DECORATIVE LIGHTING IN ARCHITECTURE #22 SEP/OCT 2017
DESIGNER LAMPS WAREHOUSE HOTEL ONE WORLD COMMONS
LONDON DESIGN FESTIVAL • ATELIER MEL • MAHA KUTAY • MARRIOTT HOTEL • WONDER ROOM SELFRIDGES • LEE BROOM
Cover: Tulip table lamp from Curiousa & Curiousa
Welcome HELEN ANKERS â€˘ EDITOR Our September / October issue is always one of our most popular thanks to so many interesting events taking place during London Design Festival. As such, we have a wealth of editorial and our full guide to everything lighting during the festival week starts on page 146. With this in mind, there's a new kid on the block at LDF this year - darc room - a lighting exhibition dedicated to the architectural specification market. Taking place at B1, Location House from 21-23 September, the event has been curated by lighting designers Light Collective in conjunction with ourselves and sister title mondo*arc. This is no ordinary exhibition and it will have a true design orientated look and feel to it, as well as a comprehensive seminar and talks programme. Particular highlights include talks from Rebecca Weir, Light IQ; Paul Nulty, Nulty+; Daniel Stromborg, Gensler; and Dean Skira, Skira Lighting. All of the talks during darc room are free to attend, you just need to register at: www. darcroom.com. I have another exciting announcement to make this issue, in relation to the 2018 darc awards / decorative. Following the success of our first awards at Bloomsbury Ballroom in May this year, we're taking things up a notch for 2018 and have secured the iconic London nightclub Fabric to play host to the darc night awards ceremony on 31 May 2018. The awards entry period opens on 1 December, but you can find full details on how to enter, criteria and voting on pages 20-21. The awards is the perfect opportunity to shout about those projects you've been involved in and all those wonderful product launches we saw at Euroluce! Elswhere in the magazine, our projects section is bursting and includes a stunning spread on the Tree Hotel in Sweden starting on page 35; a six-page spread on New York's One World Commons on page 47 that saw Gensler and SBLD adopt a linear, yet decorative, lighting approach; and The Warehouse Hotel in Singapore on page 56 where interior designers Asylum worked with lighting designers SWITCH to produce an ambience that is relaxed yet sophisticated, through the use of bespoke decorative lighting. We also have an exclusive interview with Maha Kutay, Director of Zaha Hadid Design, starting on page 26, where she explains how Hadid's influence and creativity lives on through their design collaborations and our main feature this issue focuses on decorative light sources. Introduced by British designer Lee Broom, who brought us the award-winning Crystal Bulb in 2012, he explores the use of decorative lamps within interior design and how improvements in LED technology are furthing opportunities available to designers, turn to page 118 to read more.
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In collaboration with
darc night installation partner
a creative lighting exhibition at London Design Festival
urchin softlight shapeshifting interactive luminaries molodesign.com Âˇ design by Stephanie Forsythe + Todd MacAllen
darc awards winner: Best of the Best & Live - House X, Singapore by Redbean Architects & Limelight atelier
Calling all designers! Get involved in darc awards / decorative 2018 Where: Fabric, London When: 31 May 2018 What: Celebrating the best in lighting design Awards Entry Period Opens: 1 December 2017 For more info visit: www.darcawards.com/decorative
026 Maha Kutay
darc talks to Maha Kutay, Director of Zaha Hadid Design about the studio's new collections.
047 One World Commons
This Swedish concept hotel offers contemporary design in the middle of unspoiled nature.
Gensler and SBLD Studio worked to create a communal hub for the One World Trade Centre.
ON SHOW 146 LONDON DESIGN FESTIVAL darc's introduction of showroom
018 DESIGN NEWS
026 MAHA KUTAY
035 TREE HOTEL
A round up of the latest decorative lighting news from around the world.
The director of Zaha Hadid Design on
022 FOCAL POINT: FAIRMONT HOTEL 024 FOCAL POINT: MARRAKESH AIRPORT 044 FOCAL POINT: ONE STATE STREET 064 FOCAL POINT: HANSE MERKU VERSICHERUNGEN 114 FOLIO: LDI WORLDWIDE
how the studio continues to push the boundries of design. 105 ATELIER MEL
with glass. 111 GARTH ROBERTS Berlin-based product designer Garth
060 WAREHOUSE HOTEL SINGAPORE
151 DECOREX PREVIEW A preview of highlight's from this year's Decorex.
155 100% DESIGN 066 THE NED HOTEL darc highlights this year's must see lighting products on show at 100% LONDON 072 SPEYS FOOD COURT
116 DOROTHEE MEILICHZON darc caught up with award-
with Kalmar Studio.
winning interior designer Dorothee Meilichzon to find out who and what
118 DECORATIVE LAMPS FEATURE
Introduced by British product designer Lee Broom.
098 HILTON HOTEL
exhibition. 164 DESIGNJUNCTION
066 WYERS RESTAURANT STOCKHOLM
170 SOCIALIGHT INSTAGRAM HIGHLIGHTS
events and parties from LDF.
159 DARC ROOM A preview of products on show at 082 MARRIOT HOTEL our very own darc room event, LDF's CHARLOTTE first and only lighting speification
Roberts discusses his collaboration
168 CALENDARC DESIGN SHOWS FOR 2017
047 ONE WORLD COMMONS
Co-founder Maria Ruiz Pardo discusses the complexities of working
118 Lee Broom
Designer Lee Broom shares his thoughts on the use of decorative lamps in interior design.
Lighting highlights from this year's designjunction. 166 LONDON DESIGN FAIR A preview of highlights on show.
Editor : Helen Ankers firstname.lastname@example.org
Artwork: David Bell email@example.com
Chairman : Damian Walsh firstname.lastname@example.org
Editorial: Mel Robinson email@example.com
Editor In Chief : Paul James firstname.lastname@example.org
Assistant Editor : Emma Harris email@example.com International Advertising : Stephen Quiligotti firstname.lastname@example.org Editorial Contributor : Maria Elena Oberti email@example.com
FINANCE Finance Director: Amanda Giles firstname.lastname@example.org Credit Control: Lynette Levi email@example.com
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darc room speaker lineup finalised (UK) - As part of this year’s London Design Festival, the very first darc room exhibition will see a comprehensive lecture programme including Rebecca Weir, Founder & Creative Director of Light IQ, who will take to the stage on Saturday 23 September at 1pm to explore the challenges of creating a beautiful home through the medium of light. Weir’s passion for lighting and her ability to harness and maximise the creative potential of light has led to the successful completion of over 1,400 award-winning residential and commercial projects worldwide. darc room will take place from 21-23 September at B1, a unique 22,000sqm space at Victoria House, London. Consisting of leading lighting manufacturers displaying their latest products, as well as light installations, the event is lead by lighting design duo, The Light Collective. For a full list of exhibitors visit: www.darcroom.com
Benoy announce new Design Director
Innermost open house for LDF
Tala announces LDF installation
lightjunction returns to Kings Cross London
(UK) - Benoy have announced Barry Spencer Hughes as Design Director. With over 25 years’ experience in design, he has a strong design-led portfolio having worked on significant large-scale, mixed-use projects spanning markets and typologies. Hughes will shape Benoy’s global design message, “I am excited to have joined the Benoy team, and look forward to building on the firms national and international reputation,” Spencer Hughes says. www.benoy.com
(UK) – Innermost is set to open its studio, showroom and gin bar to the public for London Design Festival 2017. After the success of last year’s event, Innermost will be welcoming visitors to view their latest collection of lighting, in their Oxo Tower Wharf showroom. Innermost has also recently started to distribute the lighting and furniture range of EOQ, and the downlights of Chiara, so this is a perfect opportunity to see these collections up close. www.innermost.net
(UK) – Esteemed British furniture manufacturer and retailer SCP has joined forces with LED lighting brand Tala, for Under the Arches – a oneday immersive furniture and lighting exhibition, as part of LDF 2017. The best of British design exhibition will feature three specially curated room-sets comprised of both brands’ latest designs the event takes place from 10am-6pm on Tuesday 19 September at 347 Old Street, London. www.talaled.com
(UK) – lightjunction will return to Granary Square, Kings Cross, as part of this year’s wider designjunction from 21-24 September 2017. designjunction will present more than 200 of the world’s most iconic design brands to the world’s leading design professionals and is the place #wheredesignmeets during the London Design Festival. Expect to see the latest from Resident, Marset, Blackbody, Decode, Tala, Rich Brilliant Willing and many more. www.thedesignjunction.co.uk
CONTARDI WILL ATTEND TO LONDON DESIGN WEEK. FOR MORE DETAILS:
www.contardi-italia.com facebook: contardilighting instagram: contardi_lighting pinterest: contardi_light
new CRYSTAL TA
Design by Nika Zupanc Real crystal diffuser available in three different colours. Precious ďŹ nishes and high-performance LED sources.
WITH THANKS TO OUR 2017 AWARDS PARTNERS
The darc awards launched in 2015, breaking the mould of stuffy, black-tie awards dominated by non-sponsor manufacturers. It is a unique concept that utilises darc’s reputation as the only decorative lighting design magazine in the world, making use of our database of interior designers, architects, lighting designers and product designers. This year’s darc awards / decorative event attracted 200 entries and over 4,000 votes from designers.
GET INVOLVED! 2018 DARC AWARDS / DECORATIVE GET NOTICED All designers, architects and manufacturers are entitled to enter projects and products in the darc awards / decorative. Have you been involved in a project where stunning lighting has been the focus of your attention? Or have you collaborated with a lighting manufacturer on their latest range of decorative fixtures? This is your opportunity to shout about your achievements. Entry Period: 1 December 2017 – 28 February 2018 VOTE FOR YOUR FAVOURITES Select industry professionals from the design community will then shortlist entries before handing over to you, the designers, to vote on your favourites. Only independent designers and architects are entitled to vote in the darc awards / decorative, making this the only peer-to-peer lighting awards in the world. Voting Period: 12 March – 12 April 2018
DARC NIGHT Taking place at the iconic London nightclub Fabric, the darc night awards ceremony is for all the designers that vote in the awards. Tickets are free and so is the bar! This means anyone from your design studio that has voted can join us for a fun night of socialising with like-minded people. When: 31 May 2018 @ Fabric, London More detailed information, including entry criteria can be found at: www.darcawards.com/decorative or contact Awards Director Paul James on firstname.lastname@example.org Sponsorship opportunities are available. Unlike any other awards currently available within the lighting industry, this isn’t just a logo on a screen, it’s a unique opportunity to showcase your product range through an innovative lighting installation at darc night. To get involved, contact Stephen Quiligotti on: email@example.com
THE 2017 WINNERS
Feltrinelli Foundation Building
Sunset Walk Centre MK
Marriot Charlotte City Centre
Alphabet of Light
PROJECT CATEGORY: PLAY
PROJECT CATEGORY: REST
PRODUCT CATEGORY: WALL
CATEGORIES: LIVE & BEST OF THE BEST
PRODUCT CATEGORY: CEILING
PROJECT CATEGORY: WORK
PRODUCT CATEGORY: FLOOR
PROJECT CATEGORY: SHOP
PRODUCT CATEGORY: TABLE
PRODUCT CATEGORY: EXTERIOR
PRODUCT CATEGORY: BESPOKE
PRODUCT CATEGORY: SOURCE
focal point FAIRMONT HOTEL ST ANDREWS BAY, SCOTLAND Designed to reflect the surrounding nature of St Andrews Bay, Zephyr encapsulates the crashing waves, enormous cloud formations, rolling hills and murmurations of starlings in one unique installation. Zephyr was designed by George Singer in collaboration with the Berlin-based computer code-writing company, onformative. Using smart computer technology, onformative and Singer were able to design a truly organic form, which is an impressive 60-metres long and eight metres wide, and full of twists, turns and undulations, which would be impossible to design by eye. Singer also collaborated very carefully with interior designers RPW Design to choose colours that delicately complement the warm and natural colour palette of the hotel atrium. The satin finish allowed them to beautifully reflect the LED light, which is washed onto the installation from spotlights throughout the atrium. The lighting scheme was designed in collaboration with dpa lighting consultants, led by Senior Associate Michael Curry. www.georgesinger.co.uk Image: Josu Muniz
focal point MENARA AIRPORT MARRAKESH, MOROCCO The new Marrakesh Menara Airport terminal features a stunning 30-metre diameter glass dome located in the main access area. It is illuminated with a series of impressive lighting installations created using the Circular Pol and Pol XXL fixtures designed by Emiliana Martinelli for Martinelli Luce. The end result is an extraordinary example of harmony between tradition and the modern concepts, which inspired the well-known architectural firm of Abdou Lahlou & Associates to reproduce ‘clouds’ in various areas of the terminal and create plays of light with white and RGB LED sources. Menara is Morocco’s second-largest airport and thanks to this extraordinary project, it will provide meaningful support to the city’s socioeconomic development and expansion of its tourist trade. Menara will be able to serve nine million passengers annually and thus provide a valid response to the growing demand for international connections. www.martinelliluce.it
Zahaâ€™s unwavering belief in the power of invention continues to drive and inspire us every day. We work as she taught us, with curiosity, integrity, passion and determination. - Maha Kutay
Architectural Articulation Zaha Hadid Design creates a variety of pieces from architecturally inspired homeware to limited edition furniture and lighting, as well as innovative installations and interiors. darc spoke with Maha Kutay, Director of Zaha Hadid Design, to find out how the studio continues to push the boundaries of traditional design methodologies.
Image: © Archmospheres
Zaha Hadid’s product design and architecture have always been connected with some of the earliest projects, product designs and interiors part of the studio’s repertoire from the very beginning, and the strong connection between the two completes the experience architects try to realise for the user to some extent. Whether in large scale such as buildings, or small scale such as lighting, architects are designing for the end user. Many of the same ideas and principles used in the studio’s architecture can be applied to its product design. Design Director Maha Kutay studied environmental design from Parsons School of Design, New York followed by a master’s degree in architecture from Columbia University, New York in 1994. Having joined Zaha Hadid Architects in 1995 Kutay has been involved in a number of major architectural projects. After a short time away from the studio, she returned to lead
the team at Zaha Hadid Design. Commenting on the studio’s ‘design style’, Kutay tells darc: “The work explores the potential for a new language of architecture and design that is driven by the many new possibilities created by significant technological advancements in 3D design software, as well as our inherent desire to test and engage with both traditional and innovative new manufacturing capabilities. “The design language explored within each collection emphasises seamlessness and the smooth transition between elements. Each piece, while initially morphologically conceived is shaped further by typology, functional and ergonomic considerations.” Zaha Hadid Design has collaborated with a number of lighting brands throughout the years, with some of its most notable pieces including: the Genesey lamp for Artemide; Vortexx chandelier for Zumtobel in association with Sawaysa & Moroni; Eva
& Dune for Lasvit; Swarm chandelier for Established & Sons; Luma for Wonderglass; and Slamp’s Aria and Avia pendants. “Collaborations provide us with an opportunity to express our ideas through different scales and different media,” says Kutay. “We see it as part of a continuous process of our on-going design investigation. It’s a two way process – we apply our architectural research and experimentation to these designs, but we also learn a great deal from the process of product design. “One of the most satisfying things about the product design collections is that the techniques used for design and manufacture – and the production process between idea and result – is so much quicker than for architecture. This faster timeframe leads to greater opportunities for experimentation; particularly in the design of furniture and products for the home where we have the possibility to create real prototypes
THE RIGHT ANGLE The Ascoli floor light delivers maximum function with minimal lines in a pure architectural form. A clean design that will complement any interior. Because good design demands simplicity. â„˘ Model: Ascoli Floor
1997 - 2017
Image: Courtesy of Slamp
Image: Jacopo Spilimbergo
very quickly and we can immediately evaluate the design for performance and functionality. “There’s a lot of fluidity now between architecture, design and fashion, there’s a lot more cross pollination in the disciplines. But this isn’t about competition it’s about collaboration and what these practices and processes can contribute to one another.” For the studio, lighting is an important and very effective medium of architectural articulation and definition of space. It is also a major component with respect to creating a pleasant and effective environment for work and face-to-face communication. “We consider each lamp or chandelier
Image: Jacopo Spilimbergo
design a microcosm of the same ideas inherent within our architecture. Form does not follow only function but instead, is also derived from fabrication methods and the quality of light and space to define context and provide dramatic punctuation. Advanced 3D modelling software and rapid prototyping enables our teams to evaluate lighting equipment, detail with confidence, and experiment with various approaches.” The design studio strongly believes in a collective, multidisciplinary approach to problem-solving, making use of robotics, 3D printing, artificial intelligence, augmented reality and big data, which are all impacting architecture and design and revolutionising both industries. “Evolving technologies are
Image: Courtesy of Zumtobel
1. The Aria series of pendants, designed for Italian lighting company Slamp. Here, Hadid’s masterpieces consist of 50 ‘arms’, each different, each individual, radiating around a voluminous LED source. The Gold version, was the last in the series before Hadid passed away. 2&3. Two of the studio’s most recent designs, Duna & Eve pendants were created for Czech company Lasvit. Shown for the first time at Euroluce in April 2017, Duna is inspired by the dynamis of dune formations. An asymmetrical pendany composed by pairing intersecting glass forms, their striated surface generating a varied reflection and refraction. Eve is composed of fifteen glass pieces arranged in a single ensemble. Combining traditional glassmaking techniques with parametric design, the glass bodies are suspended at varying heights and create an impressive play of light and shadow. 4. Designed in collaboration with Sawaya & Moroni in 2005 for Zumtobel, the Vortexx chandelier appears as an endless ribbon of light, with the light itself resembling a star, its protrusions cast outwards as if propelled by a centrifugal force.
photo Gionata Xerra
Ivan Lolli, Mario Memmoli
Via Vivarini 7 Milano Tel. +39 02 89502342 firstname.lastname@example.org www.lollimemmoli.it
darc sette.indd 1
Image: © Simone Zecubi
changing how we design and create new collections that convey the coherence of natural forms but are completely modern in expression. “We regularly welcome new talent to the company as well,” continues Kutay. “They contribute to the discourse and bring their own specialist knowledge and expertise to each design. They are encouraged to be part of the progress we make each day. “Every new design benefits from the inventiveness and abilities of others. Teamwork was very important to Zaha – she always believed in it – and Zaha Hadid Design continues to work with the same principles and methods.”
Zaha Hadid Architects / Zaha Hadid Design continue as one of the most innovative and successful design studios in the world. Its directors are among the most experienced architects in the industry, collaborating with Zaha herself for many decades, to deliver some of the world’s most renowned designs. “Zaha will always be embedded within the DNA of Zaha Hadid Design,” says Kutay. “Her unwavering belief in the power of invention continues to drive and inspire us every day and we work on as she taught us – with curiosity, integrity, passion and determination.” www.zaha-hadid-design.com
Images: Courtesy of Artemide
1. Wonderglass’s Luma is a sculptural composition of tubular segments that subtly diffuse light through organic shapes, which effortlessly celebrate the unrivalled logic and beauty found in nature. Each individual segment to the piece has been handblown in Murano. First seen in 2014, the 2017 edition follows an ongoing liaison with Zaha Hadid’s team to create technical superiority as well as a more refined shape which in turn, throws a softer glow. 2. The Genesy lamp designed for Artemide in 2009 echoes the growth pattern of trees in a forest, a sweeping canopy emerges through an inteconnected supporting network at the lamp’s base. Genesy’s structure increases in complexity as it rises. Like a growing organism, the central support sprouts thick branches. Genesy provides both direct and indirect lighting with a linear halogen up-lighter in the head and adjustable LED spot projector in the lower section, concealed by a semi-transparent screen. Touchpad power and dimming controls are discreetly housed within the central body of the lamp.
