me.

“I found LEDs after my trip to Sweden as a clown, my partner for the trip Jai Drew was Captain Hook and a ‘wannabe inventor’, a sci-fi nerd and a great guy, but very clever with taking machines like old photocopiers apart and making something completely different with them, he showed me how to play with basic electronics and afterwards we started illuminating small rods of acrylic, I knew the seed was planted for an obsession with the beauty of light.”

Rousseau’s end of year piece at Middlesex University was a black American walnut table that featured a lighting tray below it, made of Live Edge acrylic, which lights up when it absorbs light through the main

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surface of the material and forces it to the edges. It was the culmination of everything he had learnt; his maturing that led to an aesthetically pleasing style; an appreciation of quality materials; and the skills to build it all himself.

“Shin Azumi gave me possibly the most poignant bit of advice I’ve ever had,” says Rousseau. “The early designs for the table were really over designed and he said ‘just think about how you can simplify the design, look at what you take out to make it more elegant’. I look back at the early sketches with horror as they were so bulky and hideous. I think of those words almost every time I do anything, it’s built in me now.”

As a child of the ‘80s, Rousseau sites his love of Star Wars and James Bond as some key early influences for his designs of today.

“Ken Adam who designed all the ‘bad guy’ sets in the early Bond films was my first hero and then Ralph Mcquirrie who designed all the sets and artwork for the early Star Wars films.”

Today, the sci-fi film theme continues

for Rousseau, with the film Ex Machina a particular inspiration for the designer.

“It was like watching a film pulled straight from my imagination! Modern architecture, concept car design and modern fancy hotels all help add pockets of inspiration here and there, as well.”

The next steppingstone in Rousseau’s career came after he was selected to represent Middlesex University at the new designers show. Following this, Max Fraser asked Rousseau to be part of the Design UK show at Designers Block and then again in Milan the following year. “I got my first decent commission after the Milan show, building a bar and lots of feature items in a lovely property in Beaconsfield. That customer is still one of my biggest supporters. I also met a guy there that is now one of the head honchos at Philips Lighting, he brought over some Color Kinetics kit to show me - it was amazing! Stunning colour changing LED technology blew me away and he’s been a good contact ever since.”

With a style that can be best described

as modern luxury with a flavour of sci-fi and automotive influence, Rousseau has been incorporating light into furniture and event spaces for about sixteen years, telling darc: “It’s the one thing most people can’t imagine how good it will look until it’s finished and in its final setting. It has the power to completely change a space or item.

“Lighting should be used to make the space have a pre-planned feel to it. In a showroom it should be about showing off the product to its best capability; in a bedroom the light should be soft enough to feel at your most relaxed and happy, so every space is different as the tasks are different. People will buy a house because of the good light and the good feelings. I like my products to have a secondary element that gives a double whammy of good feeling. My moon lights give off a nice warm glow but also create stunning shadows all around the room, my Tempus clocks are kinetic light wall artworks but actually work as a 12hr clock as well.”

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Pic: Mitch Payne

Tempus came about after Rousseau created a collection of wall-mounted artworks that used repeated precision geometrics. “I kept going back to using 60 repeated shapes which planted the seed that these designs could then relate to a time piece of some sort,” he says. “I have been using engraved and laser cut acrylic with lighting from the start, varying between polished and frosted surfaces to create form and visual impact inside surfaces. With individually addressable LEDs, I had all the elements I needed to create my newest ideas.”

Before Tempus, Rousseau had noticed that he would just stop and stare at illuminated art pieces. “It felt as though I should be watching something happen,” he says. “I wanted to create a piece that was primarily a beautiful piece of illuminated technical art.”

The piece builds in segments over the course of each minute and hour in a very hypnotic way. “I love to see people view it for the first time when they are instantly attracted to it. They are hypnotised by

the seconds building up and then the next minute appears and they suddenly think, ‘is this some sort of time piece?’ They usually count the pieces and get it… but it’s when I show people the colour patterns that they’re pretty blown away.”

The idea for Tempus came around six years ago, but it wasn’t until one of Rousseau’s business advisers suggested creating something unique that he could send potential clients as a type of calling card before having met them. “I thought the illuminated clock would be an idea no one had seen and would certainly get some attention,” says Rousseau. “So I made the first prototype… When I saw it for the first time I knew it was the start of something quite special. It was mesmerising, the opportunities for it were flooding through my brain!

“Tempus is a clock for the digital generation… a timepiece for the 21st Century. I like the fact that early time pieces used sunlight and shadow to tell time, I absolutely love my watches and they

Production shots of Ben Rousseau’s latest piece, Tempus, a clock for the digital generation that does so much more than just tell the time. Done in such a way that it is visual and stimualting. It can be colour coded to match weather patterns; it can be connected to all sorts of apps and web data so it changes with the information.

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Pic: Mitch Payne

Pic: Jake Fitzjones

almost all have hands but Tempus can do so much more than just tell the time, it’s done so in a way that is visual and stimulating.

It can be colour coded to match weather patterns; it can be connected to all sorts of apps and web data so it changes with information; it can flash to warn people of danger detected in the building… and it will be able to dance to music once I’ve developed the app I want for it.”

Tempus has been designed to be highly versatile with its wide range of material options and lighting options, from beautiful architectural reception areas in large corporate offices to luxury hotel lobbies and hospitality premises. There are highly personalised options to suit the highend residential markets and then lightweight versions for use on super yachts and planes.

Talking with Rousseau on design in general, the notion of ‘throw away’ design is not one that sits comfortably with him, telling darc: “One of the best product designs of my generation is the Technics 1210 turntable, first launched in 1972 and still used in the same way today. I still have a pair myself and will keep using them forever, a piece of great usable product that has been a stable for longer than any other product I can think of, it has a real place in my heart.

“In terms of lighting, I love the Laser Pod Chris Levine designed, I put one in my bathroom ceiling so it casts a lovely moving glow over you and tickles you with laser beams as you look out of the window into the stars from the bath below.

“A good product needs to work well and do the job it was intended but I believe you buy with your heart and that comes down to something being attractive in the first instance. Whether it’s a light fitting, a motorbike, a chair or a pair of shoes, you must be attracted to it to buy it first off, then you get to use it and fall in love with how well it works. A good product is one that pushes the boundaries of technology, material capabilities and improves life - it moves human evolution along.”

Looking ahead, there’s a lot on the horizon for Rousseau’s studio - having worked on a series of sci-fi artworks and automotive inspired furniture for a number of years, the next step will see the team build this into a concept call Super Spaces.

Rousseau tells darc: “I’m working with Helen Chislett of London Connoisseur, who represents my artwork and furniture, on this concept that creates super spec ‘man caves’, automotive storage solutions, private car museums, games rooms, trophy rooms and spaces for entertaining. It’s going to be an exciting chapter for the studio!” www.rousseau.co.uk

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FOLIO

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

Founded in 2003 by former colleagues and long-term friends, John Lau and Peter Veale, Firefly Lighting Design is an award winning independent lighting consultancy with offices in London and Hong Kong.

The company has now completed over 300

projects all over the world, collaborating with interior designers, architects and landscape designers to create something truly special for its clients. With an eclectic portfolio of commercial, residential and public projects, Firefly treats each project as something

new, never falling back on a signature style, or past project, preferring instead to draw upon a variety of influences and inspiration, resulting in some truly innovative work for a broad and diverse clientele. www.fireflylightingdesign.com

HAKKASAN WORLDWIDE Since the opening of the original London restaurants at Hanway Place and Mayfair, the Hakkasan brand has exploded globally.

Firefly worked with interior designers Giles et Bossier and Wood Bagot to create a dining experience, unique to each location but also recognisably Hakkasan.

Blending signature design elements such as dark stained English oak screens and latticing, softly lit handblown glass pendants and backlit blue glass surround the dining area, vibrant intriguing and inviting.

Pics: Paul Riddle

GREAT NORTHERN GREAT NORTHERN HALL, LONDON Designed by Archer Humphreys Architects, the bar opens directly onto the western concourse of Kings Cross on the ground floor of the exquisitely refurbished Great Northern Hotel.

The vibrant GNH bar provides drama and comfort, fusing Belle Epoque style Art Deco design. Huge chandeliers dominate the space, counteracting the modern lighting used throughout the bar area.

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GREAT HALL LALIT HOTEL, LONDON Situated in the former St. Olave’s School, built in 1896 the neo baroque edifice is now home to the luxury boutique hotel LaLit. Firefly collaborated with EPR architects and interior designers, Archer Humphreys on the hotel’s restaurant ‘Great Hall’.

Giant blue chandeliers offer a theatrical focal point in the restaurant's, cavernous double height hall, keeping in mind the brief of the hotel’s 70 room - Indian culture with a quintessential British charm.

CATHAY PACIFIC LOUNGES

Pic: Firefly Lighting Design

Pic: Courtesy of Cathay Pacific

WORLDWIDE Firefly worked with designers Studioisle to bring the client's brief to life, which from day one was to create a home away from home, in contrast to each of the lounges previous incarnation as serious architectural spaces.

The interior design features many decorative luminaires, creating several focal points and breaking up the large spaces into something more intimate, relaxing and inviting.

PLUM AND SPILT MILK LONDON Located in the Great Northern Hotel and designed by Archer Humphreys Architects, Plum and Spilt Milk offers a contemporary twist on the building’s Victorian history. The restaurant with its floor to ceiling windows, boasts 150 handblown glass pendants arranged in clouds around the room, providing most of the ambient light and warmth to the space.

Pics: Paul Riddle

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HOTEL LIGHTING FEATURE

Indulging in Comfort Lighting designer Robert Sonneman has 50 years experience working across various hospitality environments. Here, he shares his thoughts on what makes ideal lighting for hotels.

“Today’s hotel guests are seeking a transformative experience during their stay that relieves them from their daily pressures and invites them to relax in an indulgent and comforting place. A hotel offers the opportunity to explore scale in the pursuit of grandeur and excite the notion of fantasy. It builds anticipation of the experience and transports one to a different reality of service and indulgence.

Lighting is a critical component when setting the environment for the objective of the moment and the overall perception of the property. Colour, texture, location, utility and activity are perceived by the tone, quality and colour of the light that guests encounter. Ultimately, we see what we light; so our mood is reflected in our perception of the space.

Unlike transient properties, we experience our homes as a place to conduct our daily lives. In our homes, lighting is often more about domestic activities than it is about mood and ambience. Home activities can be utilitarian, entertaining and relaxing; therefore, the lighting should be capable of adjustment to serve varied circumstances.

For the high-end hotel, lighting can set the overall tone of drama and /or luxury, or it can create a businesslike atmosphere.

It can be the focal point of a space, the jewellery in the room.

Hospitality environments exist to provide a range of services to guests often using the same spaces for different activities. Public spaces, bars, lobbies and restaurants are often used for casual gatherings, receptions and events, but not always at the same time of day or for like-minded guests. The challenge is to create ambience and moods that are right for the activity, and a luxury hospitality space can accomplish multi-use lighting by managed systems of changeable

colour, quality and intensity.

Application is critical to the success and relevance of a lighting design. My team and I work with architects and designers to realise their aesthetic vision while achieving the intended utility of the space. Bringing a new or interesting approach to each design objective is made more challenging by the need to avoid contrivance. There is a balance between restraint and excess, and the goal is to do things better, that work well.

Often the designer’s vision needs assistance to achieve the functional requirements.

In addition, we need to consider the supplemental lighting and its impact on the effectiveness of the decorative architectural lighting. Lighting is one critical element of many that has to fulfill the utility of its application.

Technology has continued to open new opportunities for these applications. I strive to push the boundaries of innovation to achieve the perfect balance between art and technology. For me, this is the dawn of the place I always wanted to be in creatively because technology has burst open the possibilities of imagination.

Integration is the key to the evolution of lighting science. No longer generated by burning fuel or filaments, lighting is provided by exciting electronic signals to produce luminous energy.

LEDs can be programmed and controlled to provide the perfect mood of illumination to ideally accommodate the time of day, weather, or a special event, creating a memorable experience of luxury. Lighting systems can also respond to occupancy and time of day, or be set in synchronous harmony to music or levels of conversation and noise. Varying the lighting for different utilities can determine the mood and serve

to invite lingering or excite exodus.

My focus today is on using the latest technologies to innovate new directions for modern lighting. The Sonneman - A Way of Light brand commitment is rooted in the principle of form from function, and speaks to the belief that good design works well. In 2017, we introduced new collections of pendants, sconces, lighting system components and luminaires, as well as outdoor LEDs. For the hospitality segment, many of our lighting designs are ideally suited to deliver the perfect mix of sophisticated design and illumination to upscale environments.

