darc 34

Decorative Lighting in Architecture #34 Jan/Feb 2020

25hours Hotel | Flos | Silver Lining Diner Bathroom Lighting Guide | Fujiwara Yoshi Restaurant | darc awards winners | Rosewood Hotel | Residential Lighting

Featured lights: Fold Collection

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Helen Ankers • Managing Editor Welcome to the first edition of darc magazine for 2020! For those of you who celebrated Christmas I hope you enjoyed a well deserved and rested break and you are all feeling refuelled and ready to get stuck into the new year; and what a year it is going to be - with Light + Building just around the corner. The decorative lighting representation at this show, held every two years in Frankfurt, is continuing to grow and it is undoubtedly going to be a busy week for the [d]arc media team while we attempt to attend as many press calls and product launches as we can! We will be covering the event both in the magazine and via our social media channels in-depth over the coming months, so be sure not to miss out on any editorial opportunities that might be relevant to you and get in touch with either myself or Stephen a.s.a.p.

Ahead of Light + Building however, we have this current issue, in which we bring you not one, but two design reports - focussing on the design industry in France, introduced by product designer Constance Guisset, and the Nordics, which includes comment from Space Copenhagen; Snohetta; Lighting Design Collective; Liska; Light Bureau; Tengbom; and White Arkitekter. We also take a closer look at the design process behind the 2019 [d]arc awards decorative product winner Noctambule by Flos. Designed by Konstantin Grcic, Noctambule – meaning the night owl or reveller – appears mostly invisible during the day but comes to life during the night. Turn to page 45 to read our interview with Grcic on his inspiration for the collection.

Project-wise we've got everything from a Japanese restaurant in the Ukraine and a Four Seasons Hotel in Greece to AB Concept's design studio in Hong Kong and the Rosewood Hotel in Thailand, plus much more. We also bring you our guide to some of the latest bathroom lighting product releases and we've hand-picked a selection of residential projects making the most of decorative lighting features for your inspiration. Turn to pages 96 and 75 respectively.

As mentioned, the next issue (Mar/Apr) will feature our Light + Building preview and will be distributed heavily at the show itself. We will also be turning our attention to Milan Design Week in the same issue - so if you're taking part in either event do not miss out and please get in touch a.s.a.p to find out how you can have a presence in the magazine. If you're heading to Architect@Work, UK; Surface Design Show, UK; or Design Shanghai, China, make sure you look out for a copy of the magazine.

Cover: Noctambule by Flos - 2019 [d]arc awards winner

Image : Santi Caleca

Welcome

Contents Regulars The Magazine

006 Focal Point | NENI | Amsterdam

Managing Editor | Helen Ankers

098 Calendarc | International Design Events for 2020

h.ankers@mondiale.co.uk +44 161 4768372

045 Materials Focus | Noctambule by Flos

Media Sales Manager | Stephen Quiligotti

Projects

s.quiligotti@mondiale.co.uk +44 7742 019213

008 Four Seasons Astir Palace With the help of Martin Brudnizki Design Studio and Lighting Design International, the Four Seasons Astir Palace undergoes a complete interiors overhaul as the legendary hotel moves into a new chapter.

Media Sales Executive | Adam Syme

014 Fujiwara Yoshi Restaurant Sergey Makhno Architects brings the taste of Japanese culture to the forefront of Ukranian hospitality with its latest restaurant project.

Contributing Editors

004 | INSIDE ISSUE 34

020 25Hours Hotel Design studio Dreimeta worked to turn the latest 25hours hotel at Paris Terminus Nord, into a declaration of love for the lively spirit of the surrounding district and its inhabitants.

028 Silver Lining Diner The Silver Lining Diner is a group project, with interior design headed by Jeffrey Beers International, to restore the 1957 diner to its former glory.

a.syme@mondiale.co.uk +44 161 4769118

Sarah Cullen Matt Waring Maria Oberti Editorial Intern Simeon Mitchell

Design

032 AB Concept Studio AB Concept's new studio offers cooperative work spaces and a thoughtfully curated collection of materials, as well as stunning light pieces that immediately catch the eye.

Artwork | Zoe Willcox z.willcox@mondiale.co.uk Editorial | Mel Capper

036 Rosewood Hotel Interior designer Celia Chu worked alongside lighting design studio UnoLai Design to bring the new Rosewood Hotel in Bangkok to life - making use of one-off, sculptural lighting pieces.

m.capper@mondiale.co.uk

Finance

Features

Finance Director | Amanda Giles 052 [d]arc awards 2019 We bring you the winners and runners up from this year's decorative and bespoke lighting categories.