COMING SOON TO THE UK ateljĂŠ Lyktan hospitality collection
MADISON Designer: Marie Holsting
MADISON Designer: Marie Holsting
Enchanted Forest Escape The Treehotel in Harads, Sweden offers contemporary design in the middle of unspoiled nature. A collection of individual cabins, architects SnĂ¸hetta worked with ateljĂŠ Lyktan to bring the latest addition - the 7th Room suite - to life. Images: Johan Jansson
Offering a unique hotel experience, Treehotel in Harads, Sweden, offers tree rooms with contemporary design in the middle of unspoiled nature. Owned by Kent Lindvall and Britta Jonsson-Lindvall, the hotel is situated near the Lule River and as guests arrive they embark on a stroll through the beautiful natural surroundings before arriving at their ‘tree room’, where they get a fantastic view of the Lule River valley, miles of forest and the powerful river itself. Suspended four-to-six-metres above the ground, since it first opened in 2009, Treehotel has grown like a jigsaw puzzle, with the most recent addition opening in January this year. The new 7th Room is a collaboration between architectural practice Snøhetta and lighting brand ateljé Lyktan; having worked to a tight turnaround of just nine months, Snøhetta created a space that underlines the feeling of being inside the pine tree crowns of the forest, while making use of a lighting design concept that provides as much natural light as possible into the room. Snøhetta’s Jenny Osuldsen tells darc: “Harads is located close to the polar circle with extreme light conditions. We wanted to create light fixtures that could cope with these extreme conditions throughout the year, providing artificial light that is dimmable and flexible in terms of direction; we maximised natural light through generous windows. “We also wanted the design of the new light fixtures in 7th Room to feel as integrated in the architecture as possible and keep a real focus on the light and its functionality.” Mirroring the 7th Room's wooden cabin structure, with dark wood on the outside and light, warm wood on the inside, the lighting fixtures are made of two pieces of birch veneer with two strips of LED light. The black surface of the outside of the light fixture can be seen as a statement, focusing on the dark as the absence of light. A suspended light was designed specifically for this project's lounge, along with new wall lights for
the bedrooms. The other lighting requirements were chosen from ateljé Lyktan’s existing catalogue, with guidance from engineer partner WSP Sverige based in Lulea, Sweden. “We designed prototypes for this project. The visitors, the maintenance team, and the client need to be able to see how they work over time. We are in the process of developing the prototypes into finished products and a second stage development version was shown in Milan in April. We hope to have a finished product by next year. “One of the reasons this project really stood out was the height of the columns. They were a real constraint in the early stages as we had to make sure they could be executed on-site, leaving the forest and landscape as untouched as possible. Everything was built on site and the lifting of the building with two cranes was the highlight of the structural solution – it was the biggest challenge that was executed excellently on site. “The other stand out features are the sixth façade, which is a photograph on the underside of the building, and the ‘net’ – an airy balcony net suspended around a pine tree that links the two bedrooms together with the Northern Light Lounge 10-metres above the ground.” The beginnings of Treehotel takes us back to a fishing trip in Russia with a group of Kent’s friends, who also happened to be three of Sweden’s foremost architects – Bertil Harstrom, Thomas Sandell and Marten Cyren. Inspired by the film 'The Tree Lover' by Jonas Selberg Augustsen - a tale of three men from the city who go back to their roots by building a tree house together, Kent floated the idea of 'designer hotel rooms' in the middle of the forest, which sparked an interest among the group of architects. Before leaving Russia they agreed to design one room each, as friends working together, even though they were working for competing firms. This friendly collaboration turned out to be very important to the development of
Treehotel and resulted in a UFO, a Birds Nest, Cabin, Mirrorcube, and a Blue Cone. These spectacular creations attracted a lot of attention and the large Dragonfly conference building was then added ahead of the 7th Room suite, which, as mentioned, was completed this year. ateljé Lyktan was first contacted by Treehotel in 2009 to work with the architects on the various tree cabins; all of the products featured in these rooms are unique and were produced specifically for the project. Thomas Holm of ateljé Lyktan tells darc: "For the Mirrorcube, the Eagle pendant was designed in conjunction with Tham and Widegard; in Dragonfly there is the Cube in pendant and wall versions - designed in collaboration with Sami
Riintala; in Blue Cone there is the Hangover floor and pendant fixture, this was designed by Thomas Sandell; and in The Cabin, there's the Tipi floor and ceiling fixtures, designed by Marten and Gustav Cyren. "For the Birdsnest and UFO rooms, architectural lighting was developed in conjunction with Bertil Harstrom, as was the Sauna,which features the Bikini ceiling light.” Since the project, some of the lighting prototypes have been developed further and incorporated into ateljé Lyktan's main range, including Tipi featured in The Cabin and Eagle featured in Mirrorcube. Architect Bertil Harstrom tells darc: “Treehotel was a small low budget project that worked because everyone involved was
enthusiastic and wanted to make it work. The hotel rooms are all very individual and the challenge was to develop a design that was functional for each room. “The clients, Kent and Britta are extraordinary, the architects involved worked on small budgets and the collaboration with ateljé Lyktan was based on the same conditions. In the beginning there were some doubts as to whether or not the project could be successful, but today Treehotel is well-known all over the world. “Why? Probably a mix of good timing, correct eco profile, design and originality. Treehotel is proof that small projects in the middle of nowhere can be a good business!” Treehotel gives people the chance to
middle of nowhere can be a good business!” Treehotel gives people the chance to experience nature among the tree-tops, while also providing a uniquely designed housing experience. It is a place where nature, ecological values, comfort and modern design combine for an exciting adventure. www.atelje-lyktan.se www.snohetta.com www.wsp-pb.com inredningsgruppen.se www.tvark.se www.ri-eg.com www.sandellsandberg.se www.cyren.se
1&2.The Mirrorcube is an exciting hide-out among the trees, camouflaged by mirrored walls that reflect their surroundings. The base consists of an aluminum frame around the tree trunk and the walls are covered with reflective glass. The interior is made from plywood with a birch surface, with the six windows providing a stunning panoramic view. A 12-metre-long bridge leads up to the tree room. Designed in collaboration with the tree room's architects Tham and Widegard, the room features ateljé Lyktan's Eagle pendant. 3,4&5. The UFO tree room was designed by architect Bertil Harstrom and while mainly architectural lighting is used, functional task lighting provides reading light above the bed. The room is cast in durable composite material - all to create the lightest, yet strong and sustainable design possible, while the interior gives the room a modern and comfortable feel. 6. Dragonfly can function both as a conference space and private suite. A 15-metre long ramp takes guests up to the Dragonfly, where big panoramic windows give a magnificent view of the valley. Built out of wood, with an exterior made out of sheet metal that will eventually turn rust-brown and blend in even further with the pine-tree forest, the design and the spectacular interiors come
from Rintala Eggertsson Architects. Decorative lighting elements include the Cube, in pendant and wall versions from atljé Lyktan. 7. The Blue Cone cabin is based on simplicity and accessibility, both in terms of material and design. The room is a traditional wooden structure with three foundations in the ground to give a sense of height and lightness, but also stability. Decorative lighting featured includes the ateljé Lyktan's Hangover floor and pendant, designed in collaboration with the room's architect Thomas Sandell. 8&9. The Cabin was based on the idea of creating a platform high up on a sharp hillside overlooking the Lule River valley. Designed like a capsule, a foreign body in the trees, the room is 24m² and features ateljé Lyktan's Tipi floor and ceiling fixtures, designed by Marten and Gustav Cyren.
focal point ONE STATE STREET NEW YORK, USA The feature wall at the New York One State St building lobby is a 17ft-tall by 27ft-wide crystalline-like structure created by SOFTlab in collaboration with Focus Lighting. SOFTlab created the wall’s intricate aluminum cell structure, fitting each cell with plexiglass panels covered with dichroic film that reflects and refracts light in various ways. With two ‘personalities’, the wall transitions over the course of the day, moving from white light that follows the circadian pattern, shifting between warm and cool light as the sun’s position changes in the sky to five rotating saturated colours in the evening, emanating from within the sculpture and accentuating the dynamic qualities of the dichroic panels. During the day, the design relies on sunlight entering through the lobby’s glass windows, with the white LED only used to subtly reveal the dichroic’s colour. As the amount of daylight in the space reduces, light behind the dichroic panels increases, resulting in increased transparency. www.focuslighting.com ww.softlabnyc.com image: Ryan Fischer
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Common Interests darc discovers how Gensler and SBLD Studio worked to create a communal social hub that would answer a multitude of demands for the One World Trade Center NYC. Images: Garrett Rowland, Courtesy of Gensler
Thirteen years after the 9/11 attacks tore down the Twin Towers in New York City, the new One World Trade Center skyscraper opened on 7 November 2014. The tower is a 104-storey, US$3.9bn skyscraper and the tallest building in America at 1,776ft high. A culmination of an amazing collaboration between the Port Authority of New York and New Jersey and The Durst Organisation, it was engineered to be the safest and most secure commercial structure in the world, as well as the most recognised and desirable office address in the world. Featuring three million square feet of office space spanning 71 floors, a breathtaking observation deck, grand lobby, and underground tunnel, the building is also LEED Gold Certified. Now more than 70% leased, the office tower includes a roster of more than 26 tenants representing business sectors including media, technology, financial services, advertising and biotechnology. In February of this year, the opening of One World Commons was announced; a
full service amenity space exclusively for the tenants of One World Trade Center. Located on the 64th floor, it serves as a world-class corporate and social hub, purpose-designed for workers to get away from the traditional office, but to also foster workplace creativity, collaboration, learning and development, and ultimately – a sense of place and community. The floor includes: conference, meeting and event rooms available for rent with a state-of-the-art social hub where people can congregate within the building, expanding their community, accelerating their learning and ingenuity and / or enjoying a game of pool. In charge of bringing One World Commons to life was architectural firm Gensler; in collaboration with lighting design practice SBLD. Gensler has a long-running relationship with The Durst Organisation, having created various unique spaces together throughout New York City, and in 2014 Durst approached Gensler to develop a strategy to attract tenants to One World
Trade Center. Through a highly collaborative design process, the architectural firm developed the strategy of creating a common amenity floor, open to all current and future tenants. The whole process from concept through to completion took around two and a half years. “There were several parties involved in One World Commons and so our challenge was to meet and exceed each of the team’s separate aspirations and input on the final design,” EJ Lee, Principal and Design Director at Gensler New York, tells darc. “We also had to develop something that would attract prospective tenants - offering the best amenities design and experience possible at One World Commons. By working in a highly collaborative and transparent environment with each of these groups, we were able to fluidly define and receive the key parameters that made this project successful.” The design of One World Commons was an evolutionary process, with the brief changing several times – most specifically
during the programmatic and planning concept phases. With each refinement of the program and plan, the look and feel of the design came more and more into focus, until Gensler was able to bring everything together into a single vision. Gensler’s initial design concept was to create a space where technology meets fashion. Elegant materials are featured alongside raw finishes to create a very hospitable environment, inspired by some of the different industries occupying the tower. “The design concept played out really well and has exceeded the expectations of all parties involved,” says Lee. The decorative lighting specified for One World Commons played a primary role in defining the interior of this project. The first step was to define the lighting object and evaluate its performance before supporting architectural lighting was selected in the form of downlights, wall washers and so on. Decorative products from New York-based
lighting brands Gabriel Scott and Stickbulb feature throughout the space, taking on somewhat of a modular system. “The original gesture called for a single strand of Welles cubes to run the entire length of the space,” Gabriel Kakon of design studio Gabriel Scott, tells darc. “As the project went on there were a few changes to the density of the chandelier and the option of breaking up the strands and creating clusters or clouds at random sizes and distances truly accentuated the organic nature of the fixture. The Gensler team seemed pretty set on a modular system. It appeared that their selection was motivated by the need for a dynamic or sculptural alternative to ordinary neon hallway lighting. “It was nice to see the Welles reach its full potential as a modular fixture and branch out through the common space hallways. We’ve worked with Gensler a handful of times before, always on interesting projects. This one was particularly exciting, both due to the prestigious and iconic
1.Stickbulb Truss chandeliers from the X Collection provide strong bold lighting to the space. 2&3. Gabriel Scott's beautiful and striking Welles modular chandelier features throughout the One World Commons space.
nature of the WTC site, but also given the scale and density of the fixture in question. “The broken up clusters / randomness and overall asymmetry of the fixture come together in a strong and linear form offering both sculptural and lighting qualities.” This modular approach to the decorative lighting for One World Commons continued with the specification of Stickbulb fixtures, which was first approached by lighting designers SBLD Studio, who had an interest in certain designs from the Stickbulb X Collection. Two customised versions of the Truss
chandelier were required – one elongated version involving six modules of the X concept inspired by hexagonal forms in nature, and another involving two modules. Additionally, several Sky Bang chandeliers from the standard collection were specified. “A studio visit was immediately required so that the lead Gensler designers, SBLD and client could view and approve the light output and quality of our designs,” says Stickbulb's Christopher Beardsley. “Up until this point X designs had only been offered with signature cast brass fittings but the interior specifications for this project called for polished nickel, requiring
a new aesthetic direction for the hardware. A test sample of hand plated nickel proved very successful both in terms of finish and reflective light quality and resulted in a series of fixtures that the client was very pleased with.” “Both structural and mechanical elements dictated / limited the use of decorative fixtures in One World Commons to some extent,” says Amy Ruffles of SBLD. “We like to give enough space around each decorative fixture so that the designed object and its ambient light can be appreciated. In some cases, the structure of the building, as well as mechanical ducts
didn’t allow enough space. Moving, lowering or relocating the fixtures was ultimately inevitable.” Kakon adds: “There were definitely some conflicting mechanical elements over the 50ft span. But the beauty of the Welles modular fixture is that by working with the architect’s plan, we were able to locate every individual hanging point in order to clear all types of interference – mechanical, structural, decorative etc.” “Our collaboration with the lighting brands began as we discovered specific fixtures that we thought would be great in the space,” continues Lee. “The Gabriel Scott Welles fixture was a critical element to the design, and maintaining its affect while coordinating with the existing and
new architectural obstacles did prove to be challenging. We worked directly with Gabriel Scott to understand the precise flexibility we had in terms of the layout in order to accommodate our specific space constraints.” For SBLD this project was all about creating a welcoming, warm, comfortable space that you would find in a home, hotel lobby, clubs and so on, as SBLD's Attila Uysal explains: “We weren’t looking for uniform illumination or high light levels, we were mostly interested in discrete pools of light. “Neither concrete floor nor exposed ceiling were highlighted, the importance was placed on the vertical surfaces, transparency, furniture and decorative light fixtures.
Previous page The customisable Hubbardton Forge Celesse pendant adds a sense of drama to the cafe bar area at One World Commons and features adjustable rings hung from two steel cables. This page The Stickbulb Truss chandelier features side by side with the Middle Sky Bang pendant. Next page The Moooi Prop light is suspended over a Shuffleboard providing decorative illumination.
“Bringing visible design elements and objects together is EJ’s expertise and it was a pleasure to analyse selected fixtures for scale, light source and control in order to support the overall design. The LED light source allowed the design team to create a family of light objects.” For Lee, an amenities space such as One World Commons is a newer concept in commercial development and as such, the Gensler team wasn’t driven by a specific baseline standard for how to design an environment serving multiple types of tenants. “This project allowed us to set a standard we are now seeing others follow.” “Office work environments have changed,” adds Uysal. “The social aspect is as important as the work space itself.
Comfortable, relaxing spaces that you can meet with your colleague or client and continue to work or entertain was a key focus of this project.” One World Commons was a truly collaborative effort with Gensler working closely with Convene, the operator of the space and The Durst and The Port Authority, which co-manage One World Trade Center. As well as this, Gensler’s relationship with SBLD ensured a cohesive vision. Together the team created an exceptional space that supports how people work today and fosters spontaneous conversation and collaboration. www.gensler.com www.sbldstudio.com
design details ONE WORLD COMMONS NYC, USA CLIENT: PORT AUTHORITY OF NEW YORK AND NEW JERSEY & THE DURST ORGANISATION ARCHITECT + INTERIOR DESIGN: GENSLER LIGHTING DESIGN: SBLD STUDIO
lighting specified APPARATUS PIVOT SCONCE FOSCARINI WITH DIESEL CAGE SUSPENSION LIGHT GABRIEL SCOTT WELLES MODULAR CHANDELIER + WALL SCONCE HUBBARDTON FORGE CELESSE PENDANT MOOOI PROP LIGHT STICKBULB X COLLECTION: TRUSS CHANDELIER; MIDDLE SKY BANG PENDANT WILMOTTE & INDUSTRIES FIAMNA 30 SUSPENSION
Trading Places The Warehouse Hotel Singapore, makes use of bespoke lighting installations together with off-the-shelf pieces, to create an ambience that is relaxed yet sophisticated. Images: Courtesy of The Warehouse Hotel
Located on the bank of Robertson Quay, The Warehouse Hotel is a locally designed boutique heritage property from Singapore hospitality firm The Lo & Behold Group. Renovated from an iconic 1895 warehouse, the building is situated along a famous trade route that once connected Asia and the Straits of Malacca. In the early 20th century, the premises were recognised as a hotbed of activity for secret societies, business deals and underground spirit distilling. Today, The Warehouse Hotel is a meticulously restored, 37-room destination that has redefined the notion of ‘industrial design’ by incorporating elegance, focus, softness and cohesion throughout. The interiors are designed by the awardwinning home-grown agency Asylum, which set out to revisit some of Singapore’s lost history by integrating a selection of industrial-like textures balanced with
modern luxe finishes. The lobby and reception area serve as a communal space and comprise of the hotel’s signature restaurant and bar, showcasing décor and furnishings reminiscent of the past. Exposed brick walls line both sides of the entrance as an appreciation of the building’s heritage, while custom lights designed by Asylum are inspired by pulleys found in godowns and line the double-volume ceilings, defining the ambience of the lobby lounge. A touch of local flavour is further introduced by way of an in-house restaurant, Po, a refined Singaporean concept that presents modern-day local flavours and is designed to provide an almost-at-home dining experience with a juxtaposition of furniture materials used. The crystal-beaded lights featured in the space are supposed to feel like lamps from
one’s grandmother’s dining room. In the bedrooms Asylum set out to create spacious and welcoming rooms designed in muted tones with many offering doubleheight ceilings, peaked roofs and original industrial details. With no two rooms exactly the same, each exudes a sense of modern luxe. Speaking exclusively with darc, Asylum’s Creative Director, Chris Lee explained the key requirements behind the decorative lighting elements featured within the hotel: “Lighting is a key component in creating the right ambience for the hotel. We also had to make sure there was a ‘social media worthy’ component, which is where the lobby lighting comes in, which is inspired by vintage pulleys and wheels from the bygone era of the godowns.” “We also had to make sure we used LED lamps as per the client’s request,” adds
Takeo Sugamata of lighting design practice SWITCH. “The LEDs had to be warm enough to create the right ambience (2200K) and had to be dimmable without flickering. We compared several filament style LED lamps and tested the compatibility with a dimmer during the construction stage to ensure the lighting could transcend from day to night and create a different ambience through the course of the day.” Copper, metal and marble are some of the key materials used throughout the hotel and as such most of the lighting selected continued with this theme in order to tie everything together; there are also some vintage pieces that were specially procured to give the space more of a unique feel. Working in collaboration with SWITCH, Asylum looked to bring the various spaces alive through the lighting. “We have worked with SWITCH on many projects
previously and try to push most of our clients to engage with a lighting designer as we feel, in order for the space to come alive, lighting is a key component,” says Lee. “The mood from day to night has to be different, lighting from a restaurant to a retail store to a hotel all have different requirements and as much as we would like to wear as many hats as possible, we don’t claim to be the experts when it comes to lighting design. “The hanging lamps are the feature piece in the space, however it was important to create a background for them. The lamps need to be dimmed down quite a lot so that people’s attention goes to the pulleys as well as the lamps themselves. By uplighting the pitched ceiling we tried to make the pulleys and truss structure look like a silhouette.” Asylum was thankfully brought on to the
Opening spread A bespoke lighting feature that uses Edison Light Globes cascades over the lobby area, while Fontana Arte Bis/Tris feature along the bar. Previous page The Warehouse Hotel in Singapore can be found on the bay of Robertson Quay, once a famous trade route connecting Asia and the Straits of Malacca. Wall lights and table lamps from UK-based Astro Lighting feature in the bedrooms, seamlessly blending contemporary inspired finishing touches with the more traditional décor throughout the hotel. This page Flos mini Glo-Ball floor lights, designed by Jasper Morrison bring a feeling of luxury to the bedroom spaces. Next page 1&2 The bespoke made crystal beaded pendant lights featured throughout the Po restaurant are supposed to feel like lamps from one's grandmother's dining room. 3. Neoz Owl 1 table lamps feature in the lounge area at the Warehouse hotel. 4. Astro Lighting's Enna Desk lamp in a black finish are used for the hotel's reception desk.