For example, Champagne Bubbles, which can be hung singly over a bar or in clusters over a lobby seating area, offers a majestic appeal to an upscale hospitality space. Also introduced this year, the Waveforms family of pendants can be hung in various sizes and lengths to add a dramatic ebb and flow feel to a lounge or restaurant.

Our Suspenders structural LED system was also expanded this year with new luminaires, configuration possibilities, and lighting functionality. This delicately scaled, modular lighting system offers endless possibilities for design configuration and illumination for high-end hotels.

Suspended in a lobby, event or meeting room, or over a bar, Suspenders can be intricately scaled – horizontally and vertically – to provide simple, yet dramatic luxury to any setting. Created to serve both decorative and functional purposes, the foundational system provides the ability to add focused light or the soft glow of indirect illumination to any application.

For outdoor spaces, innovations in exterior decorative lighting are also being driven by the latest LED technologies. Recent advances offer the power, efficiency, and

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1. The Champagne Bubbles chandelier offers a majestic appeal to an upscale hospitality space. 2.

Suspenders offers endless possibilities for design configuration and illumination for high-end hotels.

3. The Waveforms family of pendants can be hung in various sizes and lengths to add a dramatic flow feel to a lounge or restaurant.

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colour variability to illuminate and set the mood and tone of luxury hotel’s entries, walkways and open-air spaces.

Built into paths, pavings, walls, under eaves, doorways, and planted areas, LED exterior systems set programmable illumination for the party at the pool, weddings or the night time vista of the grounds. Controllability and infinite possibilities for integration into the buildings and site conditions create opportunities to paint the landscape with fantasy creating illumination.

When designing lighting products, I avoid trends as guides to inspiration, seeing design as style, not fashion. Fashion is six months and style is 10 years. I don’t try to be different for its own sake. I like the luxury of a clean space and the grandeur of scale. I like simplicity, but enjoy the comfort of well-designed and well-placed seating and surfaces with contextual points of interest. I like being engaged with the energy of people in an exciting and stimulating experience, and high-end hotels provide that opportunity for engagement.

As an architectural practitioner and industrial designer, no single area has absorbed my ongoing curiosity as much as my 50-year pursuit in lighting innovation.

LED has changed our universe because it has empowered us to imagine and create design in the context of a new scale and with new form factors. Freed from the limitations imposed by the heat and size of conventional filament burning sources, advancements in technology are providing the opportunity to reimagine illumination in innovative new ways. As a modernist with a thirst to do more, I am thrilled to always be engaged and seeking what’s next.” www.sonnemanawayoflight.com

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HOTEL LIGHTING FEATURE

Light Travels A hotel is no longer just a place to sleep, a multifunctional space requires a multitude of lighting. Over the next few pages functional and decorative design coincide to make every stay a unique experience.

Gran Meliá Palacio de los Duques

Madrid, Spain A former 19th century palace with a prime location in Madrid, Gran Meliá Palacio de los Duques Hotel is inspired by the work of the famous Spanish painter Velázquez.

Located on the former site of two important buildings: the convent of Santo Domingo and the palace of the Dukes of

Granada de Ega y Villahermosa, the hotel maintains the character and elegance of the original structure, combining timeless luxury with an avant-garde flair.

Nine reproductions of Velázquez’s work inspire each of the suites and public spaces.

Garota from Bover’s outdoor collection

illuminates the terrace boasting stunning views of downtown Madrid. Designed by Alex Fernández Camps and Gonzalo Milà, Garota is made from synthetic wicker, providing a pleasant atmosphere of diffused and enveloping light. www.bover.es

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Verde Complex Podgorica, Montenegro Verde Hotel is part of a recreation complex, located out of the city of Podgorica, Montenegro, along the river Sitnica. Verde hotel grants the necessary comfort and relaxation for guests as well as a pleasant working atmosphere and services, which are designed to make a guest’s stay even more enjoyable. The rooms are decorated in natural tones, with modern lines of furniture. Verde hotel can accommodate 174 people in 81 spacious and cozy accommodation units.

Warp downlights from Linea Light Group have been installed in the restaurant, to add warmth to the area thanks to the light temperature (3,000K) and recessed optics.

Baton suspensions on the ceiling perimeter and Mr.Magoo pendant lights complete the room with their soft luminescent glow. Bart and Mini Angular ceiling lights in the lounge area, ensure uniform lighting, while the Beebo wall lamp has been chosen for the bedrooms. Thanks to the 45º directional optics, with its indirect light beam, it allows for pleasant reading conditions.

The Conus tab table lamp placed on the desk complement’s the décor thanks to its timeless style. www.linealight.com

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ART Hotel Denver, Colarado Originally conceived as part of the overall master plan for the Denver Art Museum complex, the ART Hotel is at the heart of Denver’s Cultural Center. The space includes a 165-room boutique hotel and office, as well as the Museum Residences, retail spaces, the Martin Plaza (an outdoor civic space), and a small museum known as the C.E.L.L. Davis Partnership Architects worked on all components present in the space.

With important contributions from worldrenowned architects like Daniel Libeskind, Gio Ponti, Michael Graves, and Allied Works, the complex is both a multi-use masterpiece as well as a cultural icon for millions of people in the Rocky Mountain West and beyond.

With a welcome gallery resplendent in its museum-quality artwork, the ART offers the finest in dining and hospitality. Each floor is dedicated to a renowned artist with featured works anchoring the elevator lobby and prints displayed in each guest room.

The design leverages the hotel’s proximity

to the Denver Art Museum by fashioning hotel public spaces as galleries where both permanent and revolving exhibits are displayed.

The hotel's restaurant, FIRE’s has an impressive glass vitrine overlooking Denver’s bustling Broadway in the Cultural Center of the city.

Hubbardton Forge’s modern Link pendants featuring hand-blown glass over the expansive bar are an eye-catching focal point for guests. While Stylish Quill LED pendants hang over intimate conversational areas to create a sense of continuity.

Guadalupe Cantu, architect with Davis Partnership explains: “In the selection of Quill and Link pendants, we found a series of fixtures that echoed the dynamic architecture of the ART, a hotel, while serving as the perfect backdrop to both guests of FIRE and priceless works of Art.” www.davispartnership.com www.thearthotel.com Pic: Raul Garcia (Astula, Inc.), courtesy of Davis Partnership Architects

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The Warehouse Singapore City, Southeast Asia Originally built in 1895 and situated along the Singapore River, The Warehouse Hotel was part of the Straits of Malacca trade route. Once a hotbed of secret societies, underground activity and liquor distilleries the building has recently been restored as a modern 37 room boutique hotel by the Lo & Behold group, architects Zarch Collaboratives and design studio Asylum.

Characterised by a selection of industriallike textures balanced with modern luxe

finishes, the hotel aims to provide guests with an account of Singapore’s developing days. Astro lightings products were chosen as part of the lighting design scheme, seamlessly blending contemporary inspired finishing touches with the more traditional dÊcor throughout the hotel. Rooms are split into two wings, with high-ceilinged corridors leading to double volume rooms on the second storey suffused with natural light.

Enna desks lamps can be found in bedroom

suites and the hotel lobby area, while Enna Square reading lights in a black finish provide perfect bedside reading illumination for hotel guests.

Sanctuary rooms have been designed windowless with a with warm, ambient light creating an oasis of calm from the bustle of the city. www.astrolighting.com www.theasylum.com www.zarch.com

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Ritz Carlton Puerto Rico VISO worked closely with the design team at Streetsense to design-engineer and manufacture a custom glass chandelier for the luxurious Ritz-Carlton San Juan in Puerto Rico.The design inspiration for the two custom glass chandeliers came from the ocean at the hotel property.

The hotel’s lobby is flooded with natural light and Jason Maringola, Design Director of Streetsense and the design team envisioned a setting where guests felt like they were underwater, with the custom glass chandelier acting as a focal point.

“While we were on site, we spent a lot of time studying the hotel's coral reef and the aquatic life within it.

The reef is inhabited by schools of fish and once we saw the sunlight hit them, we knew

we had to bring that visual to life.”

Two large custom glass chandeliers were designed and manufactured to create the illusion of a school of fish swimming upwards towards the ceiling.

The oval custom glass chandelier can be found in the front entry of the hotel and measures 96ins by 136ins and features a 5ft drop space as well as 100 individual abstract glass fish (80 lamped, 20 unlamped) and is lit by energy-efficient G4 LED lamps.

The circle custom glass chandelier can be found in the main bar and seating area.

It features 150 abstract glass fish (120 lamped, 30 unlamped) and is also lit by G4 LED lamps.

VISO's Design Studio performed copious research on the behaviour of fish and school

swimming patterns in an attempt to achieve a sense of movement and energy throughout the design.

“We were able to do this not only with the abstract shape of the fish but also with the suspension and placement of each individual glass fish.

The two-wire suspension worked in keeping the elongated glass pointing in one direction but it served a dual purpose - allowing our designers to use the back wire as a tilt line.

To create the illusion that the school of fish were being hit by a ray of light, ombré amber tones were used that fade from gold to clear,” said Elyssa Smelko, Industrial Designer in charge of the project. www.visoInc.com www.streetsense.com

STATE OF THE ART TIMEPIECES

rousseau.co.uk

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HOTEL LIGHTING FEATURE

Rönneberga Kursgaard Hotel Stockholm, Sweden A hotel located on the beautiful island of Lidingö in the Skaergaard of Stockholm, Sweden. Rönneberga Kursgaard underwent comprehensive renovation in three phases from 2013 to 2016.Today the hotel offers 98 rooms, the majority with an impressive view of the seaside, plus several meetingand conference rooms a spa and fitness

department.The interior of the hotel has remained faithful to the 60s-70s atmosphere of the original building, upgraded for high comfort and all the modern facilities expected of a modern hotel.

Rönneberga chose the Oblique lighting collection from Cph Lighting designed in 1979 by Tom Stepp most of the Oblique

lamps were a customized version of the table lamp with a fixed base designed by Cph Lighting, used for desk- and bedside lighting.

The lights were complemented, in some rooms, with matching Oblique wall lights and floor lamps. www.cphlighting.dk

R Hotel Remouchamps, Belgium A four-star hotel, located next to the famous hill of ‘La Redoute’ in Remouchamps Belgium, R Hotel has 53 rooms and suites offering a wonderful panoramic view on the Amblève valley.

Designheure’s lights from the collection Nuage were chosen for its simplicity and pure lines, this collection takes its inspiration from the prow of a ship, the use of textile lampshades and cords softens the ambiance. The choice of black and red colors offer a little something extra as R Hotel uses decorative lighting to provide accentuation and personality to the guest’s experience.

In the reception area, a line of seven Petit Nuage pendant lights welcome guests to the reception desk, the triangular shades of the lights produce a unique light cutting through space as a boat does through the sea. Rooms and suites are designed with comfort in mind to provide a cosy atmosphere through fine fabrics and wooden floors with the large picture windows which unveil the amazing surrounding nature.

The mix of Grand Nuage floor lamps Petit Nuage table lamps and nomadic pendant lights offer the space the perfect balance between modernity and comfort.The R Hotel restaurant offers an innovative gastropub cuisine in a warm, contemporary atmosphere. The two majestic chandeliers 15 Grand Nuage sculpt the space while respecting the intimacy of the restaurant room that makes guests feel instantly at home in a thoughtful and modern setting. www.designheure.com

OGLE Design Form Us With Love

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“Good design demands simplicity.”

UK product designers John Fearon and James Bassant have 20 years experience in designing for the hotel market. With specialist knowledge of bathroom lighting, here, they share their expertise on how to ‘get it right’.

With a shared commitment to British lighting design, John Fearon and James Bassant are passionate about quality and precision and while their company Astro Lighting may have been born out of Bassant’s damp and gloomy basement, today it stands 20 years in the industry, working to the creative ethos of its founders – that good design demands simplicity.

With experience of providing lighting to spaces across every sector, Fearon and Bassant understand well the importance of lighting within the hotel sector and specialise in bathroom lighting in particular.

As one of the most underserviced areas of lighting, hotel bathrooms can often be poorly lit. An integral element of a guest’s stay, this experience can greatly affect the perception of a hotel and the consideration

it puts into a guest’s comfort.

“No one was taking bathroom lighting on when we started out, but in 2000 new regulations for electrical equipment in bathrooms were introduced, so we went into it in a big way and as such gained a bit of a reputation in that area,” says Fearon.