061 Market Report | France Paris-based industrial designer and scenographer Constance Guisset chats with Maria Elena Oberti about how the open-mindedness of her fellow Frenchmen helped her become the boundless creative she is today.

a.giles@mondiale.co.uk Credit Control | Lynette Levi l.levi@mondiale.co.uk

Corporate Chairman | Damian Walsh

075 Residential Lighting Focus We bring you a selection of high-end residential lighting projects that make the most of stunning decorative lighting fixtures.

Managing Director | Paul James p.james@mondiale.co.uk

084 Market Report | The Nordics Light defines the cycles of the day, is a strong marker of time and the passage of the seasons, nowhere is this more so than the Nordics, as darc finds out from the design community that calls the region home.

Marketing & Events | Moses Naeem

096 Bathroom Lighting Focus darc’s guide to some of the latest decorative bathroom lighting designs.

[d]arc media ltd | Strawberry Studios, Watson

m.naeem@mondiale.co.uk

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006 | FOCAL POINT

Focal Point NENI & The Lemonman Bar Amsterdam, Netherlands The design for NENI & The Lemonman Bar Amsterdam are inspired by both its location in the garage built in 1962, and the origin of NENI’s cuisine Eastern Mediterranean fusion food. Given the partially Israeli background of NENI’s creators and the fact that Tel Aviv is their go-to place, the concept embodies the warmth of Tel Aviv inside an industrial garage setting.

The restaurant, designed by Concrete, is a little oasis by itself and can be found on the first floor. It is an internal space designed as an outside patio. The front of the kitchen is located in a custom-made ‘greenhouse’ at the heart of the space to strengthen the feel of an outside terrace. The greenhouse is enclosed in black steel, which frames different types of glass, and mimics the aesthetic of the building’s original glass faÇade. To the left and right of the kitchen, there are several pairs of four-metre benches that invite guests to have dinner at tables for two.

To further strengthen this vibe, lantern-like outdoor lamps from Toscot hang from wires that span across the restaurant and provide a playful touch. These are supported by architectural lighting from Delta Light. www.concreteamsterdam.nl Image: Wouter van der Sar

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008 | PROJECT | FOUR SEASONS ASTIR PAL ACE

Distinctive Design With the help of Martin Brudnizki Design Studio and Lighting Design International, the Four Seasons Astir Palace undergoes a complete interiors overhaul as the legendary hotel moves into a new chapter.

Images: Courtesy of Martin Brudnizki Design Studio

On the sophisticated Athens Riviera, at the tip of a pine-clad peninsula, Four Seasons offers the best of both worlds with the Astir Palace: a laid-back seaside escape just 30 minutes from the historical city centre. A pine-clad sanctuary of 75 acres, it features three private beaches, eight exciting restaurants, lounges and bars, upscale retail, and a spa inspired by the teachings of Hippocrates.

Having recently undergone a complete overhaul of what has been a legendary hotel complex for many decades, it is now entering a new chapter and Lighting Design International (LDI) was commissioned to design the lighting scheme for the two renovated hotels: Arion and Nafiska. While the structural elements were retained, the building was completely renovated and LDI worked closely with the project

management and design team in order to create a high-end lighting scheme for both hotels.

Understanding and achieving lighting design with the Four Seasons' ethos of ‘a home far away from home’ in mind was key for the success of the project. Having worked with Four Seasons on numerous occasions, LDI thoroughly understood the brand's vision – with the brief this time to design a sophisticated lighting scheme with a residential feel.

One of the main challenges with this project – as is so often the case – was getting the local contractor and project team to understand the value of lighting design and how it is achieved. Fortunately, as with all hotel projects, a mockup room was built and once realised, the

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contractor and project team fully understood the value of LDI’s design and value of the specified products.

“One of the strengths of this project is that once the lighting brief was defined, it was thoroughly maintained,” Sandra Brookes, Senior Designer at LDI, tells darc. “The final design was an elegant sophisticated ambience with a residential feel, which represented the initial vision agreed with the client.

“The original layout was maintained throughout, but the building services and interiors were totally upgraded. Therefore, we had the opportunity to have a new and more current lighting scheme and control system incorporated within the building, leaving a minimal lighting aesthetic visible. This leaves the guest to enjoy the warm and inviting lighting ambience without knowing where the equipment is located. Bespoke tailored details were developed in conjunction with the interior designers Martin Brudnizki Design Studio and Meyer Davis and incorporated within furniture and the building envelope.”