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project very early on and as such had the benefit of creating the project from scratch. While the brief never changed, with the owners’ vision aligned with Asylum’s, one of the biggest challenges the team faced was the design of the rooms, as Lee explains: “Working within a conservation building meant we had to customise most of the rooms. We also wanted natural daylight in as many rooms as possible, so interventions were done on the ceiling structure to allow natural light to permeate rooms without windows. “We also had to keep many of the original elements intact. We kept the original
façade and trusses so that the authenticity of the building remained and we also discreetly added portal frames to ensure the structural integrity of the building. Part of the intention was also to have a double volume lobby so we could visually connect the external and internal experience.” Thanks to the considered and meticulous work of Asylum and SWITCH, the Warehouse Hotel offers thoughtful hospitality with historically-detailed rooms that are a proud illustration of old and new. www.zarch.com.sg www.theasylum.com.sg www.switch.pro
design details THE WAREHOUSE HOTEL, SINGAPORE CLIENT: IHOTEL HOTEL OPERATOR: THE LO & BEHOLD GROUP ARCHITECTS: ZARCH COLLABORATIVES INTERIOR DESIGN: ASYLUM LIGHTING DESIGN: SWITCH
lighting specified VARIOUS CUSTOM DESIGNED PIECES FROM ASYLUM ASTRO ENNA SQUARE WALL LIGHT ASTRO ENNA DESK LIGHT ASTRO FUSE WALL LIGHT FLOS MINI GLO-BALL WALL LIGHT + FLOOR LIGHT DESIGNED BY JASPER MORRISON EDISON LIGHT GLOBES FONTANA ARTE BIS/TRIS TABLE LAMPS NEOZ OWL 1 TABLE LAMPS LUCI LED STRIPS USED FOR FAÇADE & INTERIOR
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Barrisol Manta® by Ross Lovegrove
Lamp 1954 by Piero Castiglioni for Barrisol
Architecte : Parq Arquitectos
by Alix Videlier for Barrisol®
focal point HANSE MERKUR VERSICHERUNGEN HAMBURG, GERMANY Querkopf Architekten specified the NEO/ CRAFT Iris pendant for the new entrance hall at Hanse Merkur Versicherungen German insurance company, which is headquartered in Hamburg. The nine Iris pendants - in different sizes and colours - seem to float like soap bubbles through the space, enhancing the sleek but expressive architcture with a very emotional and colourful gesture. This is also one of the first projects to feature NEO/ CRAFTâ€™s new mounting system; the new 2mm slim steel cord can be easily adjusted while mounting the spheres. www.querkopf-architekten.de
Charming Relic Lighting Design Practice Nulty+ brings the disused Midland Bank building back to life, using some of the latest lighting considerations available and reinstating a prime example of architectural significance to its full opulence and glory. Images: Courtesy of The Ned
When Nick Jones, founder of Soho House & Co, first saw the disused Midland Bank building in London, he immediately fell in love. The property had been empty for almost eight years, but there was something about it – the details, the scale of it. Partnering with the Sydell Group to bring the building back to life, the 29,450sqm of space now offers a range of hospitality features including restaurants, bars and bedrooms. The lighting design from Nulty works to highlight the building’s iconic architectural trademarks from Sir Edward Lutyens and complement each individual space, while maintaining a consistent
design aesthetic. The lighting also works to provide a balanced level of light and colour temperature to suit all times of the day. “The design brief for The Ned was to make it feel as though it had always been an old, glamorous hotel,” says Rebecca King, Designer at The Ned. “In order to achieve this, we wanted the decorative lighting to feel collected rather than brand new; we used an eclectic mix of off the shelf, custom and vintage fittings that we purchased from the US, Europe and the UK. “The light fixtures were critical design elements in each space. In many areas, we took cues from existing lighting throughout the building to inform our stylistic choices.”
Commenting on the lighting brief, Evina Diamantara, Intermediate Lighting Designer at Nulty, told darc: “We worked alongside both Soho House and Sydell Group to bring their vision alive; this vision entailed the creation of a space that would be elegant and imposing. Following these principles, Soho House invested in decorative luminaires that would make an impression on first sight and as such, all architectural lighting would only be used to enhance and reinforce the identity of the design.” The converted banking hall features eight restaurants, divided by the building’s original listed walnut counters that line the entrance and feature authentic
bankers’ lights, while the private bar is set within the original bank vault, lined with safety deposit boxes. The latest retrofit LED lamps, concealed within historically accurate, decorative luminaires, create a warm atmosphere and bring contrast to the cool steel surroundings; a mix of low-level lighting picks up the rich interior design and provides an additional layer of contrast. A central reception desk has become a stage for live performances, with light carefully positioned under the perimeter falling on the marble plinth, elevating the feature and creating a dramatic focal point for guests. The large Art Deco skylight above is framed by coffer lighting that further enhances the architecture of the building, while staying true to the original building design. “Each space has its own particular look and feel,” continues Diamantara. “As such, the specification of decorative lighting elements followed the design intent that Soho House aspired to. A key lighting
consideration for us, was to ensure that all the luminaires, although decorative, would be able to perform as desired and provide adequate light levels for all occasions. “Sustainability and controllability were other important aspects that were considered when specifying lamps for the decorative fixtures across the scheme and throughout The Ned, LED retrofit lamps from Segula and Zico have been used – these were extensively tested by Mode Lighting with the proposed control system to ensure compatibility and flicker-free dimming.” Upstairs, each of the 252 bedrooms has been fitted with an intuitive ‘toggle switch’ lighting control system, for mood lighting. Staying true to the interior design, the use of low-level FF&E lighting, ensuring minimal ceiling interventions was put in place. The larger suites make use of luxurious fittings with tiered chandeliers, which were refurbished by Madson Black and more luxurious fittings, while the smaller ‘crash
pads’ include subtle pendants and interior fixtures. As a Grade I listed building, the conversion of the Midlands Bank to The Ned, did not come without it’s challenges – respecting and honouring the architecture of the building being the main concern. “All architectural lighting introduced was very carefully considered to accentuate the architectural details rather than making a statement that would overshadow the character of the building,” says Diamantara. “We worked to deliver a scheme that would provide the functional lighting required for a hospitality space and at the same time, would be discreet in order to avoid competing with the interior design. “Locating the luminaires was challenging and as such, in most ceilings and staircases we had to use the existing luminaire locations. A DALI control system was used for the architectural lighting and emergency scheme – we wanted to use
intelligent luminaires to help with both the control and maintenance. However, existing containment had to be used for DALI cabling and emergency lighting. “Difficult locations were the staircases where only decorative could be used. To overcome this challenge, we worked with Mackwell and Kalmar to incorporate the emergency fixtures within the decorative fittings in order to be able to comply with the regulations.” As you get to the top of the building, Ned’s Club, located on a large panoramic rooftop saw Nulty use light throughout this area to reinforce the identity of different spaces. On the outdoor terrace, low-level lighting creates intimacy without interrupting the views across London. High-level decorative
lighting has been used in the Roof Bar, where spheres of light hang from the ceiling. The two large rooftop domes have been opened up and re-purposed as private function spaces and up-lit to highlight the grandeur of the building’s architecture. In terms of final impressions, for Diamantara the architectural lighting scheme works as it was originally intended. “It is noticeable to accentuate and bring attention to the architectural details that we aspired to see highlighted but at the same time subtle enough to let all the decorative elements such as fabrics, patterns and finishes make an impression. “Lighting, as well as everything else within The Ned, is a form of art, a statement. All decorative luminaires were chosen by Soho
Opening spread The old banking hall has been transformed into eight restaurants, each divided by the building's original listed walnut counters that line the entrance and feature authentic bankers' lights. This page Each bedroom has been fitted with a toggle switch lighting control system for mood lighitng. The use of low-level FF&E lighting has been put in place to ensure minimal ceiling intervention, while the larger suites have tiered chandeliers and more luxurious fittings. The smaller crash pads have subtle pendants and interior fixtures. Next page 1. The private members' bar is set within the original bank vault, lined with safety deposit boxes and the latest retrofit LED lamps. 2. The lighting design works to highlight the building's iconic architectural trademarks from Sir Edward Lutyens and complement each individual space, while maintaining a consistent design aesthetic.
House after careful consideration to create a lush environment designed to lure people in and make them want to stay, enjoy and celebrate the richness of the design.” While there is a clear differentiation between the various areas at The Ned, the overall design goal was to create a spectacular space that felt unified. Based on this principal all the lighting works together in the space, whether decorative or architectural, harmonically to create a unique environment. “Being the former Midland Bank, a building designed by Sir Edward Lutyens, is enough to make this project extra special,” says Diamantara. “The bank’s vault being transformed into a private member’s bar was a remarkable process and the final result is simply stunning. Within the building there are numerous items that can be admired, such as the helical staircase, the oculus stage, as well as the astounding Devonshire chandelier in the Saloon.” “It would have been easy for the decorative lighting to be swallowed up by the immense size of the space,” says Rebecca King. “Keeping track of over 7,000 fixtures during installation did make us question whether we went overboard but the end result feels right.” Daniel Blaker, Nulty’s creative director adds: ‘This building is one-of-a-kind. There will always be new hotels, bars and restaurants popping up across London, but the historic centre of London has a value all of its own. Seldom do you get the opportunity to reinstate a prime example of architectural significance to its full opulence and glory. Using some of the latest lighting considerations, this charming relic marries the aesthetic of its time, and the demands of its new future.” www.epr.co.uk www.nultylighting.co.uk
design details THE NED, LONDON CLIENT: SOHO HOUSE & SYDELL GROUP ARCHITECTS: EPR LIGHTING DESIGN: SOHO HOUSE & NULTY+
lighting specified ALGER TRITON PENDANTS CHELSOM - PERIOD FF&E LIGHTING KALMAR - HERITAGE AREA LIGHTING LUTYENS ORIGINAL FIXTURES - FOH & MEMBERS BAR MADSON BLACK - REFURBISHMENT OF EXISTING CHANDELIERS & PENDANTS MODE LIGHTING CONTROL PRECIOSA DECORATIVE CHANDELIERS SEGULA LED RETROFIT LAMPS FF&E ZICO ED RETROFIT LAMPS FF&E
Stocking the Larder with Light Dutch design agency UXUS worked together with Conceptional to produce Speys, a multi-functional food and drink hall at Jaarbeurs, Utrecht, that makes use of directional decorative lighting to guide visitors through the vast space. Images: Peter Tijhuis
Speys food court is the latest addition to the Jaarbeurs event centre in Utrecht, The Netherlands. Founded in 1916 to support and stimulate trade and industry in the area, while improving prosperity – today, the event space has the same values and aims to inspire, motivate and activate trade partners by enabling valuable meetings while bringing people, markets, traders and producers together. Coinciding with its 100-year anniversary
celebrations, the Jaarbeurs building has been extended to Speys food court, designed by Amsterdam-based UXUS studio, along with a state-of-the-art cinema complex, owned by Kinepolis. Jaarbeurs is rooted in the exchange of goods and interaction of people within the Dutch industry, and Speys – an old Dutch word meaning food – has become the place where different worlds connect and meet. The food court is a fast-casual dining
experience with an industrious market hall feel, offering freshly prepared foods, stimulating encounters and engagement – acting as a meeting space between the cinema and existing exhibition halls. UXUS was briefed to create a unique hospitality experience with its own identity within the double-height space that lies below the new cinema complex. Seating 520 people indoors, the standout features of the space are, without doubt, the
geometric canopies, which break up the hall into food zones and create the Speys signature look. “We wanted to play with the height of the space,” says Bart Lans, Architect and Senior Designer at UXUS. “The client really wanted to use the space as one of the main attractions for the area – not just for those visiting the exhibition centre, but for the cinema-goers and local residents as well - it had to be eye-catching. Immediately we had the idea of developing these huge canopies above the food counters that are colour coded dependent on the food offer. As the idea developed, the canopies became very strongly lit elements within the space that change light intensity throughout the day and accentuate the mood – at night they become these huge
lanterns glowing over the space.” The identity of Speys was very much driven by a link back to the history and rich visual heritage of the venue, Lans explains. The team played with pattern and scale in the design, using a selection of beautiful archive Jaarbeurs posters as their starting point. “We took the colours and geometric patterns from the posters and used them as a directive throughout the whole food market,” he says. “The posters informed the graphic identity of Speys, using vintage typography in the different zones and an Art Deco feel has been achieved with old cinematic lighting and geometric patterns.” “The biggest trait of the space was its high ceiling meaning anything we were going to do would become dwarfed if we weren’t careful,” says Oliver John Palmer Michell,
UXUS Chief Creative Officer & Architect. “We were able to use the height to create these canopy gestures and use the light to really create drama in the space. “Given that there’s a cinema in the complex, there’s a mirrored sense of theatricality in the food court, but what’s also nice is that the height allowed us to create a mezzanine level so you can look out onto the food hall with all the canopy lanterns floating around you. You wouldn’t normally get such drama in a food court – it allows for a different perspective and it’s nice to sit up there among all the lights.” Elsewhere in the food court, pendants and table lighting are used to bring the scale of the space down, making it more of an intimate experience for the diners. “We integrated spherical pendants into the
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ceiling to reinforce that Art Deco feeling,” says Lans. “These feature throughout the space – above the mezzanine, within the booths and so on, they are an additional lighting highlight.” “It changes the scale of the space,” adds Palmer Michell. “Because everything else is so big and bold, the pendant lights bring everything down to a more human level. It helps to create a cosier environment and a glow that’s really important and something more akin to big brassiere eateries. “The pendants are also directional in some ways, they help establish where the seating zones are and you can clearly identify where each space starts and ends. It’s such a long space that the lanterns and pendants all work to direct you to where you should be going.”
As a central meeting point for visitors to the cinema and the exhibition centre, there are two entrances to the Speys food court. The lighting design provides a change of pace from the hectic environment of the trade show floor and bright, dramatic feel of the cinema entrance. The lighting becomes much more subdued with pools of light from the lanterns and lots of multi use of light, creating a very warm, ambient feel. “There’s a distinct change of mood, which we think is very appropriate as this is a space where you can relax and dine and spend more time,” says Palmer Michell. Reflecting on the project, for Lans, while the Jaarbeurs had lots of similarities to other projects UXUS has worked on in terms of the multidisciplinary nature of the venue, the interior design and the branding
Opening spread The double height ceiling of the new food and beverage hall was the main challenge for UXUS. Using it to their advantage they came up with the idea of illuminated canopies to fill the space and give it a sense of identity. This page & previous Bold pendant lighting continues the striking design of the space, but also works to provide a cosier feel to the individual eateries.
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– everything driven by the architecture, this project was also unique in that UXUS was involved in every key element. “This isn’t something that always happens,” he says. “This is always the ambition of course, but it doesn’t always happen that way and I think it worked out very well in the end. “The scale of this project is also important to mention. For a food hall, it really is quite impressive. It had its challenges but then that’s also where some of our inspiration came from.” “From a design perspective there has been lots of attention paid to multi mogul seating,” says Palmer Michell. “There’s lots of different types being used – booths, twoseaters, high stools and so on. So during a big trade fair you can imagine people breaking out and using areas as meeting
spaces, versus people coming in the morning and having breakfast, then again in the evening the space is used for dinner before heading to the cinema. It’s a great use of the space.” Thanks to a strong design brief, the lighting at Jaarbeurs is carefully considered and directional, working in tandem with the overall interior design to provide a welcome break and change of pace to its surrounding offerings. Designed in collaboration with food and beverage concept developers Conceptional, who worked on the menu, back of house, customer experience and flow of the space, Speys is a modern reflection of the Jaarbeurs’ heritage as a trade fair for the Dutch industry. www.uxus.com
design details SPEYS, UTRECHT, THE NETHERLANDS CLIENT: THE JAARBEURS CINEMA ARCHITECT: SNELDER ARCHITECTEN INTERIOR & LIGHTING DESIGN:UXUS
lighting specified CANOPY LIGHTING ANCLE BV PENDANTS, TABLE LAMPS & ALL OTHER LIGHTING BY FAGERHULT
1. The oversized windows provide ample natural light throughout the day, while pendant lighting brings a softer feel to the space during the evening. The Art Deco feel continues through the lighting elements chosen. Spherical table lights and pendants are used in various spots. 3. Inspiration for the food court's design came from retro posters produced by the Jaarbeurs. 4. The huge geomtetric canopies divide the space while inspiring the design and ambience.
focal point SOCO RESTAURANT BARCELONA, SPAIN 4 Cadires Studio used wood as the guiding thread through SOCO, uniting the various spaces and allowing for different experiences and interactions in the restaurant. Colourful fabrics were used, as part of a soft and contrasting colour palette, while lighting is used with the intent to create distinct atmospheres throughout the restaurant, with adjustable lights adapting to different situations lending a theatrical feel to the space. Above the bar, three Comb pendants from Portuguese brand Utu, stand out for their vivid colours and dimensions. Chosen for their strong presence and aesthetic value, these pendants fit perfectly with the dĂŠcor of the restaurant and at the same time extend their striking character to the space around them. www.4cadires.com www.utulamps.com
Grand Finale Marriott International commissioned New York-based interior designer and architectural firm, Rockwell Group to reimagine and renovate its 446 room flagship hotel in Charlotte city centre. Image: Courtesy of Ari Hatzis
Charlotte Marriott City Centre opened its doors in 1984 and has undergone quite a transformation in the last two-year’s - from a hotel that mainly catered to baby boomers to an ‘innovation lab’ that functions as the world’s first hotel in ‘live beta’, aimed at the next generation of travellers. Every corner of the hotel allows for rapid prototyping, inviting guests to test and give feedback in real time. By simply pushing ‘Beta’ buttons, located throughout the hotel, guests and visitors can share their approval for the corresponding innovation. Beta button engagement, votes and feedback are aggregated and brought to life in real-time via digital screens placed throughout the hotel for all to see, as well as on TravelBrilliantly.com. The hotel offers three distinct spaces on the ground floor - Coco and the Director, a coffee social hub and tech enabled space, with 30ft ceilings and stadium seating. A modern, rustic décor and a warm lighting scheme offer guests and visitors an inviting, comfortable meeting point. Next door guests are invited to discover locally sourced cuisine in the immersive Stoke Charlotte restaurant, with its community-inspired atmosphere and open kitchen, guests can watch their food being prepared by highly skilled chef’s in the kitchen's wood burning oven. The restaurant's clean lines and neutral colour pallet bleed into Stoke Bar, a warmly lit communal space where a selection of local beers can be sampled on tap. The lobby, located on the first floor has undergone a massive facelift, foregoing the traditional set up of a tucked away business centre and lobby setting in favour of an open plan area for guests to gather or work in public spaces. This was not a typical project for Rockwell Group which was tasked with bringing the Marriott into the 21st century. The project started out in late 2013 and in 2014 conception work on the brand began. Jae Chang, Project Architect for Rockwell
Group explains: “In some markets the Marriott brand is seen as having mostly baby boomer clientele and the brand could be seen as stale. Marriott approached Rockwell with a collaborative outlook to take what they had developed internally for this specific location, developing it into an Innovation lab to test new features aimed at millennials.” As part of the renovation Rockwell Group commissioned the London-based lighting studio LUUM to create a contemporary focal point for the hotel's main lobby. With a vast 11m high atrium above the hotels busy bar area, LUUM had to deliver a lighting sculpture that commands the attention of the hotel’s professional, millennial guests. The aim was to create an innovative piece that captured the guest's imagination and was of a large enough scale to create a significant visual impact. The design selected was a customised version of LUUM’s ‘Finale’ lighting installation. Capturing a snapshot in time, like a firework exploding, the feature reflects the energy of the hotel's dynamic crowd. For this particular project the glass was handblown, providing an organic element in contrast to the advanced computer moddeling used to design the rigging and machined components. Suspended high above the lobby floor, 100 delicately curved LED lit glass ribs frame the formal structure of each of the monumental four-metre diameter rings. A structure was created for an architectural canopy; the sizes and details worked out in conjunction with a structural engineer to ensure it was strong enough to carry the large sculptural light feature. Each ring weighed in at over 250kg and was assembled at ground level and interlocked before being raised into place below the atrium's glass ceiling. “Working on such a large scale always brings a unique set of challenges,” says Chris Fox, Creative Director of Luum. “The design had to be efficient in regards to shipping and construction on site. We were aware of the
piece's prominence in the atrium so the overall diameter was crucial to maintain a presence. It was designed in such a way that the circular rigging was manufactured in sections and each component shipped separately, meaning the design had to be relatively easy to assemble on site. This is the largest Finale by Luum, and once in situ and each flute illuminated, there is a real sense of satisfaction to see this installation float gracefully in such a great space.” Rockwell considered the many layers of design when developing the ground floor and lobby, both relatively dark and cavernous spaces. The carefully considered lighting scheme adds a lot to a complex architectural area with many focal points, while LUUM’s Finale compliments and gives focus to what could be an odd, uninviting space. “Given that the space had a skylight at the top of the atrium we knew it would be a challenge in terms of creating and controlling light,” explains Chang, Project Architect for Rockwell Group. “We used the skylight to our advantage and introduced many layers of lighting including the light feature to allow us to control the light in what was really a 24 hour space. We were very happy with the scale and impact the lighting feature had in such a tricky space, there wasn't a budget to alter the existing glazing above so a big impact light feature was perfect.” www.byluum.com www.rockwellgroup.com
design details CHARLOTTE MARRIOTT CITY CENTRE HOTEL CAROLINA, USA CLIENT: MARRIOT GROUP INTERIOR DESIGN: ROCKWELL GROUP ARCHITECTURAL LIGHTING DESIGN: BOLD BRIAN ORTER LIGHTING DESIGN LIGHTING FEATURE: LUUM
The Origin of Wonder Lighting design studio Haberdashery created a lighting sculpture that defines the accessories department at Selfridges Oxford St, London - bringing unity and grandeur to the space.