“As we got more involved in bathroom lighting we began designing for other areas of hotels; we’ve become particularly well known for our reading lights in fact.”

At the heart of a hotel’s focus is the guest experience - lighting plays a huge part in the way someone experiences any space they enter, especially an unfamiliar one.

When people go to hotels, they’re looking for a home away from home experience a lot of the time. They want instant relaxation in a space to rest and recharge with a good night’s sleep.

“Lighting makes an enormous difference to the mood and ambience of a space, particularly as it gets dark,” says Bassant.

“It makes an enormous difference to how you feel and how you occupy the space.

Of course you have to have nice furniture, a nice location and a view, but some of these things – such as a view - you can’t do anything about. You can do something about the lighting, and it’s important to make the most of that choice.”

“You’ve only got to see how much trouble hotels go through to get the lighting right,” adds Fearon. “They do a mock up room with the bedding and everything, but if the lighting looks horrible at this stage, then everything will look horrible. These days, you get a lot of functionality in a high-end hotel. There are so many different types of lighting that you can adjust and set to

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whatever levels you want. It’s really so much more than just a light in the middle of the room.”

Each individual hotel requires a different type of lighting design and specification of product to reflect its personality, and often its size. Despite these differences, the importance of lighting remains integral as Fearon explains: “Boutique hotels tend to be more quirky, more personalised. As such, they often use vintage and industrial inspired lighting. I think typically by the side of the bed, you won’t get the decorative table light you might get in a big hotel, but you might get something like a task light either side of the bed.”

One of the most important differences between hotel and residential or retail lighting is scale. This is something the design duo latched on to in their early

years, but as they have moved more into hotels, realised that as scale increased, the lights needed to feel more substantial to match.

“You almost couldn’t go too big,” says Fearon. “It’s what makes the room and the lighting feel different to what you have at home. So I think with independent boutique style hotels, people see the lighting and it makes them realise they could do the same at home.”

As part of this process, the techniques of lighting designers in hotels are transferring across to domestic use. “In bathrooms, people are going for two statement pieces either side of a mirror, which makes a big difference,” says Bassant. “It’s about scale, drama and theatre, and transferring that over to domestic spaces. It might be easier to put a simple backlit mirror in, but when

you go to a boutique hotel, or five-star hotel, they don’t do that at all. They will have a really nice light either side of the mirror to give good illumination on the face, while keeping the design stylish.

“I think a lot of architects are guilty of taking the easier option of only using recessed down lighting because it looks great on the plan, but actually it doesn’t offer very good illumination in the bathroom because it’s rather flat. When the light is bad, it make you look about ten years older than you actually are by casting shadows under your eyes, nose and chin. If you put a light either side of the mirror, you get nice even illumination, and you look how you actually look.”

With Bassant and Fearon’s wealth of experience in the industry, they have also seen decorative lighting trends within

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hotels change over the years, becoming more sophisticated with an increase in quality. Switches either side of the bed have become more prevalent, while an increase in LED lighting suggests that hotels are prepared to take lighting more seriously with appropriate budgets. They are recognising how it enhances the space and the guest experience, while giving them an edge over competitors who do not consider it an essential feature.

“Lighting scheme designers are relatively new,” said Bassant. “It’s quite a big business now, whereas before you might have gone into an old fashioned hotel with nothing particularly creative. Now there’s a stand alone designer who just concentrates on lighting working with an interior designer doing the colour scheme and fabrics to make sure these elements come together properly. I think that says a lot in itself.”

A particular trend that has found its way to the forefront of lighting design in hotels is the use of dimmability and colour change, in tune with circadian rhythm.

Fearon explains: “First thing in the morning, you have a whiter, nearly blue light, to wake you up and stimulate. During

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the day, as it reaches evening, it starts to draw back to a redder spectrum, and as you get closer and closer to bedtime, the light reaches a deeper and deeper red. It tunes in to the circadian rhythm in the body to be ready for sleep. When you’re staying in hotels and flying through time zones but your body is fighting against you, the lighting can work to trick your body into thinking it’s a different time of day. I think that’s going to catch on more and more.”

In terms of decorative fixtures in hotels, we’re seeing a wider variety of different finishes, with matte gold taking first place.

According to Fearon: “People want drama and scale. Big antique brass finishes as well as matte brass, are things we’re seeing a lot of. Once upon a time we could have just done chrome for hotel bathroom lighting but now we’re doing black, white, chrome, nickel, brushes, stainless steels, copper, matte gold and antique gold! I think people just want to be different. It may take a while to get used to, but people want options.”

From a technical point of view, an awful lot of time is now spent converting popular lines to LED. “LED is lighting nowadays,” says Bassant. “Pretty much everything we

have, we do an LED version of, and that’s important. We need to keep going in this direction, as well as continuing to provide people with choices and versatility.”

Through a combination of chance encounters and an unwavering dedication to succeed, Bassant and Fearon have built their reputation into what it is today – having started in a basement with two desks and a phone line, into leading designers of decorative lighting products that light up spaces all over the world.

Their products provide hotels with the variety and choice they seek in working to satisfy guests, rendering decorative lighting an integral character in the guests’ stories of their time spent in a home away from home. www.astrolighting.com

Previous page The Goring Hotel, UK, features Astro Belgravia wall lights, highlighting the plush bathroom surroundings guests can expect to experience.

1 & 2. Astro Atelier wall lights in black featuring in the Alma Lusa hotel in Lisbon, Portugal. 3. Eclipse wall lights in Parisian restaurant L’Echappee Belle.

4. Napier exterior bollards in the gardens of Arola House.

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Milan Design Week

We bring you our showroom highlights from seven days of Milan style and design...

Mori.London at Borsalino Boutique Via Sant’ Andrea 5 Mori.London from lighting designer Moritz Waldemeyer launched two new LED candle designs during Milan Design Week - Eternal Flame and Midnight Oil. The first is an intepretation of a traditional candle made from a single piece of glass housing a battery powered LED board. Midnight Oil recalls the shape of historic oil lamps and their iconic silhouette. Both were presented at a private launch party in the heart of Milan’s iconic design district. www.mori.london

WonderGlass Istituto dei Ciechi To celebrate new launches in collaboration with Marcel Wanders, Nao Tamura and Hideki Yoshimoto, WonderGlass created a special lighting installation at the historical palazzo, where the brand launched in 2013.

Alongside these collaborations, WonderGlass also presented existing pieces by Dan Yeffet and Zaha Hadid. www.wonder-glass.com

Astro Lighting Brera Design District Astro featured within a unique, virtual reality project in the heart of the iconic Brera Design District. Organised

by Porcelaingres, Urban House showcased a 360° view immersive experience where materials and interiors were brought to life through an advanced virtual reality tool. The project allowed visitors to discover how products, such as Astro luminaries, may look within the context of a contemporary residential environment. and rooms leading to the virtual reality area. www.astrolighting.com

Tortona Design District Lee Broom Milano Centrale Station Lee Broom presented his tenth anniversary show Time Machine as part of Milan Design Week. The exhibition showcased Broom’s limited edition collection of products from across his decade in design all reimagined in white, alongside a new limited edition Carrara marble grandfather clock. www.leebroom.com

Mila n La mbra te Lolli e Memmoli Via Privata Vivarini, 7 Lolli e Memmoli were back in the spotlight for Milan Design Week with U-Line, the crystal chandelier turning light into a sensory experience. A unique project, extraordinary and consistent that came to life thanks to the company’s creative approach, it is a masterpiece that features top-quality manufacturing, drawn from traditional artistic chandeliers reinvented and stylised to reflect the enchanted light of gleaming crystal drops. www.lollimemmoli.it

Brera Design District

San Babila Design District Contardi Via Conservatorio, 12 As part of Milan Design Week, Contardi organised a special Meet the Designers Italian Aperitivo reserved for a limited number of clients. It took place in the prestigious and unique location On House show-flat, in the heart of Milano.

Massimiliano Raggi, Contardi Art Director, was there along with other designers involved in the event. www.contardi-italia.com

Binova and Panzeri Via Durini, 17 Binova recently launched a new Milan showroom in partnership with Panzeri.

For Milan Design Week, the exhibiting area became an unprecedented and fascinating stage celebrating the relaunch of the Binova brand, while Panzeri displayed several products, including the Golden Ring, which was recently awarded the German Design Award and the multi-awarded Jackie. www.panzeri.it

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ateljé Abode This year’s Milan Design Week saw Swedish lighting brand ateljé Lyktan check in to Palazzo Segreti hotel to showcase it’s new lighting collection dedicated to hospitality.

Swedish lighting manufacturer ateljé Lyktan revealed for the first time, a collection dedicated to hospitality, featuring a blend of some of the brand’s iconic designs revisited alongside new products, at this year’s Milan Design Week.

As part of the launch, the brand took over the Palazzo Segreti boutique hotel in the centre of Milan. On show, was the latest additions to the Ogle Mini family, the smaller version of the Ogle measuring only 90mm in diameter, which includes a table and floor lamp version, which can be easily

adjusted to direct the light and be adapted to different interior settings.

New versions of some of ateljé Lyktan’s most iconic products were also presented, such as the Bumling pendant, first designed and released in 1968. The new Bumling comes in 400mm and 600mm sizes with shades available in powder-coated or brush aluminium, retaining the same design but incorporating state-of-the-art lighting technology.

Oliver Jones, UK General Manager for ateljé Lyktan commented on the launch:

“Light planning for hospitality, especially hotels, has never been more exciting.

A hotel should ideally make you feel at home and well-planned lighting can really contribute to creating this feeling. We are delighted to have presented for the first time, a collection dedicated to hospitality, bringing together revisited classic models, new products alongside examples of our customised productions.” www.atelje-lyktan.se

Manufacturers of Moroccan & Orientalist Lighting Ceiling | Floor | Table | Wall Visit our West London Showroom or website to view our Project Gallery +44(0)208 575 1818 | www.moroccanbazaar.com

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Lighting Boom During Milan Design Week, New York-based Stickbulb introduced a new series of LED chandeliers made from and inspired by destroyed buildings.

Designed by RUX, a multidisciplinary design firm, Boom features cast-brass joints and linear wooden lamps to create forms of exploding light. Select fixtures made from Water Tower Redwood, reclaimed from demolished NYC water tanks and carbon dated to be several hundred years old, were presented in a temporary exhibit at Archiproducts on Via Tortona.

“Our fixtures are literally born from the destruction of architecture. We celebrate this energy and history in the form and function of our designs,” says Stickbulb Co-Founder and RUX Founder Russell Greenberg.

The expressive form of Boom is achieved with minimal elements. Cast-brass joints, elegantly curved to dramatically reflect the geometry of the fixture and linear wooden lamps – the essence of all Stickbulb designs – in varying lengths cantilever from the brass core, each one emitting a line of even light in a different direction. The result is an explosion of richly textured wood that casts dynamic patterns of light and shadow.

Presented in Water Tower Redwood, sourced from dismantled water towers in New York City, Stickbulb has now acquired a large supply of this beautiful, old growth wood.

Stickbulb was co-founded in 2012 by Yale School of Architecture graduates Russell Greenberg and Christopher Beardsley as a way to combine their mutual love of architecture, modular systems, and sustainable manufacturing. Designs are handcrafted in New York City from sleek wooden beams using reclaimed materials sourced from locally demolished buildings and sustainably managed forests. Stickbulb products range from small desk lamps to room-filling custom installations and can be found in a growing list of international showrooms. www.stickbulb.com

Danish Decorative Lighting THE NEW ELEGANT

Visit us at: Clerkenwell Design Week, Icon House of Culture, 23 - 25 May 2017. Stand: T13/14 Â ebbandflow.dk

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Design Penned Italian lighting brand Slamp introduced its latest task light during Milan Design Week, designed in collaboration with Montblanc and with the perfect writing environment in mind.

Slamp and Montblanc presented Overlay, a new desk lamp designed by Analogia Project, at this year’s Milan Design Week.

On show at both Euroluce and the Montblanc boutique located on Milan’s Via Montenapoleone,guests were invited to interact directly with the set-up.

Combining sinuous, minimal design with an artisan writing instrument rest built directly into the base that serves as the lamp’s on and off switch, Overlay exudes simple elegance, quietly urging productivity.

Analogia Project’s design uses a brass body and base, topped off by layers of Slamp’s patented materials, precisely cut to create a warm palette of varying

densities. 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, while the lamp base features an innovative magnetic rest for any Montblanc writing instrument, that when removed, automatically turns on the lamp. When put back in its place, the lamp turns off.