For Brookes, what makes this project special is that the two hotels were unique with a distinct lighting ambience that defines them.

Arion’s look is more sophisticated and aimed at couples and singles, while Nafiska is more relaxed and family orientated, with the lighting working to enhance each hotel’s distinct personality.

Arion’s interior is soft and fresh, and the lighting embraces a distinctly sophisticated atmosphere. The palette of finishes uses sandy hues, while the lighting adopts a minimal approach with all elements integrated within both the joinery and architectural details of the building’s envelope; on arrival, guests are welcomed by the minimal aesthetic of the reception area. “This space deliberately uses dimmed lighting levels to set a calm and welcoming atmosphere,” says Brookes. “Contrastingly, the lounge lobby, found directly beyond this area boasts a double height, voluminous space with floor-to-ceiling glazing that offers astonishing sea views.”

The unique and different approach taken to lighting Nafiska’s interior lighting is dramatic and modern, with bold decorative gestures highlighting its livelier atmosphere. Unlike many traditional hotels, Nafiska’s lobby is on the top floor, providing unrivalled views over the Mediterranean. On arrival, guests are welcomed by a lit water feature

010 | PROJECT | FOUR SEASONS ASTIR PAL ACE

and an Antony Gormley sculpture with a backdrop that resembles a forest of illuminated pillars. Guests are encouraged to descend from the top floor to the swimming pool area below, following a journey through spaces that are interlaced with each other via a cohesive yet distinctive lighting atmosphere.

“Throughout both hotels there is a true balance between the architectural and decorative lighting,” continues Brookes. “Good examples of this are within the restaurants at both hotels (worked on alongside Martin Brudnizki Design Studio). The jewel-like pendants in the Avra lounge take centre stage as you enter the reception area, creating a visual impact, while oversized bespoke decorative luminaires with integral spotlights help to retain a clean soffit and introduce drama. The space presents floor to ceiling windows and seamless lighting integration with indoor-outdoor spaces was key; the warm and welcoming atmosphere is provided mainly through decorative fittings and soft lighting integrated within the furniture and building fabric.”

With the two restaurants located in very distinctive buildings, the Martin Brudnizki Design Studio (MBDS) team was mindful of ensuring they retained distinctive looks yet still worked in harmony with each other and the rest of the hotel. They found that sharing a design language between the two spaces helped to ensure the restaurants felt connected, but through introducing different colour palettes and finishes, were able to create two distinct and unique restaurants, all of which would cater to guests.

As with LDI, MBDS has worked with Four Seasons for a number of years on projects from the US, to Dubai, to Canada and so it was a natural fit for them to also work on the new-look Astir Palace.

Both restaurants have very high ceilings, meaning MBDS could have a lot of fun with the decorative lighting elements. In the Pelagos restaurant the ceiling is panelled in timber, miming the shape of a boat’s hull. From the ceiling, the design team commissioned oversized chandeliers crafted from Murano glass, creating a bold and glamorous

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result. Over the Avra lounge and adjoining Mercato restaurant, the team designed a more contemporary, abstract light fitting crafted from brass. There were three in total, hanging above the central bar – the light reflecting perfectly in the surrounding antique mirror detailing, which helped ensure the ambience was bright and welcoming.

Using a mixture of bespoke and off-the-shelf decorative lighting pieces from manufacturers including And Object, Charles Edwards, Collier Webb and Porta Romana to name just a few, a mixture of low-level lighting and main, overhead lighting was used throughout the two restaurants to ensure the ambience created was ‘just right’. Since Avra and Mercato offer hospitality from breakfast through to dinner, MBDS needed to make sure the lighting would work for all situations. Smaller, table lamps provide the perfect way to introduce a different ambience for evening situations; this was also the case for Pelagos, which is only used from lunch through to dinner. In Pelagos, MBDS utilised large glass chandeliers, which helps elevate the restaurant, ensuring the

012 | PROJECT | FOUR SEASONS ASTIR PAL ACE

distinction between Mercato and Pelagos was retained.

For both hotel interiors at Four Seasons Astir, low-glare and concealed architectural lighting discreetly illuminates the spaces throughout, while decorative fixtures provide warmth at a more domestic scale.