Haberdashery has created the 'Origin of Wonder' sculpture for the Wonder Room at Selfridges & Co on Oxford St, London; a fantastic way to celebrate 10 years since its first installation, coincidentally at the same address back in 2007. This latest sculpture explores the processes involved in extracting and refining the precious metals and gems found in the jewellery on display at the department store, into finely detailed objects of desire via a series of intricate graphics across more than 1,000 photo-etched brass panels. These are arranged around a 20m diameter circular formation, suspended above Europe's most prestigious retail space. As the sculpture flows between three distinct chapters: the 'Origin of Wonder', 'Savoir-faire & Craftsmanship' and the 'Illuminated Article' it showcases the organic layers and geological forces involved in the extraction of metallic elements, the highly-industrialised techniques involved in working these raw metals into incredibly
detailed and beautiful forms, and finally the finished articles with their precision, detail and sense of desirability. Installed over a five-night period during out-of-store hours, the sculpture is a perfect example of how the design studio applies a highly creative, narrative-led process through a detailed approach to management and logistics in order to create a stunning, original artwork in complex environments. “It was a really difficult space to work within,” Haberdashery’s Ben Rigby tells darc. “The whole space had a finished ceiling in place and behind that ceiling there are sprinkler systems, security cameras, motion detectors and so on, we had to make this huge sculpture hang from as few points as possible - as such it looks as though it is a very light piece, floating in the space. “The team at Selfridges had seen our work at the House of St. Barnabas and liked the delicacy and aesthetic - the sculpture
used similar etched brass panels to those we ended up using in the Wonder Room. This was our only sort of direction from Selfridges in terms of a brief or style, so we took that idea and put it on steroids – creating a much bigger sculpture that was much more technically evolved – there’s a lot more going on in this piece. “This is our first big public sculpture in London and what we’re most proud of is that it feels as though it’s always been there. The main feedback we’ve had is that it feels as though the room has been built around the sculpture, so we’ve managed to create something that’s truly appropriate for the space and compliments the architecture perfectly.” Looking at the three sculpture chapters in more detail, the first chapter really focuses on the discovery of the metal elements and as such the panels are quite rough around the edges and less constrained, with the graphics exploring earthy qualities. The second chapter is much more about the
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‘can-do’ attitude of the craftsmen who take the metals and work them into a toolkit for creating wonderful objects such as jewellery. At this stage, the graphics become a bit more refined and you can see patterns that derive from sparks coming off a welding torch, alongside details of the technology used to drill into the metals the craftsmen are working on. The final chapter focuses on the finished article, with everything finely polished and refined and the graphics highlighting the cogs inside a watch or details taken from the jewels. “We wanted different patinas on the brass so that you can see the evolution as you walk around the piece,” says Rigby. “The three chapters take us straight from the ground right through to the finished object. We were looking for very soft, light, pastel finishes, which was a challenge in itself as no one we went to seemed to have these finishes available. We had to get the finishes just right though, anything too dark would have made the sculpture feel heavy
and oppressive.” The sculpture makes use of customdesigned LED lighting to bring the piece to life illuminating the graphic panels. The LEDs stand off the main tubular frame and shine back onto the piece, throwing light back. “This really picks off the graphics. We had to make the lighting units easily accessible for maintenance purposes and very flexible in terms of control so as to not detract attention away from the jewellery brands on show. You also get some nice reflections on the ceiling as the light bounces off / goes through the panels.” For Rigby, the sculpture brings a certain unity to the space at Selfridges and gives customers even more of a reason to walk around and explore the space. “There’s so many brands in there competing for customers’ attention that you need to bind them all together somehow and I think the circular nature of the sculpture does just that.” www.haberdashery.com
design details WONDER ROOM, LONDON, UK CLIENT: SELFRIDGES & CO LIGHTING DESIGN: HABERDASHERY
The Haberdashery team worked over a five-night period to install their largest lighting sculpture in London to date at Selfridges' Wonder Room featuring more than 1,000 photo-etched brass panels that are highlighted by a bespoke LED lighting system. With just a five month turnaround time frame, the design team was pushed to the limit to produce an elegant sculpture that unifies the space.
A Local Thread Studio Modijefsky designed an all-day restaurant with a quirky, petite coffee corner for American hotel chain The Kimpton Group at its first international location a stoneâ€™s throw from Amsterdam Central Station. Images: Maarten Willemstein
DECORATIVE & DESIGN
Wyers Bar and Restaurant is an art and ambience filled hotel close to Amsterdam's Central Station. After studying the historical context of the restaurant's location, Studio Modijefsky created an identity and interior for the new contemporary restaurant and coffee corner, that takes inspiration from the building's former use as a Dutch fabric store called Firma Wyers, with the fabric industry a strong starting point for the concept of the new restaurant. Analysing the space and its location, a new layout was developed for the restaurant where the orientation of the building and outside traffic played an important role in the design. Located on the busy intersection of a pedestrian street and the main road leading tourists from Central Station into the city, the design was created to filter
the surroundings and establish a softer environment away from the hustle and bustle. A subtle transition in materials, from hard to soft creates a relaxing atmosphere in the interior of the restaurant. Bright ochre colours stand out against the greys and greens while creating an accent in the entrance, which is clearly visible from the street, showcasing the restaurant logo and a mysterious portrait of a young girl shot by local Dutch photographer Maarten Schroder. A weathered wall in clay coloured brown welcomes guests into a warm and cosy dining area while olive green walls and banquettes give a nod to the siteâ€™s former history with the backs and seats resembling fabric rolls stacked in a store. The building's history works to further inspire and play a role in the design of the
restaurant, as the design team uncovered a graveyard of tubing and insulation in the ceiling. Esther Stam of Studio Modijefsky explained: "The ceiling height was proving an issue for us and we wanted to open it up. This actually ended up working in our favour, we had no idea what had been hidden away until then and by this point we were already quite far into our drawings. This discovery inspired the industrial design of the restaurant's open ceiling and pipework, where custom made lighting was built into a tube that hang from inside it in an impressive and surprisingly cohesive feature. The lighting tube runs throughout the space reminiscent of a thread weaving through a piece of fabric; growing from the sculptural wooden banquettes, these spatial lines make playful curves transforming into
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a light tube before disappearing again into one of the walls between the windows. “Every banquette has its own light thread that appears and disappears, highlighting the seating area,” says Stam. The lights are made from steel and lightly powder coated so that the texture still shows through, while the tubing and the globes are made from Perspex. "The bar is an abstract version of a weaving machine and we felt the lights should also feel like a thread winding through the interior.” Decorative tubes hanging from the ceiling, lit by spotlights, shine onto the show kitchen front, illuminating the food being served. The lamps are curved in the lower part as half circles to form a roll that wraps around the show kitchen. Metal tubing also decorates the bar's back wall forming the
construction of the glass shelves holding the bottles displayed. The bar itself is a solid volume covered in end grain wood and off-white honed marble. The restaurant is finished with a dark wooden floor laid in a weaving pattern, which continues down to a lower level where the bathrooms are situated. Here, dark blue tiles complement green walls and custom made light boxes hanging from the ceiling shine onto green marble sinks. Special details give this space its own identity, such as the toilet rolls placed in the back wall, hanging like rolls of fabric. “We wanted the space to be comfortable and accessible,” says Stam. “The brief was to create a space with a high level of service for a mixed crowd; the restaurant had to have a local feel in an area that is
Opening spread The bar area illuminated by bespoke tube lights specially designed for the project by Studio Modijefsky. Previous & this page A closer look at the space. Subtle hints of the building's former life as a fabric store can be found in the lighting choices, the banquettes and the restaurant's bar area. Custom made light boxes illuminate the sinks in the restaurants bathroom.
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actually more occupied by tourists. There is a lot of foot traffic on the street but we had to think about making the restaurant stand out. The building itself doesn't have the same charm as a lot of older buildings in Amsterdam, so we didn't have that working for us, the historical architecture just wasn't there unfortunately.” Outside, to draw attention to the façade, Studio Modijefsky designed several lamps that highlight the entrance of the restaurant, a light box with a life size pin, an icon that marks the logo of the restaurant pinpoints the entrance to the restaurant from the hotel, then there’s Miss Louisa the little coffee shop on the corner, named after the founder of the fabric store J.P Wyer's youngest daughter. Miss Louisa is a fun addition to the more serious restaurant space. A strong graphic
appearance and a variation of black and white tiles combined with a custom steel light box on the brick façade attracts the crowds passing by. Both designs are a welcome addition to the Kimpton De Witt, a chic and stylish hotel where the city’s history lives on and its pulsing energy thrives. “All of the challenges the project threw at us worked in our favour, in a way,” Stem says. “The restaurant has a local flavour in a part of the city that doesn't feel very local, but that’s what makes it different, the coffee shop’s small space makes it standout, they’re hidden gems and those things that you have to discover usually give you the most pleasure.” www.studiomodijefsky.nl
design details WYERS BAR AND RESTAURANT, AMSTERDAM THE NETHERLANDS CLIENT: KIMPTON HOTELS & RESTAURANTS INTERIOR & LIGHTING DESIGN: STUDIO MODIJEFSKY
lighting specified All fixtures designed by Studio Modijefsky and manfactured by Fiction Factory
1. The entrance to Miss Louisa, a petite coffee corner from Wyers Bar and Restaurant. 2. The backlit sign in the interior of Miss Louisa. 3. The exterior of Wyers Bar and Restaurant, several globes and a custom steel frame were designed to draw attention to the façade.
Industrial Flow Design LSM was approached by EQ Group to plan, devise and design the ground floor of an upmarket 146-room Hilton Hotel minutes away from the hustle and bustle of downtown London. Images: James French Photography
Inspired by Kingston’s rich aviation heritage, the Double Tree Hilton is located a stone’s throw away from the River Thames in an airy, corner building bathed in natural light. The overall design scheme of the hotel’s interior holds a warm and contemporary aesthetic with subtle touches of aircraft paraphernalia in honour of Australian aviation pioneer Harry Hawker. Interior designers Design LSM worked closely with lighting designers Light Corp '93 (formally The Light Corporation) to devise a design that aided the flow of the space while also clearly defining separate areas by using prominent statement pieces to separate the open space of the ground floor décor and seamlessly blend each area together. Guests entering the lobby are greeted by a welcoming, social space, with a blend of relaxed seating and tables. A grand ten-metre bar features architectural lighting, which illuminates the area and its rich copper façade carefully merges the lounge into Hawkers Bar & Brasserie.
Custom brass feature pendants cover the lounge and bar area providing soft ambient lighting through bare globe filament lamps. All of the pendants and spotlights in the restaurant are finished in copper to match the scheme’s design, whilst the bar and decorative features throughout the lobby are finished in matching brushed brass. These small coordinated details assist the cohesion of the lighting with the other furniture, fixtures and equipment in the space. A warm palette of copper, teal and soft greys bring the interior of the bar and restaurant to life, with its rich leather seating, bespoke opal globe pendants and ornate floor tiles conjuring up an air of elegant opulence, while the low-level mirror screens and an exposed statement ceiling offer a modern industrial feel. Bright Good’s sepia tinted maxi globe lamps are hung bare and installed in clusters amongst copper pipework that runs around the perimeter of the restaurant, while the task lighting in the dining space is provided by copper surrounded spotlights fixed to the
same feature. Display lighting for the wall mounted shelving is provided by in-joinery LED strips and downlights. In order to give the brassiere an independent feel to the rest of the space the designers created an enticing exterior entrance complete with bespoke glass doors and an enclosed terrace allowing for al fresco dining all year round. Bespoke glass pendants were designed and mounted to a custom canopy with matching Original BTC Davey Box wall lights and warm filament lamps used to illuminate the outdoor area. Design LSM Project Director Andy Harwood worked on the renovated space for ten months to bring several elements together in a cohesive, multi-functional environment.“There was a lot of functionality needed in a space that wasn't necessarily deigned for that purpose,” Harwood explains. “There are different stakeholders with different criteria, in one space you have someone who wants to operate a restaurant and there’s a hotel that needs to function as a hotel as well as
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DECORATIVE & DESIGN
a Hilton franchise. We had to come up with different techniques to divide the space into separate areas. A lot of the service routes had to be changed and redirected across spaces you wouldn't usually have in a building specifically designed to be a hotel.” For both the interior designers and lighting designers the project’s main challenge was working with a complicated and difficult concrete building. Matt Parker of Light Corp '93 explains: “The building had exposed services, columns, ledges and bulkheads, all obstacles for cable tray positions, large light features and the continuous copper pipe light system that runs throughout the restaurant. Multiple coordination drawings and site meetings were the only way a workable solution could be found and even then the challenge was tough. “As tough a challenge as the initial layout was, the seamless flow of the space and definition of individual areas stand out thanks to the carefully considered lighting design, Parker continues. “All of the light
fittings were specially designed for the project using our in-house designers and manufacturing facility. This enabled us to match copper and brass finishes to maintain a consistent look and feel to the decorative products. The design worked well and formed a comfortable, warm atmosphere – dynamic enough to provide both a light and airy breakfast environment and then a moody, romantic evening atmosphere.” Using a mixture of soft ambient lighting from pendants to direct artwork lighting and accent lighting for columns, displays and wall finishes – Design LSM and Light Corp '93 developed an interesting, layered lighting scheme to sit within the general interior, bringing warmth to an otherwise harsh industrial space and enhancing the Art Deco style of the interior. The carefully considered lighting scheme aids the flow between the restaurant/ bar and the hotel’s functional areas seamlessly. www.designlsm.com www.lightcorp93.com
design details DOUBLETREE KINGSTON UPON THAMES, UK CLIENT: HILTON GROUP INTERIOR DESIGN: DESIGN LSM LIGHTING DESIGN: LIGHT CORP '93
lighting specified BESPOKE LIGHTS BY LIGHT CORP '93 ORIGINAL BTC DAVEY BOX LIGHTS BRIGHT GOODS MAXI GLOBE LAMPS VERBATIM LAMPS
Opening spread The interior of Hawkers Bar and Brasserie where bespoke opal globe pendants Illuminate the dining space and exposed Bright Good’s sepia tinted maxi globes are hung bare amongst copper pipework that runs around the perimeter of the restaurant. Previous page The Chef's table, which doubles as a breakfast buffet lit by bespoke brushed brass pendants and oversized bold, black pendants. The reception and lounge area sees bespoke brushed brass pendants match the area's finishings perfectly. This page A closer look at the task lighting in the dining area. Below, bespoke glass pendants mounted to a custom canopy with matching Original BTC Davey Box wall lights and warm filament lamps are used to illuminate the outdoor area. Inside, oversized semicircular pendants hang low over the booths in the restaurant area.
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Tradition Meets Technology Ateliar MEL designs and manufactures high quality contemporary light fittings that blend modern digital techniques with traditional glass craftsmanship. Co-founder Maria Ruiz Pardo talks to darc about the complexities of working with glass.
Atelier MEL studio designs high quality contemporary light fittings that blend modern digital techniques with traditional glass craftsmanship. The studio brings together digital designers, engineers, architects and artisans with a single goal: rethink the glass craftsmanship to take it one step further. Launched at the end of 2013 in Spain, the studio’s co-founders Maria Ruiz Pardo and Roberto Molinos met while studying architecture at Barcelona University in Spain and while they approach the field from different perspectives – Pardo enamoured with the design aspect and Molino more interested in the technological
side – the idea of working together was appealing and something they toyed with for some time. Having watched a live glass blowing demonstration during Noche de los Museos (the annual museums night) in Molino’s hometown of Cartagena, the duo saw an opportunity to reinvent the trade and create pieces suited to current design and fabrication trends. Pardo tells darc: “To us glass is magic, it’s an ancient material that requires highly skilled artisans to work with it. The process has changed very little throughout history, but we thought it had great potential to be re-invented and enriched with the
introduction of digital design technology. “When we first began working with glass the idea of introducing light came really quickly. It just seemed natural to add light to the recipe; it’s the only element that at its best can show the transparency, translucency, brightness or reflection of the artisan pieces. Most of our designs have a natural inspiration, waves on the ocean, comets in the sky, and the geometry behind natural structures. The glass components of DUNA for example, are composed by softly curved rounded glass pieces assembled following a triangular pattern, while LOTO uses flower shaped glass pieces assembled on a square grid - interpretations of Gaudi’s
famous ornamental pieces.” In some of the studio’s latest designs Atelier Mel hs begun to separate blown glass pieces from the light sources, projecting shadows on the surfaces around, mimicking the effect of light in contact with water. “Glass is a transparent liquid that modifies the direction of the light rays due to the natural imperfections of the artisan pieces,” Pardo explains. Utilising their multidisciplinary team Atelier MEL is able to think outside of the box and approach working with glass in a new, fresh way, including the client in the design process. “Anyone can play with our online tool
MEL Composer to create their own unique design,” says Pardo. “Our collections are predesigned open concepts, each has its own glass shape and assembly pattern and is adapted to each client’s requirements, while bespoke projects are concepts we develop for a particular space. “The first step of our process is the design of the glass components using Rhino3D, the shape is then translated into the physical world through digital fabrication. With the printed shapes we fabricate ceramic moulds to finally fuse flat sheets of artisan glass on top, the metallic lattice that holds the glass pieces is also digitally designed and fabricated. All of our collections are made
with thermoformed glass, for the bespoke projects we can use blowing, torch, engraving and fusing techniques.” Artisan glass techniques are extremely complex and the fabrication cost is very high compared to other materials so the team at Atelier MEL combated this issue by making their own adaptive mould that can be configured in more than 80 different ways to create 80 different shapes. “Being able to extract an entire collection of complementary shapes from one single mould is a huge improvement. The process of crafting the glass components requires a lot of time and attention but we are able to optimise all the other processes
necessary to create a bespoke piece. Using digital technologies we can create open concepts that can be studied in real time working hand-in-hand with the design team in charge of making the final decision. The fabrication of the structural components is also made using technology we have inhouse so this makes the process faster and cheaper and the designs more versatile.” Despite the cost and complexity of the materials there is something to be said for its adaptability and historic beauty, a trait not lost on Pardo: “We can play with the entire transparency range of glass, from
totally opaque to totally transparent. We also consider the impact of natural light on an object as a way to maximise its beauty throughout the day. It is possibly the only material that can offer that versatility. We can provide diffusion, reflection or transparency with one single material. “Glass is all about transparency, translucency and reflection and those properties only make sense in combination with light. Glass and light are made for one another.” www.ateliermel.com
Opening spread A mouthblown bespoke piece is prepared in-house by a skilled craftsman. Previous page 1. The metal lattice that holds the modular glass pieces in this image are digitally designed and fabricated so up to 80 individual pieces can be manufactured at the same time. 2. The finished mosaic glass pieces are ready to be installed in a unique formation for a truly bespoke lighting piece. 3. The modular pieces are placed inside this specially designed mold made from planer sections and mouth-blown to completion. This page 1.Thermoformed blown glass is prepared to be engraved by Manuel Gil, Atelier Mel’s in-house craftsmen who specialise in glass engraving. 2. Maria Pardo and Roberto Molinos, Co-founders and Directors of Atelier Mel. 3. A selection of swatches clients can choose from to design their own modular light features.