Speaking exclusively with darc during Milan Design Week, Montblanc’s Christian Rauch and Slamp’s Roberto Ziliani said: “We first

discussed the idea of collaborating over a dinner, from there the process was quick just six months in fact from our designers first meeting to the final prototype. We asked ourselves, how can we optimise the process of writing? What is writing without light? Well it doesn’t exist.

“The surprising thing, is that in Montblanc’s 111-year history it’s never done this kind of collaboration before. It was all about getting the perfect writing light and thanks to the technology introduced by Slamp, we have created a beautiful object that doesn’t feel technical.” www.slamp.it www.montblanc.com

Linea Light Group | Material & Design Lighting Oxygen | Ph. Giorgio Gori

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Bright Lights of Barcelona The ‘Inspired in Barcelona: in & out exhibition’ saw visitors to Milan Design Week treated to various mini installations higlighting the unique design style coming out of the Spanish region. darc went along to the Palazzo Isimbardi to check it out.

Pics: Xavi Padrós

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The ‘Inspired in Barcelona: in & out’ exhibition, held at the Palazzo Isimbardi during Milan Design Week, saw lighting brands Santa & Cole, Marset, Vibia, Metalarte, Bover Barcelona Lights, Estiluz, Jordi, Canudas, Parachilna, Carpyen and Numbered chosen by Catalonia Trade & Investment and BCD – Barcelona Centro de Diseño to represent Catalan design.

Portable, outdoor lamps in typical Mediterranean shades, enveloped by meshes to look like modern interpretations of cotton wads, or featuring a striking yet simple design, played a leading role within the exhibition designed by the Emiliana Design Studio team of architects.

Some of the products on show were even bone fide icons of design, having already received numerous awards and bringing the creativity of the Mediterranean city some well-earned international visibility.

From outdoor lanterns, which bring to mind Barcelona’s typical open-air lifestyle, either more urban or capable of creating a cosy atmosphere, to sculptural suspension lamps or contemporary, technical lamps with a linear styling, the lighting accompanied the various contexts that were recreated within the exhibition.

Indeed, the installation included a series of ‘rooms’ where, along with a selection of furnishings, genuine suggested settings

inspired by the city lifestyle took shape.

The excellence of design from the Catalan capital was thus condensed into heterogeneous episodes, which recalled the warm welcome of residential settings or the contemporary hospitality of the most innovative contract contexts. www.catalonia.com www.bcd.es

1. Dipping by Jordi Canudas. 2. Aro floor lamp by Estiluz. 3. Follow Me table lamp by Marset.

4. Ceramic pendant lamps on display by Numbered.

5. June by Vibia. 6. North designed by Arik Levy for Vibia. 7. Nan floor lamp from Estiluz. 8. Bover Barcelona Lights Garota floor lamp. 9. Rolling Stone from Metalarte. 10. Aballs from Parachilna.

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Halo of Light Canadian designer Matthew McCormick showcased his new Halo Chandelier at the iconic Rossana Orlandi Gallery for Milan Design Week.

Pics: Claudio Bonoldi

Originally a custom piece created for Italian prosecco company Botega, the circular fluorescent tubes of the Halo chandelier cascade in an effervescent formation mimicking bubbles, while the anodized gold bases of the individual lights are the exact same colour as the brand’s bottle.

“Botega was one of the main sponsors of a trade show we were doing in Vancouver and they really gave me full carte blanche to create this piece for the stand. I wanted the chandelier to be a beacon; no matter where you were you were going to see this

thing. It was two storeys tall,” explains McCormick.

The Halo soon began to gain traction as clients requested different amounts of the modular pieces. “It really started to resonate with people, and it sort of hit us on the head that we have a product line here,” McCormick continues. “These lights are a labour of love and it’s so great when you start to see people reimagining them and really making them their own.”

McCormick won this year’s European Product Design Awards, and was featured in

Archiproducts Best of Category, accolades that have really helped grow his European client base. “I think that all contributed to receiving a lot more attention in Europe and of course when you catch the eye of Rossana Orlandi and she calls… you come.

“There has been a tonne of growth and we’re really excited, we’ve almost transitioned now from purely custom work to a happy middle ground where we can take our product and make it site specific.” www.matthewmccormick.ca

Oblique (1979) Design by Tom Stepp Available in 8 colours for wall, floor, and desk

www.cphlighting.dk Hospitality - Retail - Workspace - Residential Manufactured in Denmark

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New Lustre for Life The House of Christofle partnered with the Marcel Wanders design studio for this year’s Milan Design Week, introducing the latest addition to the stunning Jardin d’Eden collection.

The marriage of beauty and functionality has always been a core value at the House of Christofle. The Jardin d’Eden collection of lights designed by Marcel Wanders is the latest example: with this new family of rare objects of High Silversmithing, Christofle brings new luster to the lifestyle universe.

The Jardin d’Eden chandelier and candelabra expand on the sense of enchantment that accompanies each of the collection’s designs. Ever since design studio Marcel Wanders created this beautifully scrolled motif, each of its variants has become an icon. Produced by

hand in the high-silversmithing workshops

by Meilleurs Ouvriers de France (Best Craftsmen in France), these two pieces are as much the reflection of Marcel Wanders’ flair for sensuality and ornamentation as the intricacy of Christofle’s know-how.

The chandelier, which hangs from a Dutch chain, features 20 arabesque branches, the candelabra seventeen. Each piece is punctuated by as many handcarved blown crystal lampshades in either clear or smoked glass depending on the desired lighting and atmosphere. Once more, Christofle takes the marriage of aesthetics and practicality to a whole new level.

Through standing lamps and votives, Jardin d’Eden is also available in smaller-scale, engraved steel variations for decorating tables, living areas and offices. Inspired by the shape of a torch, the slender table lamp transforms in function of its lampshades’ materials and colours, from fabric to carved crystal.

The candlestick iteration enriches the House’s gift offerings with a refined decorative object. A fitting finishing touch for a collection brimming with strength and radiance. www.christofle.com www.marcelwanders.com

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focal point WONDERGLASS INSTALLATION MILAN, ITALY To celebrate new product launches, WonderGlass created a special lighting installation at the historical palazzo where the brand launched in 2013.The London-based lighting design company specialises in marrying traditional craftsmanship with contemporary design and has collaborated with Marcel Wanders to create a sculptural, versatile lighting system.

Inspired by Japanese calligraphy and created from handblow Murano glass, the floating, illuminating pendants have an adaptable design that can expand to create full ceiling and room installations as either clusters or as a single element.

Marcel Wanders commented: We designed this lighting system to be poetic. From overhead, it captures attention as it inspires the imagination.”

Gabriele Chiave, also of the design studio, added: “Marrying an element of ancient Asian culture with free moving parts has resulted in a product that embodies both classic and contemporary design.” www.wonder-glass.com www.marcelwanders.com Pic: Leonardo Duggento

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23-25 MAY 2017

Visit the hottest event on the design calendar for a celebration of London’s Design district. Discover top international design talent in a unique mix of showroom activity, exhibitions and installations hosted across Clerkenwell’s distinctive spaces.

Register free at clerkenwelldesignweek.com

clerkenwelldesignweek cdwfestival #CDW2017

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A Daring Poetic Order Studio Job recently collaborated with Italian lighting brand Slamp on a collection that is its most extreme yet. Launched at Euroluce, darc takes a deeper look into the influences behind the design.

Pic: Dennis Brandsma

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Ever since their first encounter at the Dutch Design Academy in Eindhoven, Netherlands, Job Smeets and Nynke Tynagel have been soul mates in both life and design.

Today, they share two cats; a love for the everyday; a passion for lighting objects and have become contemporary cultural pioneers, revolutionising common preconceptions about the realms of art and design.

In their most recent work they find themselves collaborating for the first time with Italian lighting brand Slamp – bringing their iconic graphics to seven new lamps that make up ‘The Lightning Archives of Studio Job’ introduced at this year’s Euroluce.

Iconic semantics meet Dadaist derivations in Studio Job’s ode to the Tube, bringing a daring poetic aura to the historic Slamp masterpiece, first producted in the early ‘90s. The collection is illuminated by a strong, surrealist identity born of creative expression: Labyrinth, Love Peace Joy, Perished, Peace Skull, Faena Art, Bananas, and L’Afrique.

Luscious smiling lips, dancing animal

skeletons, pop-art fruit, references to the Reinaissance and superstitious frights, are all part of the iconic quotidian, seemingly out of order, yet perfectly recognisable thanks to a series of graphic design principles.

Smeets and Tynagel’s work is defined by their meticulous attention to detail, making every piece unique. Painted, rounded profiles, matching or contrasting semispheric buttons in predominant colours and specifically designed wire coverings are some of the various details used to complete their designs. Dense metaphoric suggestions, transposed cult references and two-dimensional forms take on depth when printed on transparent Cristalflex superimposed on an Opalflex layer, transmitting the light uniformly. The result is pure extremism, and the Tubes are a complete work of art, bathed in semantics, brought forth from a ‘cabinet of curiosities’ true to Studio Job’s style.

Striving towards the creation of Gesamtkunstwerk, which sometimes translates poorly to aesthetics, but more precisely means a synthesis of the arts or

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universal artwork, Smeets and Tynagel often reference the German composer Richard Wagner’s aesthetic ideals in their practice; seeking and moving towards the clearest and most profound expression of the stories and mythologies with which they engage and bring to life.

Studio Job’s work is in the true spirit of the Renaissance where techniques are interchanged and where disciplines are disregarded towards creation of the new; where ideas and imagery are appropriated with ease, regardless of geographic or conceptual boundaries and repurposed into something new – where culture, spirituality and aesthetics converge in one cacophonous space and where production and craftsmanship yield one-of-a-kind objects and environments.

Looking back to where it all began, when asked what has influenced their designs over the years, the duo’s answers ranges from Miffy and Roy Lichtenstein to Bowie.

“When I was a kid, I wanted to be free, like a famous pop star,” Smeets tells darc.

“When I was really young, I learned to draw at the kitchen table with my father who

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was an artist and antique dealer. Following school, there was only one course that really made me curious – Conceptual Design, which I did while balancing an ‘education’ in combining fitness with drinking and smoking weed!”

“My father was an art director for Weaving Mill de Ploeg and my mother a textile designer,” Tynagel says. “I have been passionate about visual arts all my life but chose to study Graphic Applied Arts. I’m also really passionate about classical music, movies, art, cooking, friends and love.”

“For me, it’s about collecting and travelling, travelling and collecting, as well as sports,” adds Smeets. “And yes, love of course!”

Through Studio Job, the designers have crafted a body of work that draws upon classical, popular and contemporary design and visual art. The symbolism and iconography that Studio Job creates is heraldic and regal, even in its pop cartoonish imagery. As sleek as the work can be, it is also instinctual and almost primal. Smeets describes their work as ‘New Gothic’, while Tynagel often speaks of the work by referencing a symphony orchestra.

The studio itself is made up of traditional craftsmen and contemporary industrial professionals from sculptors, furniture makers and painters to specialists in cast bronze, stained-glass, laser cutting and 3D printing, all of whom work to realise the designs in whatever final form may be required. This flexibility of application and realisation frees the studio from the confines of any one particular medium and allows for the work to speak for itself.

“Looking back on our work we’ve really done some brave, pioneering things by introducing ‘art’ into design,” they tell darc. “Today, it has developed into a real, working model but 20 years ago, it didn’t exist… we just followed a certain path at the time. When we started design was still about functionalism… Modernistic anchors.

Now, design can be so much more. It can reflect time, it can be abstract… it’s as though we have slipped into a Renaissance period.

“Design has great facets,” Smeets and Tynagel continue. “You can reach a large audience. Still design, like fashion, is all about speed… One, after another… More,

1. Faena Art - Keys are the link between various cultures, hardworking bees are wise and patient...

Renaissance iconography, the Miami sun; only a part of the symbols from our civilisation that secured a place on the luminous screen of Studio Job’s chormatic, stylistic wunderkammer.

2. Love Peace Joy - Big, luscious lips, peace signs, doves taking flight, four leaf clovers, horseshoes, all in a symphony of rich optimism for this life. The lamp is a rainbow of colours working in perfect symmetry, a mix of light and decor coming together as the highest manifestation of pop culture.

3. Peace Skull - This lamp’s iconography is a system of symmetry and repitition, giving it rhythm, fluidity and prospective depth that conjure up the balance between life and death, peace and violence, good and evil. Its ying and yang of muted tones are printed in white across a transparent surface.