The luminaires specified use either warm or tuneable white (2200K – 2700K) LED sources, while the decorative fixtures are specified with 2200K lamps. A Lutron lighting control system has been used to allow the lit canvas of the restaurants to be adjusted using scene setting capabilities.

Reflecting on the projects, MBDS tells darc: “We are really pleased with how we ensured the two spaces had distinctive identities yet worked in harmony with one another. This was achieved through a shared use of similar materiality and colour palette; the result is two restaurant concepts that hang together in harmony yet retain distinct identity.

“This was our first project in Greece, so it was exciting to make our mark in a new territory. As with all projects, we researched the area to seek inspiration. As Greece has such a rich history, we found there was plenty to draw from to help create a rich and interesting narrative for the two new restaurants.” www.lightingdesigninternational.com mbds.com

Design Details Four Seasons Astir Palace, Athens Riviera, Greece Restaurant Interior Design: Martin Brudnizki Design Hotel Interior Design: Meyer Davis Lighting Design: Lighting Design International Lighting Specified: Numerous bespoke fixtures; And Objects; Charles Edwards; Collier Webb; Porta Romana

What makes this project special is that the two hotels were unique, with a distinct lighting ambience that defines them. Arion’s look is more sophisticated and aimed at couples and singles, while Nafiska is more relaxed and family orientated; the lighting worked to enhance each hotel’s distinct personality. This design concept is continued throughout the two hotels' restaurants.

BY KO N STA N T I N G R C I C

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014 | PROJECT | FUJIWARA YOSHI RESTAURANT

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Japanese Flavour Sergey Makhno Architects brings the taste of Japanese culture to the forefront of Ukranian hospitality with its latest restaurant project - Fujiwara Yoshi. Striking lighting design helps zone the labyrinth-like restaurant space.

Images: Andrey Avdeenko

016 | PROJECT | FUJIWARA YOSHI RESTAURANT

Standing at 800sqm, Fujiwara Yoshi is the largest Japanese restaurant in Ukraine. Designed by Sergey Makhno Architects at the request of chef Fujiwara Yoshihiro, the restaurant is a maze-like space that promotes the culture of Japan, with the aim for its guests to ‘get lost’ in its greatness.

The labyrinth stretches past a terraced garden, with panoramic windows filling it with a flood of daylight and lighting pieces by Makhno floating seamlessly underneath the black ceiling. Fixtures including the minimalist Gemini, the ceramic Runa, and the Lakuna floor lamps - made in the form of the chasen (a whisk for matcha tea), project light directly to the guests’ dinner plates.

The garden throws shadows around the seating area, while the alley of Bonsai trees – introduced from a small town near Tokyo – lead to sealife and freshwater aquariums with a bulky table for tuna processing behind.

The space also encompasses a sushi bar - designed by the Makhno team and featuring large Fuji pendants. Ordinary lighting was not an option for this space, instead there are chimneys in one tatami-room and a plump copper flower in another. For business lunches, there is a separate dining space with wooden walls, floor and ceiling for the perfect acoustics, while in the large banquet hall, under the poppyheads of lights, a table threads across the room.

In yet another area of the restaurant, sitting under bamboo chasen sprout-like fixtures, soften-cream sofas and chairs line the tables.

Everything in this restaurant has been specifically made for the space.

Next to them, the tempura and robata grill zones can be found and in tatami-room #3 the sky stretches out on the wall and chairs, while ikebana tickle guests with flower branches.

As most Japanese restaurants are low-key, small and cozy, the Makhno team paid a lot of attention to the layout in order to be able to

018 | PROJECT | FUJIWARA YOSHI RESTAURANT

host 250 guests at the same time. And yet, for the chief architect, Illia Tovstonog, “there is an atmosphere of coziness and peace of mind.”

For various reasons, the project took more than two years to complete, however the designers kept their original vision throughout. “Our main task was to communicate Japanese philosophy but without shouting about it using clichés,” says Tovstonog. “The design reflects Japanese ‘coziness’ but read with a Ukranian soul.

“All the lighting at the restaurant adds exclusivity and authenticity to the interior. We set the right mood for the entire space, keeping a logical chain for the visitors and allowing them to be inspired.

“There are no rules when it comes to being creative; except for one

– make it real. For example, on the terrace, the Gemini, Runa and Lakuna light fixtures are placed at different corners to accentuate the importance and individuality of each one. While the Shpon fixture at the sushi bar is used to create an imaginative roof upon the separate part of the restaurant.