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Light Tension Interior, product and lighting designer Garth Roberts took time out of his busy schedule for a Q & A with darcâ€™s Assistant Editor Emma Harris.
Garth Roberts founded his studio in 2010 after a series of pop-up studio projects in collaboration with Universities in Milan, Berlin and New York. Before forming his studio, Roberts gained his experience as part of prestigious design teams in North America and Europe, and today his studio works in different fields of product design and creative direction, developing projects for clients such as Glas Itali, Mabeo Furniture, Serralunga, Casamania, and the LRRH_ Art Project. Since 2009 Roberts has been based in Berlin but continues to work between Milan and New York. Now the creative director of lighting brand Kalmar, Roberts took time out of his busy schedule for a quick Q & A with darc.
Can you tell our readers a little about yourself? I was born and raised in Canada, where I studied design. After my first year of work experience I decided to take a trip to New
York. At that time in my life I absolutely hated travelling, so to this day I don’t know what possessed me to embark upon this adventure. That two-week trip changed what I understood as design and the potential that design had to offer. When did you realise you wanted a career in design? I was drawing consistently from a young age, but it wasn’t until I was about seventeen when I understood that creativity could be considered part of my professional aspirations. After this realisation I spent every moment I could trying to understand what design actually was and how my interest in science and history could merge with my creative aspirations. Who and what inspires / influences you? In the beginning my main influences came from magazines, I remember waiting with bated breath to get my hands on the most
recent monthly design magazine, it was my window to the glamour of design. Now I behave in a way that is the polar opposite of how I did at the start. I almost avoid design magazines completely (of course darc is the exception to that rule!). My current inspiration is how creativity crosspollinates, so my diet consists of modern dance, art openings and films. What is it about lighting that specifically appeals to you from a design perspective? Lighting is the most liberal of all genres related to product, when you’re designing lighting you determine how complex and poetic the final design will be. If it’s done well whatever you decide to do has the potential to be accepted and appreciated. For me this freedom doesn’t really exist in other product groups because the requirements have a direct connection with the human body and anatomy. Lighting brings items to life. If it is done well it calms the nerves.
Collaborations KALMAR WERKSTÄTTEN Left: Billy proves that utilitarian design, the honest construction of simple materials-can both reflect an industrial heritage and perfectly accent a domestic environment. The table lamp comprises three mattlacquer metal pieces projecting from a hardwood stem, which is unstained but finished in a clear protective coating. Centre: The Billy DL ceiling lamps combine several signature metal shades into a clean and unobtrusive uplight. Billy DL’s are available in two stem lengths, for uplighting interiors of differing dimensions. Right: Producing overhead ambient light that filters through a pleated silken shade and a frosted glass diffuser, Fliegenbein HL expands the Fliegenbein family into ceiling applications. Like the table and floor versions, the pendant’s voluminous shade has classic appeal, while the dialogue between shade and slender armature injects modern personality into a space.
Can you tell us about some of your most notable projects? My project history ranges from the more rationally designed projects for Kalmar to more conceptual, expressive works such as the crate collection for Mabeo Furniture. As the creative director of Kalmar I have to consider the brand’s established design history and vintage products. The Hase, Billy and Kilo series of lamps are all examples of this mentality. In pieces like the Quake table for Glas Italia, After Party rug for cc-tapis, Zanotta’s RAW table, the Crate Collection and Mabeo’s Seri Stool, I have more flexibility to express the tension of materials and the sophisticated crudeness of intent in my work. How would you describe your signature style? I think my style is quite sophisticated yet basic, with a sense of tension. This tension is embodied in contrasting materials, the
use of colour and texture or lack thereof. I like to leave a crude or unstudied undertone to my work. I aim to communicate an uncontrived simplicity and approachability to those that encounter the design. What trends are you seeing in decorative lighting at the moment and how do you see it continuing to progress? The attention that was given to lighting as a typology has intensified in the last few years, because of this the variety and quantity of lamp designs have increased dramatically when compared to the past decade. The trends that stand out to my sensitivities are the sculptural ideas expressed via the forms. The lamp is no longer just considered an accent piece; it is now often competing as the focal piece in the interior landscape.
Do you have any collaborations or projects lined up that you can share with us? We’ve started a few new collaborations; one in particular focuses on using natural fibres. I find this particularly interesting because of its connection to handcraft and the origins of design. I will continue working with cc-tapis, Kalmar Werkstaetten and Mabeo furniture, developing some new projects that expand some of our existing object series and initiate some new directions.
If you could sum up working with light in one sentence what would it be? Working with light means trying to give a full sensory experience and embody something that borders on intangible to every sense except sight. www.garthglobal.allyou.net
Lighting Design International Folio is our regular feature highlighting the importance of decorative lighting in the work of a design studio. This issue we present Lighting Design International.
Skibo Castle SKIBO, UK Skibo Castle is home to one of the world’s most prestigious private clubs nestled amongst the beautiful Scottish Highlands. The scheme is LED in its entirety. Two large chandeliers sit within the skylight, as well as providing an eye-catching focal point, central features were modified to conceal directional spotlights that could be used to accent light retail displays below.
Pics: Ewen Weatherspoon
The Bower LONDON, UK The Bower is a contemporary and visionary office redevelopment in the heart of East London, adjacent to Old Street roundabout that marries modern office architecture with local alternative culture and style. The Bower is designed by awardwinning architects AHMM and comprises a collection of three buildings, each with a distinct character, united in both purpose and integrity. Phase one of the project is now complete and includes ‘The Warehouse’ building, where Lighting Design International were employed to help deliver the dynamic development. Pic: Andrew Beasley
Intu Lakeside ESSEX, UK The retail lighting challenge was to increase brightness under deep set soffit areas by day in balance with daylight in the atrium, whilst allowing lower level, more intimate lighting post dusk. For this 100 per cent LED lighting scheme, the lighting levels, balance and colours are adaptable, providing various scenarios appropriate to the time of day, the time of year, contribution of daylight or seasonal / special events.
Manchester 235 MANCHESTER, UK This design envelops the visitor in playful decadence, reflecting not only the casino culture but also something of the 1940’s glamour. The lighting scheme provides different solutions for each of the club’s areas and personalities, creating the appropriate atmosphere and level of intimacy for each space while using a consistent design language throughout this Grade II listed building.
Pic: Nick Kontou
Sunset Walk MILTON KEYNES, UK With the increase in destination shopping malls, competition is high. Having the right shops is only half the attraction; consumers want the overall experience to be one of visual stimulation and luxury. Gold finished geometric ‘kites’ were proposed by the architect to emphasize the large volume entrance atriums, and to bring identity and presence from the adjacent roads. An array of large Moooi Raimond pendants were also used to provide sparkle and reflection against the gold finish of the ‘kites’ and polished beaten metal ceiling panels. Pic: Andrew Beasley
Let The Good Times Flow darc caught up with award-winning interior designer Dorothee Meilichzon to find out who and what inspires her and how lighting is integral to her designs.
DREAMS OF DESIGN For as long as I can remember I wanted to be a designer. It was as soon as I discovered Raymond Loewys’ work. Also, Philippe Starck was big at the time and his approach was really new. I grew up in Paris surrounded by many entrepreneurs in my family, so it’s no wonder I decided to start my own business in 2009. STUDYING Industrial Design at Strate College is quite a different discipline to that of interior architecture and as I hadn’t ever worked for an interior architectural firm, I had to learn everything myself. I worked as a graphic designer, product designer and a bit of retail design for design agencies, for about five or six years before starting my own company. INSPIRATION IN HISTORY I had quite a classical education and as such am always very interested in classic architecture and ornamentations. The history of a building can be a big inspiration. My studio is multidisciplinary for sure; I love to learn so am always looking for new things to discover. TIMELESS STYLE This is how I would best describe my ‘signature style’, it’s a bit timeless and graphic, with a mix of different styles and time periods. My studio’s philosophy is to be guest / consumer orientated – we are working in places where we want people to feel good and get together. Nothing complicated, just good vibes and this is why our interiors need to fit with the building and its own story.
BEST OF THE BEST I was really happy to have been chosen as Best Designer in 2015 at Maison et Objet and then included in the Wallpaper* 20 Best
Interior Designers - it was a huge honour and completely unexpected! I hope, moving forward, I will continue to reinvent myself and my designs - getting better all the time! LIGHTS & MIRRORS These two things are very important to me as they create the atmosphere. I have to say, I am fighting a bit against LED lamps, as from the ones I’ve seen I don’t like the light scattering of them. Material wise, brass, aluminium, glass and china are things I like – materials that will embellish the light. We design our own lights most of the time now, but also work with small lighting companies that I love. STAND OUT DESIGN For me, this would be the Prescription Cocktail Club, where we had this cute wall light made of petals of porcelain – light played really well with those. Also, in NYC at the Experimental cocktail club we had some suspension lights from a Swedish designer that were a tribute to the Chinese heritage of the neighbourhood. I stained the silk used for the lights myself and it’s a nice memory to have. Each project we work on has its own unique lighting requirements. BRASSED OFF In the world of interior design, when it comes to trends, I hope to see a continued growth in the use of aluminium. I have had enough of brass lighting now - it is time for a change. In the early 2000’s everything in interior design revolved around chairs… now, lighting is the new chair! www.chzon.com
1. The Bauchamont. Pic: Paul Bowye. 2&3. Hotel Panache. Pics: Romain Ricard. 3. A mix of architectural and decorative lighting works to bring life to the office space. 4&5. Grand Pigalle. Pics: Kristen Pelou.
COMMENT | DECORATIVE LAMPS FEATURE
The Jewellery of Architecture British designer Lee Broom shares his thoughts on the use of decorative lamps in interior design, the LED movement and how lighting is a fundamental part of his ethos.
Decorative lighting can be defined as the ‘jewellery of architecture’. It plays a significant role in the interior design of a space adding style and decoration, colour or pattern. Whilst fundamentally, its primary purpose is to illuminate, it is also important that it be aesthetically pleasing and too many times I feel this is an after thought or overlooked all together. Decorative lighting in recent years has definitely become more sculptural, more material led and innovative - commanding more recognition and rightfully so. Just as a piece of art or an impressive piece of furniture can create a statement in an interior, so can decorative lighting with its innovative shapes and materials. Thinking back to the beginning of my career in design, decorative lighting was often expected to also play the role of architectural lighting and fully illuminate a room. I think it’s a positive step that we now recognise the need for both decorative and task lighting as two separate requirements. It is so intrinsically important to the design of a space that they work in harmony with each other to create a cohesive scheme. Lighting is integral to any interior; when I design a space I always start with the lighting first, it should never be an afterthought. It is our responsibility as designers to ensure that we design for longevity and to do so, the balance between form and function has to be found. Decorative lighting can be a focal point or a subtle part of a scheme that can instantly change the ambience of a room. When I design an interior I look at all corners of the space and how and where I can create
different ambience levels to define and divide areas without the need for furniture or product. When it comes to hospitality interiors, decorative lighting draws the eye upwards, framing a space and setting the narrative. I like to use pendants to create focal points at the entrance of a space in hospitality projects, framing the room with LED mood lighting to create warmth. In residential interiors it is great to see that decorative lighting has definitely progressed from being a secondary purchase to a primary purchase with more people recognising that the right decorative lighting is as important a purchase as a bed or a sofa. As a product designer creating my own lighting collections I feel like a magician, creating illusions. Creating a lighting piece is challenging for many reasons. You can have a strong vision for the aesthetic but there are also so many technical aspects that are required to adhere to in order to make the piece a functional object. To combine these elements and be able to achieve your initial vision isn’t easy but the realisation is incredibly rewarding. From inception to production there are many hoops to jump through and it’s a constant sequence of problem solving. We use a lot of challenging materials such as marble or carpet or innovative shapes that need to exude simplicity and then there is the electrical component – a lot of boxes to tick both aesthetically, functionally and practically. As a designer, if you can realise 90% of the vision you had in your head, then you have done your job. I have learned over the years that 90% is sometimes good enough however, we always aim for 100. When I design lighting I always like to create
with a sense of drama and escapism. I find a lot of inspiration for decorative lighting in materials and manufacturing techniques and how I can utilise the traditional in new and innovative ways, thus striking the balance between modernism and nostalgia, reimagining silhouettes and playing with form and shape. I like to challenge myself and my team in doing so, learning about new technology and new craft as we develop and experiment. As well as silhouette and innovation in material, our lighting always pushes new technology including LED. There is a huge misconception that LED lighting is not versatile enough. For sure, it still has a way to go but LED technology has developed so fast over the past few years. We use LED in all of our products now and the idea that you cannot create warmth with LEDs is a misconception. Two years ago we decided to invent our own dimmable LED which we now use in the majority of all of our pieces. Developing our own LED came about when I first designed the Crystal Bulb in 2012. I like the juxtaposition of design materials – you could say I like to reinvent the classics as it were; evolve and mould silhouettes playing with form and shape, colour and texture and exploring how materials new and old can work together to create something unique and new, yet at the same time very familiar. I was fascinated by cut crystal and I was also seeing a lot of industrial filament lamps on the market. The Crystal Bulb is a combination of the singular industrial light bulb with the ornate simplistic beauty of hand cut crystal, which had never been seen before together in this way. It’s a unique piece that combines innovation, modernity and tradition and
COMMENT | DECORATIVE LAMPS FEATURE
Image: Ivan Jones
works in both minimalist interiors and also in more classic period styles. One of the challenges of designing the Crystal Bulb was containing the heat and restricting it within the cut crystal shade. We automatically looked at using LED technology for this. LEDs were not progressing quickly enough to meet our immediate needs, and we needed a lamp that was successfully dimmable, created the right amount of warmth and contained all of the electrical components within a very small unit, so we set about developing and producing our own. We designed and produced the Crystal Bulb in eight weeks ahead of our 2012 show in Milan. It is one of our best selling products with over 30,000 sold to date which can be seen illuminating homes, restaurants, hotels and bars across the world. It’s received a lot of support and recognition since it launched - we have been lucky enough to win four awards in three consecutive years in the British Design Awards and it now
hangs in the Design Museum’s permanent collection. We’re now extending the range launching a new chrome version of the iconic pendant alongside a new wall light and ceiling light in both chrome and the classic brushed brass finish. Lighting will always have a huge impact on me as a designer. Before my career in design and as a child, I was a professional actor from the age of seven until I was seventeen. I’ve always had an attraction and affiliation to neon and bright lights and the theatricality they imbue - how they can set a scene and tap into people’s emotions. From my first collection Neo Neon in 2007 to my most recent sculptural pieces, decorative lighting is a fundamental part of my ethos as a designer and will always play a leading role wherever my career takes me. www.leebroom.com
Lee Broom’s work is recognised internationally; when he founded the company in 2007 he set out with a clear vision to be not just a designer, but an entrepreneur; designing, manufacturing and retailing under the Lee Broom label. Alongside his own collections, Broom has also designed products and interiors for other leading global brands and over 45 commercial retail, restaurant and bar interior designs. In 2012, with five collections under his beslt, the designer launched his most successful product to date - the Crystal Bulb, which is pictured on the opening spread. An iconic design which has sold in excess of 30,000 to date, the Crystal Bulb transformed the everyday lamp into a beautiful ornamental light fitting and elevated Broom into a household name. The designer is heavily influenced by both his fashion and theatre backgrounds, which can be seen in the sense of drama and narrative his collection creates.
INTRODUCING OBERLIN Inspiring Design - LED Technology
LIGHTING www.elsteadlighting.com NEW 2017 supplement catalogue available NOW
DECORATIVE LAMPS FEATURE
Light Source Guide Wondering which light source would be perfect for your project? Follow our guide to some of the best decorative lamps currently on the market.
Bright Goods Joseph/Anne/George/John
Buster & Punch Buster Bulb Range
Globe Filament Lamps
Style GLS /Pear /Globe /Tube Base E2 / B22 Light source LED Lifetime (hrs) 30,000 Watts (W) 5 / 6 / 6 /6 Lumens (lm) 500 / 600/ 600/ 600 Colour temperature (K) 2200 / 2700 CRI 80 / 90 Dimmable Yes Length (mm) 105 / 142 / 175 / 225 Diameter (mm) 60 / 64 / 125 / 30
Style Tube Base E27 Light source LED Lifetime (hrs) 30,000 Watts (W) 5 Lumens (lm) 250 Colour temperature (K) 2700 CRI 80 Dimmable Yes Length (mm) 300 Diameter (mm) 60
Style Squirral Cage /Globe/ Copper Coated Base All E27 Light source LED / LED / LED Lifetime (hrs) 15,000 / 15,000 / 15,000 Watts (W) 4/ 6 / 8 Lumens (lm) 120 / 600 / 650 Colour temperature (K) 2200 CRI 90 Dimmable Yes Length (mm) 160 / 135 / 160 Diameter (mm) 60 / 125 / 125
Factorylux Large Globe
Filament Style Spiral LED Bulb
Megaman 5w Crown
Style Globe Base B22 or E27 Light source LED Lifetime (hrs) 25,000 Watts (W) 4 Lumens (lm) 350 Colour temperature (K) 2200 CRI 90 Dimmable Yes Length (mm) 172 Diameter (mm) 122
Style Globe / Squirral Base E27 / E26 Light source LED Lifetime (hrs) 15000 Watts (W) 4 Lumens (lm) 360 Colour temperature (K) 2700 CRI 80 Dimmable Yes Length (mm) 110 / 130 / 160 / 145 Diameter (mm) 80 / 95 / 125 / 64
Style Silver & Brass Base E27 Light source LED Lifetime (hrs) 50,000 Watts (W) 5 Lumens (lm) N/A Colour temperature (K) 2800 CRI 80 Dimmable Yes Length (mm) 104 / 107 Diameter (mm) 55 / 60
Style Decorative Pendant Lamp Base E26 & E27 Light source LED Lifetime (hrs) 10,000 Watts (W) 6.5 Lumens (lm) 250 Colour temperature (K) 2400 CRI 80 Dimmable Yes Length (mm) 225 Diameter (mm) 135
Style Heart, Globe, Butterfly Base E27 / Light source LED Lifetime (hrs) 15,000 Watts (W) 8 / 8 / 12 Lumens (lm) 300 / 300 / 350 Colour temperature (K)2200/2600/2200 CRI 90 Dimmable Yes Length (mm) 130 / 145 / 130 Diameter (mm) 90 / 85 / 130
Style Decorative Base E26 & E27 Light source LED Lifetime (hrs) 30,000 Watts (W) 6 Lumens (lm) 420 Colour temperature (K) 2700 CRI 95 Dimmable Yes Length (mm) Dependant on shape Diameter (mm) Dependant on shape
ZICO Candle C35 Range
Ilumis Comfort Dim Filament
Style Squirrel Cage Base E27 / B22 Light source LED Lifetime (hrs) 15,000 Watts (W) 4 Lumens (lm) 200 Colour temperature (K) 2200 CRI 90 Dimmable Yes Length (mm) 138 Diameter (mm) 64
Style Clear, Frosted, Opal Base B15 / E14 / B22 / E27 Light source LED Lifetime (hrs) 30,000 Watts (W) 4 Lumens (lm) 300-400 Colour temperature (K) 2200-2600 CRI 90 Dimmable Yes (Mode, Lutron, Helvar) Length (mm) 93 Diameter (mm) 35
Style Squirrel Base E27 / B22 Light source LED Lifetime (hrs) 25,000 Watts (W) 5.4 Lumens (lm) 450 Colour temperature (K) 1827 CRI 90 Dimmable Yes Length (mm) 108 Diameter (mm) 45
DECORATIVE LAMPS FEATURE
Shaded From The Light While decorative lamps can look stunning on their own, when placed in the right casing they shine in a space just that little bit brighter, as the selection of decorative lampshades on this page show.