4. Perished - After having visited the Museum of Natural History in New York, Studio Job created a neo-gothic pattern of dancing human and animal skeletons. The turtles, birds and crocodiles all play a part in the superstitious frights, shows of life and death, the extravagent yet violent moments that our civilisation is currently living.

5. Bananas - The banana is one of the world’s most popular fruits, called upon for Warhol’s pop icon Marylin, Coca Cola’s bottles, Campbell’s soup cans.

The pattern was created in synthesis with The Banana Show, a series of sculptures by the Belgian Dutch duo.

6. L’Afrique - Tribal motifs, masks, snakes and other jungle things meet up with industrial elements, including crankshafts, springs and gears, bringing a dynamic pattern to life; the design was the result of a collaboration between Studio Job and Land Rover for the 65th anniversary of the iconic Defender.

7. Labyrinth was born of a visionary decorative experiment, a surreal Japanese garden that in its most monumental form, has been transformed into Holland’s Groninger Museum’s lounge flooring.

more and more. Sometimes we wish the pace was a little slower, but then we have so many plans and still so much to do and when it all comes together, when a piece is finished that moment of joy and relief is what it’s all about… the birth of something.”

While the pair note that product design is driven by a commercial engine of producing and selling as many products as possible, for them thankfully there is now sculptural design that has it’s own parameters and when commenting on trends within design, tell darc: “Every interesting piece or product will stand the test of time and will be part of history. Look at the whole sculpture thing… in a way it is a NEO style.

Look at the 16th Century as well, another renaissance period. The best example is the Green Vault in Dresden, commissioned

by August the Strong, a billionaire of his time. Good product design needs to have authenticity, and should be well made with a raw soul.” www.studiojob.be www.slamp.com

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Boldly British As part of this year’s Euroluce, the darc team got together with British lighting brand Anglepoise to host guests to the stand - presenting new designs and sharing thoughts on the industry - all over a glass of prosecco or two!

Pics: Andy White

For this year’s Euroluce, as part of the Salone del Mobile in Milan, darc magazine teamed up with British lighting brand Anglepoise to host guests for a drinks reception, celebrating the ‘Best in British’.

On show were several new launches from Anglepoise including a new four-piece Original 1227 Mini Ceramic collection, made up of a mini table lamp, a compact directional wall light, a pendant, and pendant cluster. The shade, designed in the 1930s is now complemented by smart, chrome plated fittings, while the grey fabric cables provide subtle textural contrast.

With the trend for metallics firmly entrenched and as gritty, industrialchic style gives way to an altogether more streamlined and refined aesthetic,

Anglepoise introduced the warm, luminous tones of gold and copper to its collection, alongside metallic silver. Now applied to three of its most enduring designs – the Type 75 Mini desk light, Type 75 Mini wall light and Type 1228 wall light, these anodised brushed metallic finishes bring new richness to the functional elegance and faultless engineering that is synonymous with the brand.

Also previewed in Milan was the Type 1228 desk lamp, wall mounted light and floor light. Retaining all the well-loved features Sir Kenneth Grange’s original 2008 design has, with its distinctive, hemispherical, twin layered shade, it introduces new refinements – a more discrete, ergonomically designed switch in the top of the shade and neater base. As well as this,

the Original and Type Range Accessories collections from Anglepoise have now been redesigned and re-engineered to offer both professional and domestic users more flexible task lighting solutions than ever before. Comprising a Desk Insert, Desk Clamp, Wall Bracket and Floor Pole Kit, new refinements include more streamlined designs, improved cable management options, and colour matching to the relevant products.

Visitors to the stand were able to experience the new lines first hand while chatting with the darc team and learning more about the magazine and the darc awards / decorative taking place on 18 May at the Bloomsbury Ballroom in London. www.anglepoise.com

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Stand Out Design This year's Euroluce saw a multitude of exhibitors push the boat out in terms of the look and feel of their stands. Over the next few pages is just a small selection of the stands that caught our eye over the course of the week.

LAMBERT ET FILS Lambert et Fils wanted the concept of its booth to match its aesthetic ethos of being different, yet minimal. This was achieved through texture, colour and careful placement of its lamps. The booth became a gentle escape from the chaos of the show surrounding it. www.lambertetfils.com

SLAMP Light of Other Worlds, an installation directed by Robert Wilson for the Slamp stand at Euroluce, was a flux of transportive stations, each a unique and an intimate perspective of Slamp's newest lighting collections.

This year’s Euroluce was the perfect moment for the brand to unveil fresh, exciting collaborations, as well as innovative revisitations of some of its most successful design projects.

Visitors to the stand were invited to enter into the illuminated worlds of Slamp's designers as they recounted their approach as well as the role light plays in their everyday life. www.slamp.com

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VISO VISO's vision for its Euroluce stand was to engage visitors differently. The intention was to draw unsuspecting visitors into the environment by a gradual reveal of each collection. The creative journey began almost a year in advance of the show; partnering with Paolo Ferrari, Principal and Founder of Paolo Ferrari interior design firm in Toronto, Canada. His unique sense of design and architectural creativity took VISO on an exciting journey, which resulted in a Cathedral like booth design.

“Inspired by the concept of ‘Light House’, the space was organised by a stepped layering of architectural display niches, creating a monumental forced perspective upon arrival,” says Ferrari. “A long communal table, constructed of white washed oak, with a dynamic lighting display above, anchored the environment, while the sculptural cobalt blue and crimson red niches offered an unexpected point of contrast. Through a purposeful concealment of product presentation, the lighting displays gradually revealed themselves as visitors moved through the environment and discovered each new collection.”

Tzetzy Naydenova, Managing Partner of VISO commented: “We loved working with Paolo. What the firm delivered was right on point with our vision and more. The curved corners details and intelligent colour play

further asserts our aim to stay on brand as a unique and fashion forward company in both our lighting design and lighting display.” www.visoinc.com

ARTEMIDE Artemide’s stand at Euroluce 2017 took on the appearance of an open stage. The floor – an area of over 1,000sqm – was made of black iron, whilst textile panels acted as partitions, creating visually dramatic stage sets. Areas between these zones remained free and open, with no physical barriers. Light filtered through the curtains, dispelling darkness and illuminating the Artemide products that were displayed on vividly coloured stands and platforms. In line with the new photography campaign by photographer Pierpaolo Ferrari, the graphic elements of the Artemide stand left a lasting visual impression. (Michele De Lucchi, March 2017) www.artemide.com

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PANZERI The 70-year anniversary was the focus of the Panzeri stand at this year's Euroluce. Made up of elements influenced by the fashion world, the stand was designed by architect Carmen Ferrara. Novelties presented included both decorative and architectural aspects of Panzeri's collections. New design products included Viisi (the work of designers Marco Fossati and Giovanni Minelli), Al Decimo (another fruit of Carmen Ferrara’s creativity) and To-Be; architectural novelties were represented by Brooklyn Round, Corner and Giano.

As part of the celebrations, on Friday 7 April, renowned television chef Simone Rugiati was the centre of attention at a special event organised by Panzeri, that saw him host a cooking show. Rugiati prepared a selection of dishes that aimed to evoke the history and the values of the brand. ‘Pure’ ingredients were used to represent the quality of Panzeri’s lamps; as well as a traditional speciality from Brianza - a reminder of the company’s origins and the connection with its territory and molecular gastronomy as a form of innovation. For dessert, to complement this unique menu, a special edible version of one Panzeri’s bestselling products was served. www.panzeri.it

ASTRO LIGHTING Astro's stand design this year had a distinctive 20-year theme, however remained very much true to the brand and showcased lights from across the entire product portfolio. The stand was segmented into interior, exterior and bathroom, with the purpose of showcasing lights within the context of room set environments. One of the key features of the stand was an impactful wall installation of the best-selling Eclipse plaster lights painted in various colours to create an eye-catching display just above the main seating area. A number of new products were launched at the show, including the Kiwi family, Altea family and Coastal collection. The star of the show was the Edge Reader, thanks to its innovative combination of ambient and directional illumination, as well as the win of the Red Dot 2017 Product Design award. www.astrolighting.com

Fleur de Kaolin Collection Design Designheure Studio A partnership with HAVILAND

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CONTARDI Designed by Contardi's Art Director Massimiliano Raggi, the brand's Euroluce booth stayed true to its product and project design style, with a clean and precise look enriched by graphic and ornamental details. Central exhibition aisles in the main hall worked in harmony with the side areas that focused on new products, enhanced by large scale inspirational wallpapers. The stand was an open space, both in the structure and mindset, although clearly defined. www.contardi-italia.com

FOSCARINI At Euroluce, Foscarini exhibited across 880sqm of space, designed by Ferruccio Laviani, who was faced with the challenge of representing the company’s philosophy and creating a space that would remain in the memory of visitors for years to come.

“To envision a new booth for Foscarini at the Salone del Mobile meant narrating the two sides of the company,” Laviani explained. “On the one hand, the more creative side - that takes its inspiration from culture, art and the many stimuli emerging in the contemporary world; on the other, I wanted to communicate the reality of a company made of technological research, innovation, communication, commitment, including distribution and retail operations.

One side was softer, while the other was more ‘solid’; an extroverted spirit, as opposed to a more rational approach.”

The company represented by the design of the booth is a ‘dual’ Foscarini, seen from the inside and from the outside. Seen from outside, the space was striking for its formal rigour and for a sort of greater severity, while the internal view was more relaxed, playful, intimate. www.foscarini.com

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Antiques of the Future Duncan Meerding is a lighting and furniture designer based in the Antarctic gateway city of Hobart, Tasmania. Emma Harris sat down with Meerding to discuss how with only 5% sight remaining his unique vision of light is really getting him noticed.

Pics: Jenny Davson-Galle & Jan Dallas

Duncan Meerding Design came to my attention at Euroluce, the company’s second European design show to date.

It was the Stump light that immediately caught my eye; the light spilling through the careful cracks in the log reminded me of sunlight bursting through trees. It was nice to see a little of the outdoors indoors.

Meerding has likened some of his design ideas to the dappling effect of trees when walking through the wilderness, “The lights are about evoking a sense of relaxation, a lot of my work features organic curving lines inspired by the local landscape.” The relationship between light and shadow are as integral to Meerding’s design process as the Tasmanian wilderness. With less than 5% vision concentrated around the peripheral fields, Meerding’s perception of light is different and as such a lot of his designs have the deflection I described above; the light coming through or around the object.

“If you put your fist in front of your face, that’s how I see, I see outside of that, but the interesting thing is that’s where a lot of the light and shadow happens. Whether I like to admit it or not it does influence the way I design.”

Meerding majored in humanities and furniture design at The University of Tasmania; subjects he feels have shaped his design aesthetic and ethos in terms of manufacturing.

“For me it’s as much about the design as it is the people who are making it, while

trying to be as responsible as possible.”

Sustainability and care for the environment are present in every step of Duncan’s design/making process. The majority of timber used is sourced either from ‘waste’ materials or from faster-growing, robust timber varieties.

“I think we should be moving away from sustainability and thinking more about responsibility,” he explains. “It’s not just about making something that’s low footprint, it’s about making an item that will actually last a lifetime, if not longer, for me it’s about making antiques of the future.”

After completing his degree, Meerding applied for The Ministers Youth Arts Prize, a mentorship programme provided by the Tasmanian Government and Arts Tasmania, which he won. “The prize was a mentorship with any Australian designer or artist, I was a bit cheeky and applied for New Zealand so I could work with David Trubridge. I had to get approval from Arts Tasmania and David who both said yes. That meant I got a bit of budget to go to New Zealand and spend a few weeks being mentored by David and the team, it was an amazing opportunity to see how they work and witness first hand that responsible design can be successful. They have such an amazing model.

“The amount you can learn as a designer from someone like David is incredible, I was able to come up with some forms using their facilities. The mentorship didn’t end

there either and they’ve been so supportive ever since.”

Up until recently Meerding was studying a masters degree in social work as well as running his design practice. “Eventually it became untenable to do the two at the same time. We have just finished a project for MACq 01 hotel in Hobart, Tasmania, where we designed and manufactured 100 lights; it was quite an interesting process, developing things to a stage where we could make that many.”

The lights he refers to are part of his Cracked Log collection, the most popular piece undoubtedly being the Stump a versatile piece for outdoor or indoor use, which can be used as a feature light, a stool or a side table.

The design won ‘Best Sustainable Design’ at the Australian Architectural Awards, The Edge in 2014 and attracted the attention of mainstream press in Australia; the series now features table lamps, banker lights and pendants.