“The Dymar and Kvitka light fixtures, located in separate tartami-rooms, have been used to draw the eye and encourage people to notice the beauty around them. We then used the Makivka lamps in the banquet hall to add an exclusive flavour to the celebrations the space will hold – making the space even more special. All of these decisions result in the restaurant giving the feeling of being surrounded by real beauty.”

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For Tovstonog, the lighting used for the restaurant is what makes the project so special. “It can dramatically change the space,” he tells darc. “Here, aesthetics waltz with functionality – pipes become lamps, flowers grow from the ceiling and moss from the plates. It is a place to rest your eyes, hold your breath and savour Japan.

“This project was really special to me; Japan is my place of power. I fall in love with the country every time I go and I always want more.

As such, I was happy to put a piece of my love for the country into the heart of Ukraine.” mahno.com.ua

Design Details Fujiwara Yoshi Restaurant, Kiev, Ukraine Interior & Lighting Design: Sergey Makhno Architects Lighting Specified: Sergey Makhno Architects fixtures: Dymar; Kvitka; Makivka; Shpon; Lakuna; Runa; Gemini

The main design task for this restaurant was to communicate Japanese philosophy but without shouting about it using clichés. The design reflects Japanese ‘coziness’ but read with a Ukranian soul.

020 | PROJECT | 25HOURS HOTEL PARIS

Neighbourhood Narrative Design studio Dreimeta worked to turn the latest 25hours hotel at Paris Terminus Nord, into a declaration of love for the lively spirit of the surrounding district and its inhabitants.

Images: Steve Herud

The 25hours hotel group develops hotels whose designs alone are reason enough to travel. Guests with a cosmopolitan and urban flair appreciate and value the thirteen hotels that make it their mission to embody and reflect the essence of a city through creative design.

Sparking imagination in their guests during an overnight stay, with highly individual, functional, beautiful and unique designs, the hotels are best described by their claim, ‘you know one, you know none’.

Each hotel is always different – but consistently great – created with both the guests and surrounding location in mind. As a result, since 2003, the four partners of 25hours have been met with great success and have strongly influenced the development of the hotel branch as a whole.

The 25hours Hotel Paris Terminus Nord, located opposite the central train station Gare du Nord, is a declaration of love for the lively spirit of this district and its inhabitants. Local heroes serve as inspiration, with design studio Dreimeta bringing the wild bustle of the 10th arrondissement directly into the house. A playful jumble of colourful street art-style murals decorate the various spaces and public areas, while the rooms are retreats in African and Asian inspired colours and shapes. The pulsing heart of the house is the restaurant Neni, with Israeli-Mediterranean cuisine and the Sape bar.

Having worked on 25hours hotels since the brand’s inception, Dreimeta is well versed in the hotel group’s design aesthetic and is usually involved at a very early stage – taking part in the conceptual

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process fairly early on. For this particular hotel, the team first came on board in 2016 with the hotel opening split into two phases – January 2019 and summer 2019. Dreimeta Interior Designer Leandra Burke explains the design process to darc: “The starting point for our design was an inspiring tour through the surrounding neighbourhood, with its buzzing streets and multi-cultural population. It is a true melting pot of vastly different cultures from all over the world – people from Sri Lanka, Ivory Coast, Algeria, Senegal and Pakistan bring a vibrant spirit to the streets of the 10th arrondissement, straight to the doorstep of the hotel. The interior reflects these rich cultures and brings the flair of the lively streets into the hotel.”

One of the main challenges for the design team on this particular

project, came about due to the nature of the building – a renovation project.

Burke explains how historic structures are always a challenge: “In terms of functionality, it was crucial to renovate the building to meet current fire safety regulations and escape route requirements, but also to update technical features to meet modern standards.

“Another area of design that proved challenging was the 237 rooms – they all have different layouts and by different, I mean really different.

We had to come up with flexible / adaptable solutions in terms of the built-in furniture in order to give the rooms a very individual feel, while taking into account that costs didn't spiral by having too many variations of furniture types.”

022 | PROJECT | 25HOURS HOTEL PARIS

In addition to the 237 rooms, the hotel features a reception and snack kiosk on the ground floor, as well as a co-working area, a bar and restaurant on the first floor. Adjacent to the restaurant, two private dining rooms offer more exclusive areas to host parties or meetings.