IP44 Alchemist Globe THE LIGHTYARD The brand new IP44 Alchemist Globe pendant light provides a unique and decorative alternative for bathrooms, spas and wet rooms. The clean sharp lines of a handcrafted glass shade is designed to enhance a highly decorative LED filament lamp. It produces fascinating and interesting reflections within the glass shade and looks great as individual pendants or mixed clusters. Each one is handcrafted in the UK and they are available in either clear, smoked and reeded glass. www.thelightyard.com
Diamond 7 FILAMENT STYLE The Diamond 7 from Filament Style provides a clean and simple design. Favouring reduced aesthetics and geometric shapes, the lamp highlights the delicate glow of filament lighting through its handmade cage, creating forms that keep it simple to complement the aesthetic power of a classic lamp. www.filamentstyle.com
Church Family BRENDAN RAVENHILL STUDIO The Church family was first created to illuminate California Modernist Rudolph Schindler’s Bethlehem Baptist Church in Los Angeles. Schindler called his work ‘Space Architecture,’ meaning he designed not just for structure but also the climate, light and mood of an interior space. Inspired by this thinking Brendan Ravenhill Studio’s Church fixtures are designed to cast light not down but up and out, with globe lamps exposed and celebrated. Church is available in five different styles: Double Church chandelier, Long chandelier, chandelier, 4 Arm pendant, 3 Arm pendant, and 2 Arm pendant. www.brendanravenhill.com
Kendu MULLAN LIGHTING The Kendu chandelier is a modern brass chandelier with eight spokes radiating from a cylindrical centre and supported by three strands of near invisible catenary wire. At the end of each brass spoke is an adjustable double lamp holder that holds two exposed LED Edison bulbs. Each adjustable lamp holder can be positioned in a number of ways depending on the desired look; vertically, horizontally or at an arbitrary angle to the floor. www.mullanlighting.com
Copper Bulkhead INDUSTVILLE This fantastic handcrafted industrial metal wall light made from a brushed pure copper is Industville’s latest edition to their collection. With a hardy, traditional nautical light design, suitable for indoor or outdoor, the Copper Bulkhead is a stand out feature in any home, coffee shop, restaurant or retail space. www.industville.co.uk
Tulip CURIOUSA & CURIOUSA The Tulip is an elegant stemmed light inspired by both masculine and feminine design influences, fusing solid lines with a softer silhouette to create a striking lamp that gives a nod to mid-Century modern design. For the design development of this piece, Curiousa & Curiousa’s Esther Patterson looked back to previous table lamp designs, she started to experimenting with a large retro shade, which she paired with glass stems. Patterson found the base at the bottom was too small and didn’t pass the tilt test, so with thorough experimentation and development she went on to design something that worked both functionality and aesthetically. www.curiousa.co.uk
Shibari BOMMA The second collection designed by Kateřina Handlová. Shibari is the second unique combination of the specific nature of crystal. Shibari is not just a technique of tying up an object with ropes, it is a way of communication within a hidden system of lines and loops. The Japanese call it Kinbaku: the beauty of tight binding. The lighting is available as one, three or five pieces. www.bomma.cz
Sleep For brilliant experiences
21â€“22 November 2017 The Business Design Centre, London Register free at thesleepevent.com
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DECORATIVE LAMPS FEATURE
The Bare Necessities Lighting is a necessity in any hospitality setting requiring function and decoration. A paired back pendant lamp can offer the versatility of a clean crystal glow or industrial amber warmth in any communal area. Over the next few pages we've put together some examples of decorative lamps at their best.
MAX Hamburgerrestaurant Umeå, Sweden MAX Hamburgerrestaurant is Sweden’s´ oldest and fastest growing hamburger restaurant, established in 1968. By using honest materials such as wood, metal, stone and leather Wingårdh Arkitektkontor has translated the architectural space to better reflect the high quality food served at MAX every day. The architects decided to play with volumes, creating rooms within rooms, both
exterior and interior. Being a family business, MAX wants to be a sustainable company in a sustainable society, leading and creating an example in the industry. As a part of the environmental aspect, lighting brand BLOND was tasked with creating custom luminaires for the new concept. Being a family owned company too, with their production facilities in
Sweden, sustainability has always been part of the very core of BLOND. By keeping the manufacturing process within its own walls, and utilising a higheffective LED lightsource, BLOND has been able to create luminaires for this project that reflect the environmental and social responsibility that is part of the MAX legacy. www.blond.se
DECORATIVE LAMPS FEATURE
Caudiale New York, USA Founded in 1995, the global skin care brand Caudalie has grown extensively since its beginnings in France. Throughout the years it has expanded its roots far beyond its place of origin and now has locations in New York, Los Angeles and London. The worldwide boutiques feature clusters of Niche Modern's Binary pendants in crystal glass and hang from varying drop lengths to form a stunning centrepiece, creating an inviting space where customers can sample products and speak to a beauty consultant. Pendant lighting installations often hang above a tester bar, housed in the centre of the store, as pictured above.
Each silhouette begins with a sketch from Niche Modern's Creative Director Jeremy Pyles, with every detail carefully thought out between a team of designers, glass artists, and technicians in itsBeacon, New York studio. After the Binary pendant is handblown in Niche's Hot Shop, it is inspected, cut, drilled, ground and polished by hand in the Cold Shop to ensure the highest standard of excellence. “We try to do things that are not overly flourished, where the economy and line and shape is very simple," Pyles says about his lighting designs. “There's not so much elaboration and not a lot of fussiness.”
Based on the orb glass shape, the Binary modern pendant light is a multi-lamp fixture, giving it a contemporary twist to Niche's more classic Solitaire pendant light. These handblown glass pendants incorporate two A15 incandescent filament or A15 LED appliance lamps depending on a client's preference. Available in an array of luxurious glass colours ranging from crystal to crimson, the Binary pendant adds a timeless and elegant touch in any environment. www.nichemodern.com
KNOT by Chiaramonte Marin, 2016
HANDMADE BOHEMIAN GLASS CRAFTED TRADITIONALLY Caroline Calvert contact for UK
firstname.lastname@example.org +420 587 211 517
email@example.com +440 777 923 8778
DECORATIVE LAMPS FEATURE
Doubletree by Hilton Kingston Upon Thames, UK Located on the edge of town the upmarket 146 room DoubleTree Hilton Hotel offers stylish and contemporary accommodation, state of the art conference facilities and the hotel’s signature restaurant, Hawkers Bar and Brasserie, themed around Kingston’s extensive aviation history. The space is an Art Deco inspired interior with an open plan kitchen and an enclosed outside dining terrace. Light Corp ’93 was commissioned to design a lighting a system that not only complemented the aviation theme but also provided warm and elegant illumination throughout. An impressive range of Bright Goods LED filament lamps was specified
to enhance distinct areas of the hotel. The lamps, all in 2.2K very warm colour temperatures highlight the various shaped LED filaments and create a welcoming, atmospheric ambience. The Florence 6W sepia tinted maxi globes, for example are hung bare and installed in clusters amongst the copper pipework that runs around the perimeter of the restaurant, giving a contemporary industrial feel. The Elizabeth 3W candles, Joseph 5W GLS’, Jane 6W sepia tinted classic pears and John 6W long tubes are installed throughout the reception area, lobby, lounge, kitchen, bar and restaurant area providing the ultimate warm and cosy glow for all visitors.
Steven Brazil, General Manager at DoubleTree by Hilton in Kingston said: “Aesthetically we were looking to create a modern and industrial décor and the Bright Goods definitely helped us achieve that. They look fantastic and we have received some really positive feedback from out hotel guests who have commented on their vintage-modern design. We wanted to incorporate ‘mood lighting’ which could be altered throughout the day and into the evening, they were exactly what we were looking for.” www.brightgoods.co.uk
DECORATIVE LAMPS FEATURE
The Ned Hotel London, UK Formally an old Midland Bank building, no expense has been spared in the restoration of this historic building. Due to the many historic features such as vaulted ceilings, verdite columns and old wood-panel tellers office, this Grade 1 listed building required a design concept befitting its beauty and heritage. Working in conjunction with Nulty + Lighting and Mode Lighting and Controls, Zico lighting filament lamps were chosen
to enhance the lighting design. With exceptional dimming, high CRI and a beautiful aesthetic appearance, the Zico lamps blend into the timeless design and atmosphere of The Ned. The use of 2200K CCT lamp variations has delivered a blend of colour and offers consistency in the design and delivery of a sophisticated environment. High level pendant fittings use 2600K to help create the feeling of space and height with a hint
of natural light. 2200K is used in living areas, corridors and bedrooms to close down the space for a warm, calm and comfortable environment. â€œWe are proud to have worked on this project and will continue to develop relations with architects, designers and lighting designers to service the needs of this sector,â€? Says James Miller, Manager Director of Zico Lighting. www.zico.lighting
Illuminati Lighting UK Ltd
IIIuminati Lighting UK Ltd
Unit 12, Tattersall Way, Chelmsford, Essex UK CM1 3UB Tel: +44(0)1245 355507 Unit12 , Tattersall www.illuminati-lighting.co.uk Way , Chelmsford , Essex , UK CM1 3UB Tel:+44(0)1245 355507 firstname.lastname@example.org
Nandos Southampton, UK Enigma Lighting working together with B3 Designers, was tasked by Nando's to create a unique and exciting restaurant lighting design within the new Southampton West Quay extension, communicating the brand of Nandoâ€™s whilst acknowledging the location and context of the restaurant. The biggest challenge for the design team was to create a number of bespoke, multi coloured wire framed pendants, mimicking lobster pots in appearance (a nod to the cityâ€™s link to the sea), with various diameter, height and finish combinations to provide a stunning lit appearance and create a wow effect within the space for both the day and evening scene sets. Each of the feature pendant's design was based around a minimal lamp holder within independent control of the top and bottom
lamps for maximum adaptability. The lamp chosen was the Enigma 125mm LED filament lamp which had the scale, output and colour temperature warmth that the design required. Utilising their product design capabilities, Enigma Lighting designed and supplied further bespoke items such as a mesh style linear wall light, also utilising the Enigma tube linear filament lamp and a special adaptation of the Enigma Tubular luminaire, powder coated with the exact RAL of the ceiling to seamlessly blend these discrete spotlights into the ceiling and not detract from the main event of the feature wire pendants. The restaurant is lit through a layers of light approach, putting lighting where it is required, balancing light levels and contrast
to dress the space and not over dominate the various interior features within the space. Hidden lighting details are key to creating this balanced approach and the Enigma Lighting team worked closely with B3 to design the details needed to illuminate the feature relief woodwork used throughout the space in various joinery pieces, such as the feature bar and kitchen bulkhead and the external bench seating within the main promenade to the shopping mall. The result is a fully dimmable, all LED scheme that is both warm, inviting, enjoyable and relaxing to be in. The restaurant really holds its own within the West Quay mallâ€™s promenade. www.enigmalighting.com
Maison & Objet - PARIS September 8 to 12th, 2017 / Hall 6 â€“ Booth N22
DECORATIVE LAMP FEATURE
Demoiselle by Galvin Dubai, UAE Demoiselle by Galvin is the latest venture from Michelin-starred chef’s Chris and Jeff Galvin. The concept expands upon their flagship restaurant located within Harrods department store, London. The concept behind the restaurant’s design was inspired by a charming chateau that Chris stumbled upon on a trip to Champagne, France. Inside the Art Deco building he discovered an ornate collection of paintings illustrating beautiful birds of paradise and decadent Parisian women adorned in a feminine pastel-hued palate. DesignLSM was tasked with making this vision a reality.
Downstairs the café provides a sophisticated and relaxed environment with a unique blend of casual seating including luxurious leather banquettes, upholstered dining chairs and intimate bar stools which set against an impressive open kitchen counter offering guests the chance to experience an avid sense of culinary theatre. A fresh palette of dusty pinks and hues of mint green conjure an air of understated elegance with aged mirror screens and herringbone oak flooring bringing a more traditional feel. Scattered across the ceiling is a stunning array of bespoke geometric pendant lights
designed and manufactured by Into Lighting. Frosted antique glass globes highlighting the beautiful bespoke finishes such as the brass trimmed marble topped tables. The grand staircase leading diners upstairs is enriched by an arresting double height panel mirror and glass display cabinet showcasing a beautiful vintage collection of tea and coffee pots while the top of the stairs is dressed with an exquisite hanging garden wall lit by low-hanging lights. www.into.co.uk www.designlsm.com
Artistry from Nature Navicula light
Visit us at Darcroom
DECORATIVE LAMP FEATURE
OUTDOOR LIGHTING FOCUS
Saint Paul's House Hotel Birmingham, UK The Saint Paul’s House Hotel is a boutique bar and restaurant in the heart of St Paul's square, Birmingham. A contemporary mix of modern design with a Shoreditch eclectic style interior. To complement this, lamps from Megaman’s Dim to Warm, VersoFIT downlighters and Gold Filament range were specified throughout the hotel. Installed by 3ci Lighting, Megaman 10.5W Dim to Warm LED lamps were used in the hotel bedrooms to help create a relaxed and comfortable ambiance. Simulating the same warm light and dimming characteristics of incandescent and halogen lamps, the LEDs provide a colour temperature range of 2700K to 1800K, without the additional heat emissions traditional halogen lamps produce. Megaman 8W VersoFit fire-rated downlighters were installed within the bedroom en-suite areas. Available in three finishes, they offer an unobtrusive option. The integrated driver technology and serviceable LED module also ensures easy installation and maintenance; reducing servicing costs for the hotel. Furthermore, the downlighters are IP65 rated – a requirement for bathroom installations. Three styles of Megaman Gold Filament lamps from its popular economy series were also installed in the hotel’s bar and restaurant area. By including 200 lamps of the Classic, Globe and ST58 lamp shapes, it helped the hotel to create a stunning visual effect and the luxurious warm glow required. Providing an excellent lumen output of 210 lumens1/W, the lamps emit a rich gold hue thanks to its 2200K colour temperature. Additionally, the lamps are extremely energy efficient with a service life of 15,000 hours. www.megamanuk.com
Darc Magazine Ad-GABIO-newv2_OP.pdf
MEGAMAN® GABIO LED Pendant Louvre
MEGAMAN® GABIO LED pendant direct/indirect louvre brings suspended task lighting in a new direction by combining the minimalist design of louvres and the most advanced optical distribution within oﬃces, classrooms, hotel reception and other commercial spaces. • Slim aluminum linear proﬁle • Louvre cell design with low glare rating (UGR≤19) • Wide batwing light distribution and wide beam angle • Available in diﬀerent mounting methods • Innovative X,L,T connectors with integrated LED louvre cells for continuous line of light, making junctions invisible
21–23 September 2017 B1, Victoria House • Central London
Visit us at Stand 005
Hong Kong International Lighting Fair 2017 (Autumn Edition)
27–30 October 2017 Hong Kong Convention & Exhibition Centre
Visit us at Stand 1D-B02
DECORATIVE LAMPS FEATURE
Residential Project London, UK Having already developed a single suspension bar to work over dining tables and kitchen islands in particular, it was a natural progression for Curiousa & Curiousa to play with a double bar option. The double bar suspension chandelier plate supported 20 pendants, each differing in height, form and colour to provide a stunning cascade. “Working with the client, we selected colours that would complement her existing interior and artwork - especially the treasured portraits of her children hung on the stairway leading to their bedrooms,”said
Director,Esther Patterson. To complement the glass pendants Esther used LED lamps from Well-Lit which has developed a range of dimmable lamps thatnot only look stunning but are also ethically manufactured. “Who we work with and how we work is incredibly important to us. We always want to use local, UK-based craftsmen and women wherever possible - but when it isn’t, such as in LED lamp manufacturer, it’s important to find a supplier that reflects our values. So we were delighted to meet Chris from Well-Lit who has won awards for
his ethical approach to Chinese manufacture whilst also advancing the technical aspects of the lamps, developing unique, discreet and reliable drivers. For us it’s the perfect partnership. Every stairwell chandelier we design throws up its own problems - no two are the same. For the client's chandelier, in this project, not only was the space between the bannisters tight, the ceiling also sloped into an atrium. But solving problems is all part of the fun!” enthused Patterson. www.curiousa.co.uk
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.
DECORATIVE LAMPS FEATURE
Smetanaq House Prague, Czech Republic The Smetanaq house at 4 Smetanovo nábřeží is a place where people with a shared interest in art, culture and design come together. Its three floors are home to the Smetanaq Gallery as well as studios of young designers on the second floor called ‘Bottega’ after the Italian model. In addition there is the Deelive Design Store (which offers the work of some of the best Czech fashion and interior designers) and Smetanaq Cafe & Bistro on the first floor, serving quality coffee and appetizing desserts. It’s an excellent place for breakfast or to simply spend an afternoon enjoying one of the most beautiful views of the Vltava River, Prague Castle and Petřín Hill. The minimalistic interior of Smetanaq house is highlighted by the crystal pendants from
Bomma - a leading Czech design brands, with its beautiful contradiction of fragile mouth-blown crystal and rope, the Shibari pendants are the most significant eyecatchers of the Smetanaq Cafe & Bistro. On top of that, Bomma crystal pendants are also part of Bottega and Deelive Design Store, which testifies the Smetanaq main aim - to connect and promote the best of Czech design. The classical-style townhouse was built between 1846 and 1847 and was originally conceived as an apartment house, though during the course of the 20th century, underwent reconstruction several times, became an office building, which was damaged by a huge explosion on Divadelní Street in 2013. The blast destroyed the load-bearing masonry and part of the ground
floor ceiling of the Divadelní Street wing collapsed. The original owner made the house safe and secure through expensive repairs and then sold it. At present the part of the house on Smetanovo nábřeží has been completely reconstructed. During the reconstruction architects Jiří Řezák and David Wittásek from Qarta Studio dealt with the insensitive interventions of previous decades, removing all the plasterboard on the ceilings and walls to reveal the beautiful palatial features of the original Burgher house. During this process they uncovered remnants of the original paintwork, which they later incorporated into the overall interior design. www.bomma.cz
DECORATIVE LAMPS FEATURE
Pullman Hotel London, UK The Plumen 003 can now be found beautifying the Pullman Hotel in London’s Kings Cross as past of a large open space that requires lighting for eating, drinking and working while maintaining the warm, atmospheric glow of a hotel of its stature. While the spotlights illuminate tasks below, the lamps' gold facets mimic the magical glow of candlelight, creating exquisite lighting in a multi-functional space. The downward spotlight serves to illuminate a task while gold elements at the centre of
the lamp reflect a soft ambient light that’s flattering to people’s faces, making it the perfect answer for lighting restaurants and bars. Plumen’s patented method distributes light exactly where it is required while at the same time allowing delicate gold elements to ‘float’ in the centre of the lamp. The design means the light of the LED is warmed as it reflects off the gold elements, creating a soft glow round the sides, flattering everything it illuminates.