So what’s next for Meerding? “Well in terms of new projects we’ve had some great discussions at Euroluce about designing some custom lighting for commercial projects, so I’ll get to design and execute some new stuff, which is great.” www.duncanmeerding.com.au

1. Stump part of the cracked log series.

2. Proppeller Droop Pendant Light.

Below: Duncan Meerding at his Hobart workshop.

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Euroluce 4- 9 April, Milan, Italy Future Living April 2017 A visual and emotional exploration of daily life, The DeLightFul exhibition introduced visitors to a new way of inhabiting the domestic space.

A series of rooms illustrated various concepts of contemporary design, through impactful displays and furnishing pieces reprised with novel combinations of materials, treatments and colours.

The exhibition unfolded in free, unpredefined spaces, a house with no walls in which architecture and light, symbiotic and complementary, played an important role in highlighting individual furnishing pieces, unusual combinations and mises en scène that hovered between the real and the virtual. DeLightFul brought an imaginative approach to narrating the world of design and its trends. www.salonemilano.it

Ceramic Collection Anglepoise

Double Orbit Ango

Candela Astep

The new four-piece Anglepoise Ceramic collection exudes simplicity and elegance.

The glossy smoothness of the pure bone china shades is complemented by smart, chrome-plated fittings. When the light source is switched on the shade turns translucent, radiating soft, ambient light around the room. www.anglepoise.com

The Double Orbit from Ango is a unique ceiling pendant handcrafted from a natural, very fine rattan and weaved using a random technique developed specially by the designer.

Two interconnected diffusers containing G9 LED filament lamps subtly modulate the light to produce a warm glow. www.angoworld.com

Continuing the long tradition of elegant Scandinavian flame luminaries, Candela, designed by Francisco Gomez Paz, advances this classic product typology with 21st century technology. Candela produces it’s own electricity to provide cosy LED illumination and charge mobile devices via USB. www.astep.design

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1. Coastal Astro Lighting

2. Alysoid Axolight

3. 84 Bocci

With a nod to nautical and industrial design, Astro Lighting's new Coastal collection is designed to withstand whatever the weather can throw at it. With its full Jetproof IP65 rating and ability to withstand life even in salty sea air, Coastal combines outstanding durability with Astro's design ethos of elegant simplicity. www.astrolighting.com

The first project by Japanese designer Ryosuke Fukusada for Axolight, Alysoid is inspired by the catenary arch. The unique curve of this stunning pendant is created by delicate chains made of small spheres.

The frame is available in anthracite grey finish and the chains either in a glossy black nickel or in natural brass finish. www.axolight.it

A white glass moil captured inside a fine copper mesh basket and plunged into hot clear glass, 84 from Bocci is air blown to gently push the white glass through the mesh, creating a delicate pillowed form.

A low-voltage xenon or LED light source is used inside the pendant, casting a warm coppery hue. www.bocci.ca

4. Lantern Bomma

5. Drop Bover

6. Ersa Brand Van Egmond

Lantern is inspired by the morphology of the paper lantern - one of the oldest forms of lighting. While fully utilising the material properties of the glass this piece combines an ancient shape with a contemporary light source.

The Lantern collection elegantly combines tradition and present. www.bomma.cz

Designed by Christophe Mathieu, Drop's small screen is made of borosilicate glass, finer and more delicate than blown glass.

The light source is an LED that includes a dimmable system. When the light is projected and reflected in the materials found along the way, it both sparkles and casts shadows. www.bover.es

Inspired by early morning dew, the poetic Ersa lighting sculpture is handcrafted with a brass burnished finish element and bronze translucent glass spheres. The iridescent finish on the glass leads to a gradual change of colour as the angle of view or illumination changes, radiating a stunning glow. www.brandvanegmond.com

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Tac/Tile by Andre Fu Lasvit Celebrating Fu’s signature language of relaxed luxury, the Tac/Tile collection is an ode to a truly tactile material that embodies religous, institutional and monumental architecture. Inspired by the 1932 Maison de Verre (a.k.a House of Glass), Czech metropolitan passageways, traditional Chinese tiled roofs, the Flatiron Building, as well as modernist glass blocks, the purist triangular profile became the core form adapted into a spectrum of applications - from table lamps and floor lamps to suspended pendants, the collection is an ode to a truly tactile material that embodies religous, institutional and monumental architecture.

“A lot of work Lasvit is known for is the big, opulent, almost magical installations they do and so I had to think about how my aesthetic would fit in with that and how I could create something out of the box with a narrative that extends beyond the physicality of the light itself,” Fu tells darc. “I see the Tac/Tile range as something that can work as a single entity or as a grouping. It’s a clean, flexible design that can be built on.”

While there are plenty of architects and designers that tap into the world of product design, for Fu the challenge is working within spaces, telling darc: “In interior driven spaces there are many layers of things... We can layer the lighting, carpets, textures and so on to form the journey from one space to another, they all come together to form an experience.

“When I look at something like my work on the Tac/ Tile range, I wanted to express an experience in the product itself - it has to go beyond the inspiration and become something that communicates from more than just a visual sense.” www.lasvit.com www.andrefuliving.com

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1. Macaron Brokis

2. Caged Buster + Punch

3. Streamline Castro

Concealed in an elegant flue-shaped marble base, the light source of the Macaron casts its gentle glow upwards. Irregularities and imperfections intrinsic to both semiprecious stone and hand-blown glass make each light a unique original. The Macaron table light comes in three sizes, with the largest doubling as an impressive floor light. www.brokis.cz

Caged is a new collection of architecturally designed, modular lighting solutions inspired by the city of London’s steel skyline. Buster + Punch's patented LED technology is framed by the graphic outline of a solid matt black steel cage. The light is finished with a black knurled lamp holder and signature matt black penny buttons. www.busterandpunch.com

A modern classic, the Streamline emerged in the 1930's and became a big influence on design and architecture.

A minimal element collides with the majestic vertical lines of the light.

Emphasised forms and clean lines combine to create a stylish ambience filled with warm light. www.castrolighting.com

4. Sator Contardi

5. Concept Feature Lantern David Trubridge

6. Reef De Majo

Designed by Architect Massimiliano Raggi Contardi’s tradition of tailoring light is embodied by Sator. Cut and sewn in creative patterns from exclusive and precious fabrics designed by Bruno Triplet for Sahco, Sator creates several plays of light.

Available in a double version or in three different sizes. www.contardi-italia.com

A range of concept outdoor feature lanterns were showcased this year. Made from a new ecological outdoor composite material that the studio is experimenting with, the large paneled lights were developed after an outdoor lighting installation was created for a tree walk experience in Rotorua, New Zealand. www.davidtrubridge.com

Designed by Chiaramonte Marin for De Majo, Reef is part of the Dome collection,a series of lights in which the overall shape is a unit of volume.

The base is white lacquered metal while the transparent diffuser with white matte inside, is an ideal continuation of the profile made from blown glass. wwww.demajoilluminazione.com

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Orsa by Foster + Partners Artemide Italian lighting brand Artemide participated in this year's Euroluce with systems, products and solutions designed for advanced interaction, originating from the company's ongoing research, testing and technological innovation.

As part of that, Orsa-designed in collaboration with Foster + Partners-was showcased during the show. Declined in two sizes to provide different light performances. In addition to the single suspension, it comes in two standard chandelier versions with three or five elements. The plastic body is shaped by the beam angle of light, which is diffused through a lens designed for the purpose. Light is thus cut out to strike the lower opaline part, which reflects it back with an even, non-glaring luminance and transforms the appliance into a suspended disc.

An elegant and minimal object, Orsa is conceived for individual use or as part of a broader installation, both in standard versions and in custom-designed compositions. In fact, the Orsa project allows maximum application flexibility for customised solutions combining multiple elements. A multitude of lightweight transparent bodies that reach down to different heights can result in a surprising chandelier that plays with light, transparencies and reflections. www.fosterandpartners.com www.artemide.com Pic: Pierpaolo Ferrari

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Tekio by Anthony Dickens Santa & Cole

Tekio, a name derived from the Japanese word for adaptation, consists of the transformation of ancient Japanese craft-paper shades - into a remarkable contemporary LED lighting system.

London-based designer Anthony Dickens has been developing Tekio since returning from a visit to Japan in 2010 where he came up with the idea of bringing traditional Japanese paper ‘Chochin’ lanterns into a new, design-based dimension.

In 2017, Santa & Cole decided to incorporate the product into its catalogue. The Barcelona-based brand selected Tekio owing to its warm, thoughtful presence, which fits in with the company’s criteria and philosophy, and on account of the subtle combination of technology and tradition, common in some of the company’s best-selling products.

Santa & Cole has updated the lighting system and transferred production over to handcraft artisans in Japan, ensuring its high quality. Tekio makes it possible to create different combinations and ambiences, from horizontal and pendant columns to wall lamps, a varied range of circles and ovals. www.anthonydickens.com www.santacole.com

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1. Douille Elstead

2. Aerostat Fabbian

3. Pili Arturo Alvarez

Elstead lighting launched over 300 new products in its 2017 supplement catalogue at this year's Euroluce.

Featured here is the Douille 5lt chandelier in aged brass finish, shown with glass shades, which are optional. Douille is also available as a table lamp, wall light or single pendant www.elsteadlighting.com

Designed by Guillaume Delvigne, Aérostat is made from white blown glass, a metal support and a decorative metal cage in brass, black chrome or a copper finish.

This striking pendant light is available in three different sizes the light runs on mains power and can be used with halogen, fluorescent or LED lamps. www.fabbian.com

The Pili table lamp is full of charm and mystery. Nestled between four metal rods a single painted stainless steel thread is interwoven creating random volume and wrapping irregularity through the collection. Pili is available in two sizes, which allows for some visually stunning compositions when units are combined. www.arturo-alvarez.com

4. Noctambule Flos

5. Filo Foscarini

6. Myriad Gabriel Scott

Made from transparent blown glass modules, come night time the Noctambule transforms into a gorgeous illuminated lantern. Several modules can be stacked on top of one another to create a light column or suspended chandelier. Carefully calibrated LED technology powers the lamps. www.flos.com

Made from porcelain, textitle cable, blown glass and varnished metal, a wide range of colours enliven the Filo lamp with multiple identities. From watercolour tones to the transparent hues of Murano glass, this light is at home in a wide range of settings. Filo comes in table, floor, wall or suspension versions. www.foscarini.com

The newest addition to the Gabriel Scott line, Myriad is inspired by nature’s bioluminescent organisms, this modular series is made up of the brand’s signature doubleblown glass and satin metallic hardware. Its articulated stems carry the soft-lit pivoting heads to create a delicate, asymmetric and ever-changing silhouette. www.gabriel-scott.com

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oola / ambra / cupallo Studio davidpompa Founded in 2013 with a showroom and production located in Mexico City.

Studio davidpompa is made up of a team of designers, engineers and makers based in Mexico and Austria.

David Pompa himself grew up in both countries and studied product design in London. The idea to work with Mexican craft started with a trip to Oaxaca in 2009 where David saw artisans work with ‘Barro Negro’ for the first time. From there he started directly working and experimenting with the material, which lead to his first collection. Since then, the Studio has become committed to Mexican culture and finds itself on a constant journey to create design objects that are both beautifully crafted and accessible.

Challenging the boundaries of culture, product and material is essential when taking a new path to do something truly new and as such the team combines traditional materials and crafts with their passion for perfection.

Exhibiting for the first time at Euroluce, Studio davidpompa presented a range of new products including, oola (left); ambra (centre); and cupallo (right). Oola combines the simple and clean shape of metal with an incredible natural mineral named Onyx, which allows the light to pass through, creating an ambient glow. The uniqueness of the translucency of Onyx is a beautiful and poetic way to enlighten a place. The contrast of these two materials attracts by itself and diffuses light ideal for different habits of contemporary living.

Ambra is a beautiful and poetic way to combine two materials such as the cantera and copper in one piece, creating different visual levels in a simple and modern object. The subtle shape creates contrast and at the same time a perfect balance with the visual weight of the Cantera. Ambra has a timeless style, which fits perfectly in any environment, creating a dramatic light cone. It brings the stone material from the building's structure into the centre of habitation.

Cupallo is a handblown glass pendant lamp. The shade is a game of reflections due to the diversity of materials. The pendant lamp was produced by deep drawing and glass blowing by Mexican artisans using 100% recycled, handblown glass and because of that, has an irregular surface with surprisingly tiny air bubbles enclosed inside the material. The glass creates a charming light effect and enhances the light distribution. www.davidpompa.com

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1. Chronalight Graypants

2. Spinne Kalmar

3. Roest Karven

A series of dish pendants comprise the first release in the Chronalight collection. With a variety of configurations in both horizontal and vertical orientations, dish pendants can be clustered together to make stunning constellations or individually hung. The debut pendants are available in diameters ranging from14-43cm. ww.graypants.com

Designed by Garth Roberts and Erik Berg Krelder, the Spinne lighting system provides pendant lighting without ceiling hardwiring.