The relationship is symbiotic, for while the gold elements warm the light, the light brings the facets to life by making them sparkle like a jewel. Light is diffused and reflected within a gold chamber in order to reduce glare and increase the light’s temperature. The central structure sits on a specially engineered plinth, which draws away the heat of the LED to ensure that the 003 is every bit as efficient as it is visually pleasing. www.plumen.com
Ovation of the Seas Worldwide The Ovation of the Seas is the second largest cruise ship in the world operating for Royal Caribbean International. Lighting consultants Project International specified the Illumis Lights Comfort Dim lamps throughout, offering a blend of characteristics rarely found in the fast developing LED lamp market. Illumis Lights' Comfort Dim lamps offered the opportunity to combine a mix of two colour temperatures within one lamp to set a range of alternative ambient settings. The lamps were used throughout the hospitality sectors of the vessel to create the appropriate settings for every occasion with programming utilising Helvar dimmers. In one of the restaurants, 1,000 units were specified – reducing the overall temperature of the setting significantly. www.illumislights.com
Dr Martens Boot Room London, UK Following the success of it's Oxford St. store Dr. Martens re-approached retail designers Closed Sundays to deliver the latest, and probably most important retail statement for the brand, the 'DM’s Boot Room'. They needed a space that epitomised Dr. Martens’ musical roots; was sympathetic to the Grade 2 listed building; captured the rich history of authentic product from its archives and celebrated associated artists in a modern, museum-like way. And of course, it had to play host to live music, free booze and a VR tour of their Cobbs Lane factory. To ensure the lighting scheme was in keeping with the overall aesthetic, extensive use was made of the Factorylux range, including galvanised 500mm, Angled and Coolicon reflectors and die cast aluminium lanterns. Every pendant featured a Factorylux LED Filament lamp, chosen for the warm colour temperature, high CRI and low glare. www.factorylux.com
Diga Restaurant Haarlem, The Netherlands Diga is a trendy Italian restaurant based in the vibrant city of Haarlem in The Netherlands. Designed by interior design studio, Image Label, the interior boasts a minimal, contemporary aesthetic that reflects the menu’s modern and refined take on Italian cuisine. The pièce de résistance of the stylish, open-plan kitchen and bar is the Digateca and enoteca showcasing an array of fine wines. Velvet benches, large plants, and hanging sculptural Voronoi II pendants by Tala complete the overall look. Inspired by Tala's sustainable ethos, this collection finds its origins in nature, complementing the greenery and neutral palette of the interior. www.talaled.com
London’s Calling London Design Festival continues to prove itself as a must-attend event for the design world. With darc magazine once again out in force for the entirity, over the next few pages we bring you just a slice of what you can expect from the various exhibitions and events taking place.
100% DESIGN OLYMPIA LONDON | 20-23 SEPT LATE NIGHT THURSDAY 21 Each year 100% Design adopts a theme, which is reflected across its installations, features, talks programmes and show design. For the 2017 edition this is ‘Elements’, which considers everything from the fundamentals of design to the component parts that make up a product, the materials used to the stories and processes of development. @100percentdesign
BROMPTON DESIGN DISTRICT
Clerkenwell is famous for its concentration of design showrooms, studios and architectural practices. During the festival local enterprises CLERKENWELL open their doors to design hungry visitors DESIGN from all over the world. 2017 marks the fifth Clerkenwell Design Quarter including events, QUARTER talks and exhibitions that will be an intoxicating mix of art, craft, food and science. • LATE NIGHT: Tuesday 19 September www.clerkenwelldesignquarter.com @ClerkenwellDQ
Mayfair Design District will organise a series of exhibitions, openings installations and performances with the objective of nurturing and cultivating the creative disciplines still found in this community. • LATE NIGHT: Monday 18 September www.brixtondesigntrail.com @mayfairdesigndistrict
The leading district within the annual London Design Festival. The pop-up programme, curated by Jane Withers, encourages design that adds meaning and value to our everyday lives. As a platform for emerging designers, it further adds to the energy and dynamism of the area. • LATE NIGHT: Thursday 21 September www.bromptondesigndistrict.com @BromptonDesign
This year Chelsea Design quarter present the theme Elements, with a variety of events based around luxury interiors, stretching people’s imagination as to what can be done in interiors today. The area includes interactive installations, ground breaking exhibitions and talks celebrating the diverse industry that is the design world. www.chelseadesignquarter.co.uk @ChelseaQuarter
MAYFAIR DESIGN DISTRICT
DECOREX SYON PARK 17-20 SEPT This year Decorex celebrates 40 years of design collaborations, focusing both on the strength of its past and current relationships and importantly looking towards future partnerships. www.decorex.com @decorex_international
CHELSEA DESIGN QUARTER
The Shoreditch Design Triangle blends together a range of product launches, exhibitions, installations, workshops, talks and tours. This year, the event has gained a reputation as one of the most exciting LDF districts, with a host of design led events making it possible to spend a whole day wandering around the area on foot. • LATE NIGHT OPENING: Tuesday 19 www.shoreditchdesigntriangle.com @ShoreditchDT SHOREDITCH
DESIGNJUNCTION KING’S CROSS | 21-24 SEPT VIP NIGHT MONDAY 20 Taking place across five destinations - a mix of global furniture, lighting, accessory, material and technology brands will exhibit alongside pop-up shops, installations, and interactive features. www.thedesignjunction.co.uk @thedesignjunction
The Islington Design District is a walkable trail bridging design locations on Amwell Street south of Angel, through to Camden Passage and along Upper Street with SMUG at it’s hub. Visitors will discover new designers, special product launches and one-off exhibitions and events. • LATE NIGHT OPENING: Tuesday 19 www.islingtondesigndistrict.com @IslingtonDD
ISLINGTON DESIGN DISTRICT
LONDON DESIGN FAIR OLD TRUMAN BREWERY 21-24 SEPT | PRIVATE VIEW THURS 21
DARC ROOM B1 VICTORIA HOUSE 21-23 SEPT darc room is a curated, creative lighting exhibition for specifiers and designers in the heart of London, brought to you by Light Collective in collaboration with mondo*arc and darc magazines. Turn to page 162 for more info. www.darcroom.com @darc_room
BRIXTON DESIGN DISTRICT
Brixton Design Trail returns for 2017 with a mission to establish design as part of the everyday by using streets and public spaces as a canvas for art and expression. Under a theme of Love is Power, Brixton will present an inspiring programme which reveals a vibrant community rich in creative talent, identity, culture and heritage. www.brixtondesigntrail.com #LOVEISPOWER
A four-day industry event that brings together 500 exhibitors from 28 countries including: independent designers, established brands, international country pavilions, features and exhibitions. www.londondesignfair.co.uk @ldndesignfair
BANKSIDE DESIGN DISTRICT
Bankside Design District promises to excite and engage audiences with a programme of events, activities, workshops and talks, as well as a very special international popup. The district runs east to west along the Thames from Borough Market to Oxo Tower Wharf and celebrates the creative diversity of this riverside destination. • LATE NIGHT: Wednesday 20 September www.banksidedesigndistrict.co.uk @BanksideDesign
What: Cocktail Atmospheres: Matter of Stuff Where: Sketch, Oxford Circus When: 16-24 September 2017 Who: Sabine Belfiore Lucovich Cocktail Atmospheres is an exhibition from MOS Matter of Stuff, which will unveil Luminaire by Sabine Belfiore Lucovich; A Drink with Wes’ by 1millimitre and ‘Club Chair’ by Glen Baghurst. ‘Luminarie’ is an expressive study of light, defined and interpreted solely through patterns and tiny luminous spots. Nude, ethereal, hypnotic and silent forms, handcrafted from pure copper and with micro LEDs. During the day the light is mysterious and gentle, in semi-darkness and darkness matter disappears, leaving the design and its reflections to vibrate. This artistic and technological ‘Made in Italy’ project uses sophisticated lighting technology materials conceived exclusively for these creations: a flexible, low energy system which can support any order of magnitude.
What: Luminates exhibition Where: Mint Showroom, South Kensington When: 16–30 September 2017 Who: Bocci, Tom Fereday, CT Lights, Arturo Alvarez Lina Kanafani curates an exhibition exploring collectable design by showcasing examples of design excellence. Over 60 international designers, both new and established, alongside recent UK graduates, have been selected for their imaginative approach, challenging traditional techniques and craftsmanship. The Mint exhibition will focus in particular on a selection of designs using new technologies in lighting.
What: A Fusion of Elements Where: John Cullen Lighting, Fulham Broadway When: 16-24 September 2017 Who: John Cullen Lighting & Blackbody As part of Chelsea Design Quarter’s ‘Elements’ theme, John Cullen Lighting brings together light and earth in the form of a new installation curated for the festival by Blackbody and Dare Studio. Showcasing John Cullen Lighting’s architectural lighting products with Blackbody adding to the experience through their unique mastery of OLED technology.
What: Behind the Designs Where: Cox London, Sloan Square When: 2-4pm, 21 September 2017 Who: Chris Cox Chris and Nicola Cox are both sculptors and talented technicians and first began working together in the mid 90’s. ‘Behind the Designs’ is an insight into the way that Chris and Nicola Cox find inspiration, in both technical process and historic reference, to create their own unique brand of contemporary, sculptural lighting and furniture. This event will explore their creative design journey in form of a Q&A session with Chris.
What: Skandium Townhouse launch Where: 31 Thurloe Place, South Kensington When: 16-24 September 2017 Who: GamFratesi & Louis Poulsen Skandium officially launches its new retail concept, the Skandium Townhouse, which will see a four-storey house in South Kensington transformed into a brandnew design destination. Working within the natural scale of a home, Skandium will create room sets designed to inspire shoppers and demonstrate the unique character of Scandinavian living. As part of the launch, design duo GamFratesi will present their new Yuh collection for Louis Poulsen in a conceptual experience that draws on architectural structures inspired by Japanese paper art.
What: Michael Verheyden Product Launch Where: CTO Lighting Showroom, Angel When: 19-25 September 2017 Who: CTO Lighting Modern British lighting brand CTO Lighting launches a new collaboration with Michael Verheyden, a Belgium-based designer known for his luxurious elevated simplicity, creating a family of lights.
What: Under the Arches Where: Old Street, Shoreditch High St When: 19 September 2017 Who: Tala & SCP Tala and SCP will present a one-day immersive furniture and lighting exhibition showcasing their latest designs. A former train station booking office will be split across two cavernous arches and by night the space will transform into the official Shoreditch Design Triangle party.
What: On Reflection Where: 95 Rivington St, Shoreditch High St When 20-23 September 2017 Who: Lee Broom
What: Haunted Chandelier Where: The Mandrake Hotel, Tottenham Court Rd When: 16-24 September 2017 Who: Lara Bohinc Inspired by the magical properties of the Mandrake plant, the new Mandrake Hotel features a monumental gothic chandelier by Lara Bohinc. Made of steel and jesmonite and illuminated by 30 wax candles, the chandelier’s grid-like design was inspired by caves, stalactites and hanging gardens.
What: Cocktails & Robots Where: Old Truman Brewery, Liverpool St When: 16-24 September 2017 Who: Factorylux & Xicato Inspired by Delia Derbyshire, this is a sound and light installation in a secret corner of Truman Brewery that will see cocktails mixed by a robot using audio frequencies alone.
What: Casambi Bluetooth Control presentation Where: Oxo Tower Wharf, Blackfriars When: 20 September 2017 Who: Innermost On the evening of 20 September, Innermost’s showroom will host a presentation on Casambi, demonstrating its Bluetooth lighting control. It can be integrated with all Innermost lighting ranges, giving consumers the ability to control individual luminaires or industrial-scale installations using tablets, smartphones and switches. In addition, throughout the week, Innermost will host a drop-in portfolio surgery for design students and graduates wishing to get advice on the best way to present themselves and their work.
Celebrating his tenth LDF, Lee Broom’s ‘On Reflection’ is a unique installation with an allblack capsule collection taking centre stage in the showroom. Fully decorated in black and charcoal grey, the store will become a dark atmospheric backdrop for the reinterpreted pieces. Presented in a tableau of an interior, which will stylistically mix Art Deco and Bauhaus influences; visitors will be presented with a scene where nothing is quite what it first appears to be.
The Middle Eastâ€™s premier Exhibition, Conference & Awards for Lighting Design and Technology
17 â€“ 19 October, 2017 Dubai, United Arab Emirates
Experience innovative products and solutions along with enlightening insights shaping the lighting industry right now. Pre-register to visit www.lightME.net/Register5
Decorex Preview September 17-20 2017, London, UK
Decorex International's 40th edition This year Decorex celebrates 40 years of design collaborations. The 2017 edition of Decorex, held at Syon Park, will include a number of notable feature spaces and see the return of Future Heritage: the acclaimed display of work by some of the leading emerging names in British craft. The highly acclaimed talks programme will also offer visitors an extensive series of insightful debates that will explore industry relevant topics and discussions hosted by experts from the world of design. Be sure to check out Lighting, Landscape and Interiors: How to create a perfect luxury residence, which offers advice from leading industry experts Sanjit Bahra, Andrew Buchanan and Stephen Woodhams, on how to create a beautiful domestic setting.
Cask Table Lamp Bert Frank
Kelp Brand van Egmond
Lily Martin Huxford Studio
Turned in brass, then finished by hand, the Cask table lamp is a timeless piece that produces a warm directional light. Twin arms and symmetrical shades make this industrial-inspired design an eye-catching yet practical task light. The Cask table lamp and its family â€“ the pendant and wall light, are a smart addition to any interior. www.bertfrank.co.uk
Overwhelmed by the warm reception the Kelp collection received, William Brand decided to experiment further and add new elements. The grand icicles, blown and pulled at the same time, add a striking aspect to the frivolously shaped Kelp. Creating icicles of this quality and size demands rigorous experimentation. www. brandvanegmond.com
Launching at Decorex, the modernist Lily chandelier takes its cue from grand classical lumieres. The innovative marriage of sparkling diamond cut English crystal with brass geometric arms creates a spectacular modern centrepiece light. Handcrafted at the Sussex studio-workshop, custom bronze, nickel and crystal are available. www. martinhuxford.com
1. Lucid CTO Lighting
2. Cordero Curiousa & Curiousa
3. Fulton Elstead
Designed by Michael Verheyden Lucid combines refined materials, including alabaster and painted brass, with elegant shapes to create timeless lighting. Verheyden is adept at utilising these precious materials to create lighting which is immensely appealing and versatile enough to use on different interior projects. www.ctolighting.co.uk
Sixteen small handblown glass droplets light up like luminous gems. Transparent teal, emerald and yellow ochre are mixed with semi opaque Canary, Lichen, Blau and White to wonderful effect. Two droplet sizes are lit by a tiny LED lamp, discreetly positioned at the top of the light allowing the glass to be the star of the show. www.curiousa.co.uk
Featured is the 7lt Fulton pendant in two tone bronze designed by Hinkley Lighting. Fulton’s minimalist beauty emphasises 'less is more' with vintage industrial style. This clean, airy tapered cage design is constructed without glass and has unique square candle sleeves. Also available the 13lt cluster chandelier and wall sconce. www.elsteadlighting.com
4. Shade 5 Naomi Paul
5. Table Lamp Lutyens
6. Inaho Tangent
These Naomi Paul shades are handcrafted using luxurious couture surplus yarns sourced from the fashion industry waste stream. Each lampshade is a limited edition of between one and four and each is hand crocheted to order by textile artisans with a deep knowledge and understanding of fibre and form. www.naomipaul.co.uk
Table Lamp form Lutyens Contemporary has a turned base, which is available in Walnut or Sycamore finishings. A lozenge shaped acrylic shade is available in a variety of colours. The desk lamp in this collection has a demi-cylindrical tilting shade made from a metalized acrylic (dark bronze for Walnut and dark steel for Sycamore). www.lutyens-contemporary.com
Inaho is interior lighting inspired by golden ears of rice swaying in the wind. Light from LEDs is cast in dots, reminiscent of paddy rice, through perforated tubes attached to narrow stems. Human-detection sensors, embedded in the base of the installation, cause the stems to sway as a person passes by. www.tangent.uk.com
#wheredesignmeets Free entry for trade in advance | ÂŁ15 on the door â†’ thedesignjunction.co.uk/register
Aditi Govil Akari-Lisa Ishii Alberto Pasetti Alexander Mankowsky Dr. Alexander Rieck Ali Mahmoudi Allan Ruberg Dr. 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 Dr. Elke den Ouden Emmanuel Clair Emrah Baki Ulas Fanny Guerard Francesco Iannone Gilberto Franco Glenn Shrum Gregor Gärtner Gudjon Sigurdsson Dr. Heli Nikunen Henrika Pihlajaniemi Imke Wies van Mil Inger Erhardtsen Ion Luh Isabelle Corten James Benya Jenny Werbell Joe Vose Prof. Dr. John Mardaljevic Jonathan Rush Juan Ferrari Kapil Surlakar Dr. Karolina Zielinksa Kathryn Gustafson Dr. 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 Prof. Peter Andres Rafael Gallego Dr. Rianne Valkenburg Richard Taylor Rozenn Couillard Dr. Rune Nielsen Sara Castagné Serena Tellini Dr. Sergei Gepshtein Simon Berry Simon Ewings Sophie Caclin Sophie Stoffer Stephen Willacy Prof. Susanne Brenninkmeijer Susheela Sankaram Tapio Rosenius Thorsten Bauer Tino Kwan Prof. Uwe Belzner Vellachi Ganesan Ptof. Werner Osterhaus Zhuofei Ren
Professional Lighting Design Convention 01. – 04. November, 2017 - shift happens -
Programme out now!
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
Aditi Govil Akari-Lisa Ishii Alberto Pasetti Alexander Mankowsky Dr. Alexander Rieck Ali Mahmoudi Allan Ruberg Dr. 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 Dr. Elke den Ouden Emmanuel Clair Emrah Baki Ulas Fanny Guerard Francesco Iannone Gilberto Franco Glenn Shrum Gregor Gärtner Gudjon Sigurdsson Dr. Heli Nikunen Henrika Pihlajaniemi Imke Wies van Mil Inger Erhardtsen Ion Luh Isabelle Corten James Benya Jenny Werbell Joe Vose Prof. Dr. John Mardaljevic Jonathan Rush Juan Ferrari Kapil Surlakar Dr. Karolina Zielinksa Kathryn Gustafson Dr. 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 Prof. Peter Andres Rafael Gallego Dr. Rianne Valkenburg Richard Taylor Rozenn Couillard Dr. Rune Nielsen Sara Castagné Serena Tellini Dr. Sergei Gepshtein Simon Berry Simon Ewings Sophie Caclin Sophie Stoffer Stephen Willacy Prof. Susanne Brenninkmeijer Susheela Sankaram Tapio Rosenius Thorsten Bauer Tino Kwan Prof. Uwe Belzner Vellachi Ganesan Ptof. Werner Osterhaus Zhuofei Ren
100 % Design Preview 1
September 20-23 2017, London, UK
Brexit: Protecting UK Design 2.30pm, 22 September, The Forum
Many UK designers rely on EU-wide trademarks and designs protection, allowing for single enforcement action across 28 member states. Post-Brexit it is still uncertain whether EU trademarks and design protection will be available. Currently, the majority of UK design-led businesses rely heavily on unregistered designs to protect their designs. ACID (Anti Copying in Design) have launched a campaign to ensure EU registered and unregistered design remain protected post-Brexit. At 100% Design the panel, and audience, will present their evidence to Steve Rowan, Intellectual Property Office Trade Marks & Design Director. www.100percentdesign.co.uk
Jamie Iacoli Galatea
V Lamp Louis Jobst
Post Earnest Studio
Inspired by the story of Acis and the sea-nymph Galatea which appears in Ovid's Metamorphoses,this pendant light is comprised of handmade brass, copper or chome plated steel or powder coated fixture and a handblown glass globe with a choice of blush or smoked glass in a variety of opacities. www.iacolimcallister.com
Composed from, a cone, a sphere and a triangle. Their proportions are carefully judged to create a harmonious formation, with each shape delicately balanced upon one another. The solid glass ball appears to be balancing as it weighs down on top of the â€˜Vâ€™ cut base, reminiscent of architectural forms. www.louisjobst.com
Post is based on a single, LED light source, which can be attached (alone or in multiples) to one of four cylindrical steel armatures, designed for the table, floor, ceiling and wall. The sources are fastened with a magnetic connection, allowing them to be arranged in an unlimited number of positions and orientations. www.earnestly.org
1. Kyoto Dowsing & Reynolds
2. Flora Nulty Bespoke
3. Asteria VITA
reminiscent of a cut glass crystal tumbler and just like cut crystal, each surface reflects light slightly differently to create a plethora of grey tones. In addition, this grey geometric light shade has a slight texture to it which somehow makes it look, and feel, more up-market. Available in grey, black or white. www.dowsingandreynolds.com
A spiral of light is formed from 24 petalshaped acrylic shades, which gently cascade through the three-storey stairwell. The shades are attached to fine cables, which in turn are fixed to a polished nickel doubleframe circular structure at the top of the house. Gold leaf has been hand-applied to each shade. www.nultybespoke.co.uk
Born at the crossroads of design, technology and craftsmanship, Asteria echoes a design from the future, for the future. The lampshade incorporates built-in LED technology in a sleek, minimalist shape and embodies the perfect blend of straight masculine lines and a graceful feminine silhouette www.vitacopenhagen.com
4. Pine Davey Lighting
5. Random Studio Italia
6. Basie DelightFULL
The Pine wall light is the latest in Davey Lightingâ€™s Art Deco-inspired collection. Cmbining handblown opal glass and handcast bone china and brass,it introduces a 1920's flavour to Davey Lighting's timeless, utilitarian style. Available in two sizes of pendant, the Pine collection is rated IP44 for use in bathrooms and outdoors. www.davey-lighting.co.uk
Studio Italia's chandelier Random uses melted blown glass in an unconventional design, creating unique and emotional effects thanks to the use of precious materials and details. The modularity of the range allows interior designers and lighting designers to create an infinite variety of clusters. www.studioitaliadesign.com
Basie is a vintage mid-century pendant lamp that brings you a timeless design. Featuring a gold plated body and a matte white shade this white chandelier creates a vintage style that is perfect for any design project. With an elegant and alluring finish it adds a subtle elegance and classic, sophisticated style to a room. www.delightfull.eu
A BOUTIQUE DESIGN TRADE FAIR
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Build your creative capital at BDNY this fall, where hospitalityâ€™s leading design minds will gather for two days of product sourcing, intel sharing and relationship building in the cultural capital of the Americas.