The system's componants elegantly guide the cable from the socket to the desired suspension point. The cone shaped glass shade with a satin finish emits a warm ambient light. wwwkalmarlighting.com

Joost van Veldhuizen, founder of Vanjoost, together with Wouter Smit, general manager of Graypants, presented Karven's first collection Roest at this year's Euroluce.

Designed by Vanjoost Roest is natures reaction between iron, oxygen, water and time, presenting natural colours in unusal settings. www.karven.co

4. Crash Knikerboker

5. Raqam Masiero

Eve Lasvit

At this year's Euroluce 2017, Knikerboker launched its best-selling handmade lamp Crash. Now in steel with a new pattern, the different finishings include round diffusers, paintings and leaves, which can be combined in the structure and discs in order to adapt to any space. It is a monolith light that reaches the apex of its shape. www.knikerboker.it

The term collection is a bit reductive when applied to Raqam. Derived from the Arabic word for embroidery, Raqam is the result of the technical expertise and flair for experimentation of Marc Sadler, complemented by the engineering skills of Masiero's technical team, and can be used in multiple applications. www.masierogroup.com

Designed by Zaha Hadid Design, Eve is composed of fifteen glass pieces arranged in one intriguing ensemble. It combines traditional glassmaking techniques with parametric design.

Suspended at varying heights, the glass bodies create an impressive play of light and shadow. www.lasvit.com

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1. Yuh Louis Poulsen

2. Stitches LZF

3. Cylinda Oluce

Yuh celebrates Louis Poulsen’s philosophy of designing to shape light. The lamp rotates, rises and drops, illuminating and creating ambience in the required area while the shade is determined geometrically from the functional movement of the screen on the vertical pipe. A minimal shape created from a circle to a line. www.louispoulsen.com

Designed by Egbert – Jan Lam of Netherlands - based design studio, Burojet.

The Stitches lamp each have a visible hemstitch where the light shines through, cleverly emulating the embellished stitches found on cloth. Wood veneer lengths are crafted in a traditional sewing fashion, by marking out a pattern and cutting it. www.lzf-lamps.com

Designed by two students from the European Institute of Design. Cylinda maintains a minimalist sophistication with its clean outlines and use of geometric shapes. In the two-colour version a brushed gold disc is supported on the anthracite base, a decorative touch that succeeds in discreetly embellishing the object. www.oluce.com

4. Superlight Pablo Designs

5. Jackie Panzeri

6. Landing Prandina

Superlight balances the demands of both workplace and home with a combination of minimal form and maximum function.

Superlight achieves fluid, sweeping movement in every direction with a full three-axis range of motion providing warm glare-free LED light exactly where you need it. www.pablodesigns.com

A new version of Panzeri’s bestseller the Jackie table lamp enters the Smart Lighting world thanks to Otomo, a Bluetooth Low Energy (BLE) network technology managing blind, light and heating system settings.

Jackie can assess temperature and brightness from the users’ best position to perceive the light. www.panzeri.com

Conceived with an energy saving approach, the Landing collection is equipped with latest generation LED integrated modules, available in different powers and temperatures.The study of light, both direct and indirect makes this collection fascinating for its use in private or public areas. www.prandina.it

Darc installation at the London Design Fair 2016

THE LARGEST COLLECTION OF INTERNATIONAL EXHIBITIONS, DESIGNERS, BRANDS, COUNTRY PAVILIONS AND GALLERIES IN ONE DESTINATION DURING THE LONDON DESIGN FESTIVAL. NOW WITH THREE FLOORS OF PURE DESIGN. —

21—24 SEPTEMBER 2017 PRE-REGISTER FOR YOUR TRADE PASS OLD TRUMAN BREWERY, E1 6QR — londondesignfair.co.uk

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Copénica by Ramírez i Carrillo Marset The weightless light. With no more than fingertips, one can achieve a feeling of weightlessness with the Copérnica lamp.

As if levitating, it moves through space effortlessly, without friction or resistance.

Circles, semicircles, tubes, and bars of different diameters, materials, and weights… With the combination of these primary elements the Copérnica collection constructs geometric sculptures of light, establishing an intimate relationship with space and combining functionality with the beauty of pure lines.

The collection consists of desktop and standing versions that play with counterweights of mixed materials and density, such as steel and aluminum. This design allows one to move the lamp with great precision, providing a wide range of heights, distances, and adjustments to the beam of light to suite one’s taste.

The upright version, a true statement piece, stands almost two meters in height and directly or indirectly illuminates the environment with its tilting head system.

Copérnica draws minimalist sculptures in space, as if it were a canvas, and the carefully selected colours add soft chromatic touches to the ensemble. www.marset.com www.ramirezicarrillo.com

Paris Professional Lighting Design Convention

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

www.pld-c.com

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

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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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1. Kazimir Roll & Hill

2. Aurora Sans Souci

3. Pathleaf Serip

The newest member of this collection designed by Ladies & Gentlemen Studio is the Kazmir long pendant, a rhombic take on the series inspired by the earl 20th century Russian modernist Kazmir Malevich.

Here, his ideas are transformed into three dimensions with pieces of textured and dichroic glass arranged in layers. www.rollandhill.com

Designed by Katarína Kotuláčová, Aurora combines hand-blown glass components in a celestial play, imitating the fascinating phenomenon that originates in polar areas and is very rare in our latitudes. The light sources are programmed to put on an impressive, pulsating show of differentcoloured fans, rays or drapes. www.ss-gd.com

Inspired by nature the Pathleaf collection is presented as a creative installation for flat decoration of walls or ceilings, made from bronze and illuminated using an LED lighting system The Pathleaf allows for modular choices and indirect light. Customised visual arrangements can be created for different artistic outcomes. www.serip.com

4. Nautilus Studio Italia

5. Porcelain Tala

6. Aldwych Tekna

The Nautilus from Studio Italia is a highly versatile and functional LED wall sconce.

Its strong and sophisticated design brings contemporary Italian style to luxury architectural lighting. Flexible to 32º the Nautilus splits into two separate pieces with a mirrored centre allowing for a custom approach to lighting. www.studioitaliadesign.com

The porcelain range is centred around four distinctive shapes. Tala has squashed and moulded the matte porcelain glass to create a series of self-assured lamp designs.

Designed to be an antidote to an overly industrialised aesthetic, these units work well with bold colours and backgrounds in a commercial space or a residential space. www.talaled.com

Initially created as an automatic drawing, the flat and square surfaces of Aldwych seamlessly transform to curved surfaces, requiring true craftsmanship that challenges existing CNC machines. The Aldwych is fitted with eight Soraa LED modules, which can be set-up individually for use in residential or professional environments. www.tekna.be

20-23 September 2017 OLYMPIA LONDON

Elements of design.

Register for free www.100percentdesign.co.uk

#100design

100percentdesign

designlondon

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1. Nabila Tooy

2. Chestnut Viso

3. Wiro Wever & Ducre

Inspired by the '50's Nabila is a collection of elegant and sophistaced lights. A double sided spherical bright object in borosilicate glass with a structure made from coated metal and enriched with brushed brass details, Nabila allows for different compositions. Different varieties of Nabila are available for any space or situation. www.tooy.it

The Chestnut decorative metal plate light fixture comes in a hand brushed champagne finish. Plates are sold in sets, but can also be customised to create unique installations on walls and ceilings, attach them to a singular j-box and you have yourself a unique custom cluster for use indoors or outdoors. www.visoinc.com

Designed by Bernd Steinhuber, Wiro looks like a sketch drawn in the air. This striking pendant can be hung individually or as an ensamble in different sizes.

Pick your favourites and combine. These stylish luminaires are as flexible as can be and are available in diamond, globe or industry styles. www.weverducre.com

4. Diamond Filament Style

5. Crystal Ebb & Flow

6. Volta Estiluz

Filament Style introduced Spring colours of the popular Diamond light at this year's Euroluce. Green, yellow and pink are the three chosen colours of 2017.

Diamond lamps include a fabric cable, porcelain socket and a vintage filament lamp. They can be used as table lamp or as pendant. www.filamentstyle.com

Each of the seven crystal petite pendants once had a different purpose, a champagne glass, vase, decanter and tumbler, each style has been modified and re-designed into a lampshade, arrange them together as clusters and they turn into modern chandeliers, exuding elegance and lightness in equal measure. www.ebbandflow.dk

Devised as an evolution of the Volta lamp, the delicate suspended arches become circles that sketch out different ensembles in the air depending on the way they are arranged. Customisable according to the layout of the circles, the Revolta lamp is equipped with adjustable-intensity LED technology. www.estiluz.com

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

www.icff.com

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

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1. Studio Fortuny

2. Brixton Innermost

3. Coassiale Martinelli Luce

The Studio floor lamp revives the elegance of the early 20th century, made from aluminium and steel. Studio has a 360º swivel and tilt capacity and comes with removable wheels.

The lampshade and stand are available in black or white, while the inner part comes in gold, silver leaf and white. www.fortuny.com

Brixton takes inspiration from elements of South London architecture. Designer James Bartlett used the octagonal turrets that appear on buildings in the area as the starting point for the design. Brixton offers a uniform look for everything from wall lights and small pendants to some very innovative chandeliers. www.innermost.com

Light reflects on a disk made of white opal methacrylate, which slides along two cables, enabling Coassiale to create several light effects. Endless luminous geometries are possible either towards the ceiling or the floor. Direct and indirect light are given out from the LED light sources held inside two cylindrical supports. www.martinelliluce.com

4. Incanto Marchetti

5. Montgolfier M&DE

6. Nemo Orbit

The geometry of Incanto’s pentagonal shape is enriched by its interior of a pyramidal artisan crystal block, a stunning modular piece that makes a striking focal point in any space. Lamp fittings are G9 Designer Studio 14 and steel parts are finished in galvanic 24kar polished gold or polished galvanic nickel. www.marchettiilluminazione.com

Designed to light a dinner table or a living area, Montgolfier’s vintage recall is perfect to create the right atmosphere in a restaurant or in a bistro. Thanks to the LED Warm Tune dimmable technology the light spreads from source, varying intensity and colour temperature simultaneously, following all the interior designer’s needs. www.linealight.com

Available as a table and a pendant lamp Orbit is inspired by mashrabiyas consisting of a hundred or so polycarbonate microrods assembled to form a latticework. The Orbit pendant version is modular and can be customised and accessorised by different skirts in straw braid, paper or a thin sheet of wood. www.nemolighting.com

SPECIFY THE RIGHT ONE FROM THE BEST.

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.

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INTERVIEW

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Culture and Commerce Claire Pijoulat and Odile Hainaut met in October 2010, joining forces to launch WantedDesign, a new platform for design exhibition and conversation in conjunction with ICFF. Here they discuss the design scene in New York and how the show has grown over the past seven years.

Before starting WantedDesign Odile Hainut (pictured left) had an unconventional and diverse background in literature, performing arts, music and art history, which she applied to the communication of design for more than 20 years as director of communications for branding, packaging and product design at Raison Pure. In May 2007, she co-founded Gallery R’Pure in New York, introducing the work of new and emerging furniture, lighting and object designers to the New York design marketplace.

Claire Pijoulat worked on a variety of projects for a design studio and importer while still a student in France. In 2002 she worked for Roche Bobois international.

After receiving a masters in International Business, she relocated to New York to start her career as Marketing Director for Roche Bobois USA. Looking for a new challenge Pijoulat began freelancing for web agencies, foreign cultural offices in NYC and international companies, focusing on new communication and web strategy projects.

How did WantedDesign begin?

We were both working in the design industry in New York for a while, we met in 2010 and realised we both had the same vision and idea: creating a new platform for design exhibition and design conversation in conjunction with ICFF, contributing to building a real design week in New York.

Revisiting the traditional design fair, combining culture and commerce, with a more selective approach and a human scale format. We think it’s important to not just exhibit products, but also be able to talk about what is behind the products.

Combining established names from the industry, with up and coming design manufacturers and independent studios from all over the world while giving visibility to the US design scene was also an important focus.

How has WantedDesign changed in its seven years?

It’s now a real international rendezvous for the industry. Our mission is to support young American design and with the support

of Bernhardt Design we launched the American design Honours, which is now in its third year. The number of visitors and exhibitors has increased, our first year we welcomed 4,000 people and this year we are expecting about 12,000. We started with 32 participants and that number has now increased to around 150. WantedDesign Brooklyn started in 2014 which allows us to have two destinations during NYCxDESIGN both with a difference focus and format.

Manhattan has more of a focus on trade with commercial goals, while Brooklyn is the destination for discovering student’s work and exhibits presenting process and experimentation. We also offer programs addressed to a larger audience, with family activities and workshops.

Tell us more about Launch Pad? How do you see this event growing?

Launch Pad offers an ideal ignition point between designers and potential manufacturers, retailers and distributors seeking the latest in cutting edge design.

This year we decided to create a separate lighting category because the winners of the ‘Best of Launch Pad’ have always been lighting products and we wanted to give a furniture project an equal chance to benefit from the visibility. Launch Pad is once again presented by Design Milk and Design Within Reach who will also form part of the judging panel and provide support. A top prize will be awarded to the standout product that meets the highest levels of quality and design. Beyond the selection process and the ‘Best of Launch Pad’ competition is the opportunity to collaborate, share and create a thriving ecosystem where designers, makers and visionaries can connect.

The jury review this year will be conducted by Jaime Derringer, Design Milk founder and executive editor and includes Noah Schwartz, Director of merchandising at Design Within Reach, Bettina Hermann, director of design and product management, Rolf Benz reviewing the furniture and accessories category and Katie Stamaris the director of product development along with Designer David Trubridge for the lighting category. It’s

important to create opportunities for independent designers to share new ideas and be able to present it to manufacturers in a very direct way and it’s a good format.

Our Best of Launch Pad 2014 lighting project, designed by Elish Warlop was picked by the Design Within Reach team put in production and launches this spring.

What’s the most interesting lighting product you’ve seen at WantedDesign?

We have had the opportunity from our very first year to present David Trubridge’s lighting collection and love him, Blackbody was also an interesting company to present, using new technology to make lighting a total part of architecture. Our previous Launch Pad winners are also great innovative lighting concepts and design.

How does design in New York differ?

New York is a multicultural city; there is a blend like nowhere else. It’s open to ideas and there is a lot going on. Design is definitely evolving; there are more designer and makers established in New York now, particularly in Brooklyn, like Roll & Hill, Rich Brilliant Willing, Lindsey Adelman and David Weeks who develop and distribute their products internationally, its quite interesting and admirable. Lighting seems to be a category of product that is the most appealing for young New York design entrepreneurs right now.

What can we expect next from the design industry in New York?

New York is becoming a pretty dynamic scene; lots of showrooms have opened in recent years from international, established names to local designers who often keep a studio in Brooklyn and showroom in Manhattan. There’s a curiosity for what’s happening in New York, Brooklyn in particular. NYCxDesign is in its fifth year and growing, there’s a lot more promotion happening, more interesting content and more visitors, we feel like New York is finally on the map of world design weeks and we’re proud to be a part of it. www.wanteddesignnyc.com

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“Nature offers a wealth of inspiration.”

Jo Hamilton will be appearing at the OFIS sponsored Design Talks at this year’s INDEX Design Series – taking place at the Dubai World Trade Centre, May 22-25, 2017. Here, darc gets an insight into her design philosophy.

Jo Hamilton is widely regarded as one of the UK’s leading interior designers, noted for her confident grasp of colour, intelligent use of space and luxury aesthetic. She is also a respected public speaker, writer, design commentator, property finder and broadcaster. Hamilton has been running her own interior design consultancy since 1995 and has been involved in many high-end developments in both the UK and overseas, including USA, UAE and Saudi Arabia.

Projects have ranged from exclusive city apartments to stylish country retreats; from bars, clubs and restaurants to homes, offices and hotels. She has also designed interiors for yachts and private jets. She is ‘resident interior designer’ for popular UK exhibition Grand Designs Live, where she is also a key speaker / presenter and ‘show ambassador’ along with Channel Four stars Kevin McCloud, George Clarke and, more recently, Charlie Luxton.

Further public speaking appointments have included Top Drawer and the International Property Awards. Jo is also on the judging panel of the prestigious What House? Awards.

How excited are you to be involved in an interiors show such as INDEX? I’m really excited. It’s a real honour to be involved in such a prestigious show. I’m really looking forward to meeting with and talking to a wide range of people from across the world and discussing different approaches to interior design.

You’ve obviously made your name designing living spaces for others. How would you describe your own personal tastes when it comes to your home?

It’s quite eclectic, elegant and tranquil. I don’t like an interior to be too contrived or matching. I like things to look as though they’ve grown organically and there’s a story behind the interior; so that it tells the story of the person that’s living there.

Art is a big focus - I love art. I love lots of different sorts of art, including very contemporary, abstract and minimalist.

Steven Lindsay’s work is beautiful - he’s one of my favourite artists at the moment.

Greens and bold, lush designs are staple trends this year. What are some of your favourite 2017 design trends?

I love that the focus is around nature and simplicity. I am always big campaigner for texture. Layers of texture add so much to any scheme. The trends for 2017 see texture in abundance - brushed brass, hand-washed linens and worn leathers and textured wall coverings. Marble and bronze is another favourite. This trend was on the rise last year and it’s going to be really big in 2017 I love the contrast between the hard, cold texture of the marble with the warm tones of bronze.

This year’s INDEX is about design that stimulates the senses. How can people bring design to life in such a way?

Nature is a great starting place for any home design and offers a wealth of inspiration on colour, texture and light.

A home should be a restful calming space that gives a sense of peace, it calms the very core of us if we get it right. Lighting is the absolute key in this. People understand they need to physically light a space but often mood lighting is forgotten. It’s really important to be creative. Nature uses layers of texture and the results are beautiful.

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Dubai is home to thousands of British expats. What key differences should expats consider when it comes to designing their home in the desert rather than back in the UK? What should they try and avoid that they’d incorporate into their interiors back home?

One of the luxuries that Dubai expats will have is the quality of light. They can be softer with tones because subtle beautiful tones will be rendered more clearly and in a way that it just isn’t back in the UK. The sun is so warm and vibrant, so cooler tones work really well; blues, greens and violets look particularly beautiful. In somewhere like Dubai you have the opportunity to bring in cooler, hard textures like stone and marble. Warmth can be brought not only by fabric, but by warmer-toned woods balancing those cooler textures and colours with warmer textures, warmer materials.

When it comes to designing for a client, how do you to truly understand what that person wants from their space? Do you have any special techniques?

It’s what really excites me - being able to

listen to somebody and translate their likes and dislikes into a discernible style even though they might not even know they have one. It’s a real skill and a big part of my job to decipher a client’s style and translate that into a coherent design. I’m interested in the client’s story, so that I can draw that out and show a journey in the pieces I choose - that might be some very modern piece that is very clean and sharp, next to an antique piece from Hong Kong because the client lived there for a period of their life, or got married or engaged there or some other significant life event. I love that story element of designing an interior.

What are the key elements someone should consider when designing a living space?

Colour, lighting, space and planning.

Balancing colours with soft neutral tones is important. Whatever the colour choice, pay attention to the neutral tones you choose to partner them with. We can bring more or less impact depending on how many neutrals we introduce to the scheme. Lighting is also crucial - good lighting shows the true nature of colours. Design a lighting scheme

that really shows your chosen colours off.

Pick out beautiful architectural features and create a bit of drama in the room.

Remember to allow the space to breathe a common mistake is to clutter the space with furniture and to think you need a piece in every single corner, but actually the space will just feel uncomfortable and claustrophobic. So remember to allow space around pieces for flow and calm.

When owning rental properties, what are the biggest dos and don’ts when it comes to their interior design?

Create a really beautiful, elegant backdrop that anybody could just walk into, with soft neutral tones. Don’t be afraid to add some colour in the accessories to give the scheme a bit of personality, maybe with a fabulous piece of art or some feature cushions. Don’t go garish with colour but do punctuate with it with some nice features and warm tones, inky colours work really well. Because the colour is only in the accessories - if somebody doesn’t like it then they can take it away easily enough. www.johamilton.co.uk

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CALENDARC

On Show

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

DARC AWARDS / DECORATIVE • LONDON 18 May 2017 (www.darcawards.com/decorative)

ICFF • NEW YORK 21-24 May 2017 (www.icff.com)

WANTED DESIGN BROOKLYN • NEW YORK 17–23 May 2017 (www.wanteddesignnyc.com)

WANTED DESIGN MANHATTAN • NEW YORK 20–23 May 2017 (www.wanteddesignnyc.com)

INDEX • DUBAI

DARC ROOM • LONDON

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

21-23 September 2017 (www.darcroom.com)

CLERKENWELL DESIGN WEEK • LONDON

DESIGNJUNCTION • LONDON

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

21-24 September 2017 (www.thedesignjunction.co.uk)

MAISON & OBJET • PARIS

ICFF • MIAMI

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

3-4 October 2017 (www.icffmiami.com)

DARC AWARDS / ARCHITECTURAL • LONDON

PLDC • PARIS

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

2-4 November 2017 (www.pld-c.com)

DECOREX • LONDON

BDNY • NEW YORK

17-20 September 2017 (www.decorex.com)

12-13 November 2017 (www.bdny.com)

100% DESIGN • LONDON

DOWNTOWN DESIGN • DUBAI

20-23 September 2017 (www.100percentdesign.co.uk)

14-17 November 2017 (www.downtowndesign.com)

AD INDEX 100% Design........................................................................ 119

Fagerhult................................................................................ 74

Martinelli Luce......................................................................131

Archilume...............................................................................63

Fritz Fryer..............................................................................113

Molo....................................................................................8 & 9

Architonic............................................................................. 123

GILE........................................................................................109

Morroccan Bazaar.............................................................. 75

Astro Lighting......................................................................35

haberdashery.......................................................................25

Niche Modern..........................................................................2

Bover .......................................................................................39

Vermont Modern by Hubarton Forge.......................41

PLDC........................................................................................117

Bright Goods........................................................................53

ICFF..........................................................................................121

Rousseau Design................................................................65

Clerkenwell Design Week...............................................88

Illuminati...............................................................................105

SLAMP................................................................................... 132

Contardi................................................................................... 17

Index.........................................................................................58

The Light Yard............................................................... 4 & 5

CPH...........................................................................................83

Innermost...............................................................................85

toscot........................................................................................ 71

darc awards ................................................................. 10 & 11

LDF............................................................................................115

Viso............................................................................................ 15

David Trubridge............................................................ 6 & 7

Linea Light Group..............................................................79

Wanted Design.................................................................. 129

Design Junction......................................................... 12 & 13

Lolli e Memmoli...................................................................33

Yellow Goat Design...........................................................23

designheure..........................................................................97

LSE............................................................................................99

Ebb & Flow............................................................................ 77

Martin Huxford....................................................................113

170222_Wanted Design_Press Add_DarcMag.pdf

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CM

MY

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MANHATTAN

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)

PHOTO CREDIT: IKON PHOTO

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130

SOCIALIGHT

#readinginthedarc This month we bring you our Instagram highlights from Milan Design Week and Euroluce.

1. @darc_mag

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11 Visitors to #euroluce2017 were able to pick up a copy of issue 20 and 3D from the @anglepoise stand in Hall 13 F03 @isaloneofficial #milandesignweek2017 #lighting 2

2. @darc_mag 21 Lighting legends @ingomaurergmbh and Robert Sonneman @sonnemanlight at @isaloneofficial #milandesignweek2017 #euroluce2017 #lighting

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3. @darc_mag 18 Two of my favourite things! Gin and beautiful lighting @innermostdesign stand @isaloneofficial #milandesignweek2017 #euroluce2017 #lighting

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4. @darc_mag 49 Matthew McCormick Halo chandelier on show at Spazio Rossana Orlandi. @isaloneofficial #milandesignweek2017 #euroluce2017 #lighting

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5. @darc_mag 44 New designs on the @rollandhill stand @isaloneofficial #milandesignweek2017 #euroluce2017 #lighting

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6. @darc_mag 20 Helen spoke with @slamp_official Mr Zilian & @montblanc Italia’s Mr Rauch about the new Overlay table lamp launch during @isaloneofficial #milandesignweek2017 #euroluce2017 #lighting

www.martinelliluce.it ph. b. saba - e. martinelli a.d. e. martinelli

MAMBA

EMILIANA MARTINELLI 2017

DARC - 05 MAGGIO 2017 - MAMBA.indd 1

19/04/2017 16:05:47