Join 7,800+ industry professionals for an elevated trade fair experience featuring a robust conference program, NYC design tours and 125,000 square feet of statement-making design elements for hotels, restaurants, spas, casinos and other guest spaces.
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Darc Room Preview September 21-23 2017, London, UK #darcroom A new show for lighting design At last, London Design Festival has a lighting specification exhibition! darc room is a curated, creative event from Light Collective and the publishers of mondo*arc / darc. Taking place at Victoria House, products will be exhibited in pods in a pared down way that allows visitors to understand the manufacturers’ offer and how each specific tool for lighting design works. Education will be a big part of darc room, both in the way products are displayed and in the darc thoughts lecture programme, while light installations from darc night, the darc awards event, show the actual use of architectural lighting products. To complete the gallery experience there will be a Gift Shop space for manufacturers’ literature. Register to visit for free at: www.darcroom.com
SX Wall Lights Brightgreen
Inspired by the ‘Calumet’ sacred pipes smoked by the indigenous tribes of North America, Tribes is a family of pendant luminaries with a graphic and minimalist design. Equipped with two direct and one indirect LED spot modules, it is manufactured in two versions - individual and the triple. www.tossb.com
Functioning as both ambient lighting and sculptural wall art, the four fully adjustable luminaires are available in curve and cube designs. Each fitting features a protractible base, universal gimballing and a 360º body rotation, allowing for easy adjustments after installation to suit changing lighting scenes. www.brightgreen.com
Decorative, but still technical, Willy is a suspension luminaire from Exenia featuring an LED light source. Choice of beam angles and various colour combinations for both the body and canopy are available and it is ideal for retail, hospitality and commercial applications looking for the wow factor. www.exenia.eu
1. Navicula David Trubridge
2. Carbon Light Tokio
3. Crown / Melt Mini & Fade Megaman / Tom Dixon
Navicula is a skeletal segmented form made out of thin curved pieces of CNC-cut bamboo plywood clipped together with nylon push clips. Navicula uses a specially designed plywood lighting bar containing a concealed LED strip and is intended to be used as a decorative sculptural light. It is available in three sizes. www.davidtrubridge.com
A new addition to the Carbon Light product family, the high-tech LED task lamp features sleek, organic, minimal design. Made in carbon fibre with a metal base, the matte finish gives a natural carbon fibre appearance. The metal base is available in custom colours and the lamp is dimmable with a touchless sensor switch. www.tokiotokio.com
Megaman will show its LED Crown Silver and Brass lamps with Tom Dixon's Melt Mini and Fade pendants. Delivering non-glare lighting, when these lamps are fitted around a mirror frame or used in pendants, the light beam is well controlled and dramatic effects can be easily achieved. www.megamanlighting.com www.tomdixon.net
4. Carpe Li:fy
5. Captain Cork DARK
6.Tour Linea Light Group
A pendant luminaire for decorative LED E27 lamps, available in 350 or 500mm, Carpe is produced from bonded layers of precision cut, flame retardant recycled cardboard. Light passing through interstices revealed in the corrugated cardboard is warmed by the material and produces complex changing patterns from different angles. www.li-fy.de
Designed by Miguel Arruda, the Captain Cork lamp is an extension of the designer's Inhabitable sculpture. Playful, experimental design, Captain Cork from DARK is a pear shaped pendant lamp that uses natural cork allowing you to create a warm atmosphere in sleek, modern interiors, whether on its own or as a bigger cluster. www.dark.be
This circular suspension features an aluminum body and opal diffuser, with LED SMD source for warm and diffusive light. Available in direct, indirect and periphera light and two installation options - parallel or stayed cables, four different diameters are defined by an extra slim section, making this suspension very light and neutral. www.linealight.com
GILE18 236x333mm eng bleed5mm.pdf 1 2017/5/28 20:33:09
Darc Thoughts Education will be a big part of darc room and below you will find just a handful of highlights from the comprehensive lecture programme. For the full schedule visit www.darcroom.com where you can also register to attend for free.
TALKS & SEMINAR HIGHLIGHTS
DANIEL STROMBORG (USA) ASSOCIATE, PRODUCT DESIGN PRACTICE AREA LEADER, GENSLER 22 September 12pm Having forged a successful career as a furniture designer, learning from the likes of Richard Holbrook and Don Chadwick, Daniel Stromborg joined Gensler in 2014 as the Southwest Region’s Director of Product Design. Over the last twelve months Stromborg has turned his attention to luminaires, leading the teams responsible for the design of the new MellowLight from Zumtobel as well as the ZEDGE and the Durastrip Emotions Collection from Targetti. Stromborg will discuss the intricacies of luminaire product design and will highlight the differences between this and his furniture work.
DEAN SKIRA (CROATIA) FOUNDER & LIGHTING DESIGNER, SKIRA 22 September 3pm Dean Skira will be discussing the cultural aspects of lighting design in his talk ‘Concrete, Steel, Light and Emotions’. Dean is the founder of Skira, an award-winning practice based in Pula, Croatia with projects throughout Europe, the Middle East, Russia, Canada and the UK. For the past 30 years, he has been building and creating mostly with intangible forms while working with investors, architects and designers to create meaningful lighting experiences. In 1986 he relocated to the United States to study lighting design and interior design at the Fashion Institute of Technology in New York, NY. In 1990 he established his first lighting design practice in the United States before returning to Croatia in 1995.
DAN ROOSEGAARDE (NETHERLANDS) FOUNDER, STUDIO ROOSEGAARDE 22 September 4.30pm Dutch artist and innovator Daan Roosegaarde presents ‘Landscapes of the Future’, highlighting his innovative practice, which merges people, technology and space to create a better world. Roosegaarde pulls technology out of the screens to examine and activate solutions to improve daily life in urban environments. In his interactive talk, Roosegaarde explores the social role of design, the importance of “Schoonheid” (meaning both beauty and cleanliness) along with his vision for the future. As the new ‘hippie with a business plan’ to quote the New York Times, Roosegaarde has been selected as a creative change maker by Forbes and Good 100 and is a young global leader of the World Economic Forum.
TAPIO ROSENIUS (FINLAND) LIGHTING DESIGN COLLECTIVE Friday 22 September 6pm Tapio Rosenius is a Finnish designer, innovator, artist and an entrepreneur. He works with light as a medium for architectural collaborations, digital interventions, product innovation and art. His talk will explore the use of light as a two way window between the digital and the physical worlds. It is the ubiquitous layer leading us into the cyberphysical environments already here and now. Topics such as anticipatory architecture, ambient communication and surface as a service will be explored. Tangible real life examples and learnings from EU funded research program will be introduced.
FELIX HALLWACHS (GERMANY) CEO, STUDIO OLAFUR ELIASSON'S LITTLE SUN 23 September 12pm Felix Hallwachs, CEO of Little Sun, has worked with artist Olafur Eliasson since 2005 and has been developing works and exhibitions with his studio since 2006 as Studio Director until moving fully to the Little Sun project in 2013. He will give an insight on Olafur Eliasson’s projects striving to make the concerns of art relevant to society at large. Art, for him, is a crucial means for turning thinking into doing in the world.
REBECCA WEIR (UK) FOUNDER & CREATIVE DIRECTOR, LIGHT IQ Saturday 23 September 1pm 'A Room Without Light is Like a Day Without Shadow' Rebecca Weir explores the challenges of creating a beautiful home through the medium of light. Weir’s passion for lighting and her ability to harness and maximise the creative potential of light has led to the successful completion of over 1,400 award-winning residential and commercial projects worldwide. Her recent book The Languages Of Light is stated by The Vice President of The Institute Of Lighting Professionals as… “an intelligent and beautiful exploration of the transformative power of light.”
FLYNN TALBOT (AUSTRALIA) LIGHTING DESIGNER & ARTIST Saturday 23 September 2pm Flynn Talbot creates lighting installations and commissioned pieces for galleries and unique buildings along with innovative lighting products for serial production. His starting point is always the consideration of the ‘light effect’. Every decision and detail is made with the quality of light and user connection in mind. This method creates a timeless quality and a strong point of difference in his work. Talbot will discuss going beyond form, material and technology to look for greater meaning in his installations. How he uses a balance of narrative, colour and light to connect with his audience and will share insights into his latest work Reflection Room at the V&A, being exhibited during London Design Festival.
PAUL NULTY (UK) FOUNDER & LIGHTING DESIGNER, NULTY+ Saturday 23 September 3pm Paul Nulty discusses the tips and tricks that retailers and lighting designers use to enhance the retail experience and improve customer expenditure. Nulty is a nimble yet mighty architectural lighting design practice, with a healthy selection of awards and a diverse roster of clients across the commercial, hospitality, residential and retail sectors. Founder Paul Nulty started his career within the lighting design industry eighteen years ago. In 2006 FX Magazine named him one of the top six young lighting designers to watch, and in May 2011 he proved them right by setting up his own practice.
Designjunction Preview September 21-24 2017, London, UK #djkx Where Desing Meets Approach
A discussion around the lives and work of Rodney Kinsman RDI and Sir Kenneth Grange, chaired by Director of London's Design Museum, Deyan Sudjic. Design Director and Founder of OMK, Rodney Kinsman RDI designed and manufactured much of the furniture sold through Sir Terence Conran’s Habitat stores in the 60s and 70s. Kinsman’s products are regarded as icons of 20th century British design. Sir Kenneth Grange is Britain’s leading product designer, his prolific career spans over 50 years and he is responsible for designing some of the most iconic and familiar products that shape our daily lives. The talk will take place on Thursday 21 September from 5-6pm. www.thedesignjunction.co.uk
a. moon In-es art design
Pavilion John Hollington
K Lamp Vitamin Living
a.moon out is designed to create a dreamlike atmosphere, ideal to relax outdoors after sunset under a starry sky. It is inspired by the moon and its infinite mysteries, reproducing the luminescent and irregular surface of the celestial body through the use of a special mix of resin and fibers. www.in-es.com
Taking inspiration from Miles van der Rohe’s modernist Barcelona Pavilion, this design combines attention to detail and simplicity. The shade moves through 90˚ to give an adjustable, directional light source. Available with a choice of either white Carrara or black Marquina marble base and cord to match. www.johnhollingtondesign.com
Made up of two parts, the K Lamp has a shade that acts as a diffuser and a base which houses the lamp. Through clever design these two solid ceramic forms interact to create a single, striking silhouette. Handmade in the UK. It is vailable in stoneware, earthenware, teracotta and black. www.store.vitaminliving.com
1. Daniel Schofield Bulk
2. Terrace Lexon
Bulk is a modern interpretation of traditional maritime and industrial wall lighting. The conical face projects light out into the space whilst also creating ambient light spill onto the surface that it is mounted on. Produced in either textured sand cast or precision milled aluminium finishes. www.danielschofield.co.uk
Merging lighting design with innovative technology, French design icon LEXON will showcase the stylish ‘Terrace’ which combines an LED lamp, a Bluetooth speaker and a power bank.This contemporary lamp and speaker also gives you the ability to charge all of your devices by utilising a recharchable power bank. www.lexon-design.com
A powerful magnet in the fixture’s base lets you affix Bicoca to metal surfaces, defying gravity. An additional accessory allows it to attach to a sofa or the head of a bed to create a pleasant, relaxing atmosphere. The wide range of shade colours provide an option for any taste and any space. Bicoca is small, manageable and versatile. www.marset.com
4. Cyborg Martinelli Luce
5. Basalt Tala
6. Coolicon Artifact Lighting
Designed by Karim Rashid, Cyborg table lamp is a direct diffused light. The Structure is made of cast aluminium painted in white, clear blue, light lime, light grey and a natural aluminium colour. A white opal polycarbonate diffuser and LED light source with integrated, electronic drive, and an on/off touch sensor are featured. www.martinelliluce.it
This opaque textured glass houses a cuttingedge LED column of light. The lamp is designed to fit exactly in the Basalt touch lamp unit, aligning the edges to create a harmonious column of brass and light. The base plate contrasts seamlessly with the textured column of brass that suspends the lamp above. www.talaled.com
This fixture is an adaptation of the iconic 1930's Coolicon pendant; also launching is the new ‘Fusion’ range of Coolicon pendant lights. This new take on the classic Coolicon pendants combines the iconic design with contemporary interior trends. The shades feature a copper interior with a powder coated outside in various colours. www.artifact-lighting.com
London Design Fair Preview September 21-24 2017, London, UK
1. Saturn Moroccan Bazaar
2. Float Ladies & Gentlemen Studio
3. Cymbal Shane Holland
A bold statement antique brass pendant with a substantial beveled brass insert. The symmetrical half spheres have a mixture of pierced and punched metal, all rendered by hand intricately by Maalem master craftsmen. The name Saturn is based on the solid brass ring encompassing the main body of the pendant. www.moroccanbazaar.co.uk
Float implores combinations of the least, most essential elements working in concert to intimately define space with light and form. All forms exist to support and serve the other to direct a soft glows and shadows into its surroundings. Available in standard configurations as well as custom commissions tailored to spacesâ€™ needs. www.ladiesandgentlemenstudio.com
Made from up-cycled Aviation and fire equipment pressure vessels. Shane Holland has introduced new finishes of white and silver to its Cymbal range. The 2mm copper disc is textured with a concentric ground finish and can be used as a stand alone piece or as a modular part of a bigger installation. www.shanehollanddesign.com
4. Bulb LMP Renaud Defrancesco
5. Morphe Crea-re
6. Viiva Nathalia Mussi
Defrancesco redrew the lines of the light sourceâ€™s protective glass in different shades so that Bulb LMP becomes a decorative light in its own right. This project reconsiders and redefines an object of current consumption. The bulb is not only a source of light it is also a source of atmosphere. A great addition to any living space. www.renauddefrancesco.ch
Morphe lamps are very lightweight and durable. The material used in their production -paper was obtained from recycling old newspapers and ecological, certified water based glue. All these components, as well as the process of lamp formation, are environmentally friendly and ecological. The lamps are compostable. www.crea-re.com
Viiva is inspired by the flat shape and soft, comfortable light of OLED, rejecting the high-tech imagery often associated with glowing screens. Hanging horizontally, the OLED panels disappear into their own thinness, leaving empty the slim wire structure and highlighting the absence of a traditional lamp. www.nathaliamussi.com
Connect with the hottest design market in the Americas. Thousands of architects, designers, developers and luxury retailers from the Miami area, Mexico, the Caribbean, and the Central and South America design markets will intersect in Miami Beach October 3 - 4, 2017.
Furniture | Galleries | Coverings | Lighting | & more! Register Today at icffmiami.com October 3 - 4, 2017 â€˘ Miami Beach Convention Center
8/16/17 3:55 PM
A look ahead to forthcoming design shows with a strong lighting element.
MAISON ET OBJETC • PARIS 8-12 September 2017 (www.maision-objet.com)
DARC AWARDS ARCHITECTURAL • LONDON 14 September 2017 (www.darcawards.com/architectural)
LONDON DESIGN FESTIVAL • LONDON
ICFF • MIAMI
16-24 September 2017 (www.londondesignfestival.com)
3-4 October 2017 (www.icffmiami.com)
DECOREX • LONDON
LIGHT MIDDLE EAST • DUBAI
17-20 September 2017 (www.decorex.com)
17-19 October 2017 (www.www.lightme.net)
100% DESIGN • LONDON
HONG KONG LIGHTING FAIR • HONG KONG
20-23 September 2017 (www.100percentdesign.co.uk.co.uk)
27-30 October 2017 (www.hktdc.com)
LUXURYMADE • LONDON
PLDC • PARIS
20-23 September 2017 (www.luxurymade.co.uk)
1-4 November 2017 (www.pld-c.com)
DARC ROOM • LONDON
BDNY • NEW YORK
21-23 September 2017 (www.darcroom.com)
12-13 November 2017 (www.bdny.com)
DESIGNJUNCTION • LONDON
DOWNTOWN DESIGN • DUBAI
21-24 September 2017 (www.thedesignjunction.co.uk)
14-17 November 2017 (www.downtowndesign.com)
LONDON DESIGN FAIR • LONDON
SLEEP • LONDON
21-24 September 2017 (www.londondesignfair.co.uk)
21-22 November 2017 (www.thesleepevent.com)
RESTAURANT DESIGN SHOW • LONDON
IMM COLOGNE • COLOGNE
26-27 September 2017 (www.restaurantdesignshow.co.uk
15-21 January 2018 (www.imm-cologne.com)
AD INDEX 100% Design.......................................................................104
Lolli e Memmoli.................................................................... 31
enigma lighting................................................................... 77
Martinelli Luce...................................................................... 75
Filament Style.................................................................... 135
Fritz Fryer............................................................................ 143
Restaurant Bar Design................................................... 158
ICFF Miami........................................................................... 167
The Light Yard..................................................................4&5
Curiousa & Curiousa.........................................................87
darc awards ...................................................................14&15
London Design Fair.......................................................... 110
Frederico de Majo............................................................... 71 Zico Lighting........................................................................95
Light Middle East.............................................................150
Downtown Design Dubai ............................................ 169
Linea Light Group..............................................................93
#readinginthedarc A roundup of darc’s highlights from Instagram’s world of decorative lighting and interior design!
53 Helen is loving her new @anglepoise Original 1227 mini table lamp. Excellent addition to the lounge! #interiordesign #classicbritishdesign #lightingdesign 2
2. @moooi 1,382 An elegant network of wires, reminiscent of delicate filigree jewellery, in a whimsical flower design… The Filigree Floor Lamp by Rick Tegelaar provides a warm, inviting ambiance with its soft glow of light. #filagree #filagreefloorlamp
3. @rubertellidesignlondon 34 Light Trap table lamp Rubertelli Design #londonartfair2017 #decorex2017 #londondesignfestival #ferragosto2017 #100percentdesign 4
4. @curiousastudio 96 curiousastudio Fresh summer colours in the radiant Victoria Lounge by @ parkgrovedesign featuring bespoke extra large Stemmed Round pendants #hoteldesign #interiors #madetoorder
5. @ebbandflow_official 35
Meet The Elizabeth. A classic, warm, unique bulb suitable for any interior setting. Visit the Bright Goods website for more stunning images. #LED #LEDLighting #Filament #InteriorLighting
6. @rollandhill 339 The #stellatriangle sconce by @rosilistudio #lightingdesign #design #interiordesign #decorativelighting
darc is a dedicated international magazine focused on decorative lighting design in architecture. Published five times a year, including 3d...