“The public areas in particular have experienced some of the most notable changes,” continues Burke. “The entrance area, housing the lobby and reception, was opened up significantly and a spacious new stairway was built to connect the ground floor with the public areas on the first floor, leading guests to the bar and restaurant, as well as to the rooms.

“As this entire area is declared as one of the main escape routes of the building, one of the main challenges was to furnish and decorate the area in-line with the overall concept, while meeting the strict fire safety regulations.

“On top of redesigning the space to meet functional requirements for the operation of the hotel, it was important for the design team to incorporate the history of the building. During the early stages of the renovation, original ornate ceilings with elegant crown moulding were discovered and preserved, adding a great touch of the original spirit of the building to the rooms.”

The overall storyline of the hotel is the surrounding neighbourhood, with its eclectic mixture of different cultures. As such, it was important to the design team that elements chosen complemented the overall concept, or the specific concept of a certain space.

In terms of lighting, there wasn’t a specific brief given, but as Dreimeta has partnered with 25hours on a number of hotels, it is aware of the crucial role decorative lighting plays in all of the hotel group’s projects.

Burke explains further: “They prefer a very cosy and warm atmosphere with particularly low dimming levels,” she says. “For us, as interior designers, decorative lighting is a very important element; different light sources add warmth and depth to a space and it’s definitely one of the factors of vital importance in whether someone feels at ease in a space or not.”

In the hotel bedrooms, Dreimeta chose pendants made out of recycled PET plastic bottles that combine traditional weaving techniques from different corners of the world, complementing the vibrant rooms.

“In some of the rooms we found ornate ceilings with crown mouldings and as we didn’t want to impede the ceilings with electrical wiring, we hung the pendants from the ceiling and instead of connecting them to a ceiling outlet, we equipped them with long colourful textile cables

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| PROJECT | 25HOURS HOTEL PARIS 024

that were then connected to a socket next to the bed,” says Burke.

“Further to this, we custom-designed bedside lamps that integrated a reading light – orientated downwards – and two light sources pointing towards the ceiling, to add more general light to the room. These were executed and supplied by Baulmann.”

Moving to the main public spaces, one of the main feature lights is a huge copper chandelier from Luxxu, positioned right after the entrance door, while moving to the bar, La Sape, (a movement of Congolese dandies, well-dressed men who appropriated and transformed European formal clothing) was decisive in determining the style. Both the Societe des Ambianceurs et des Personnes Elegantes (Sape) and African record labels have strong roots in the neighbourhoods around the Gare du Nord. Thus, the interior is also inspired by African music from the 1960s -1980s. Old album covers and art revolving around the Sape movement are on display; in keeping with this, the bar is masculine and elegant, embellished with patterned fabrics reminiscent of the Sapeurs’ suits and clothing.

“We custom-designed table lamps that are arranged in a row on top of the countertop,” says Burke. “These feature lamp shades from Baulmann, with various patterned fabrics – some African wax fabrics – also allude to the Sapeurs’ clothing.”

026 | PROJECT | 25HOURS HOTEL PARIS

While the bar focuses on the male world, the restaurant is a tribute to women from a wide range of cultures. The colours in this area are softer and the art in the space features more feminine themes.

“Cosy lounge chairs upholstered with velvet in pastel tones, pink marble and copper, paired with oak parquet flooring and vintage kilims with floral motifs are featured.

“We wanted the space to have an Asian feel, mixed with a Parisian boudoir atmosphere. As such, various glass lights in soft tones were combined with patterned textile lights from Ebb & Flow.”

Reflecting on the project, for Burke, the concept came to life just as the team had planned. “Our aim is to always translate the values of our clients into material and form, through which we provide them with a unique profile that is sound and reliable,” she says. “We are not architects or designers with a signature style that must be represented in every project; instead we produce and develop every project individually in order to find the best solutions for our clients, with the goal of creating spaces with identity and personality.

“Our approach is to add an emotional dimension to the room – with interior design that tells tales and inspires the senses. Nonetheless, functionality is always part of the concept and often leads to unexpected and creative design solutions.” www.dreimeta.com

Design Details 25hours Hotel, Paris, France Interior & Lighting Design: Dreimeta Lighting Specified: Baulmann; Ebb & Flow; Flos; Il Fanale; Luxxu; PETlamp

The starting point for Dreimeta's design was an inspiring tour through the surrounding neighbourhood, with its buzzing streets and multi-cultural population. It is a true melting pot of vastly different cultures from all over the world; people from Sri Lanka, Ivory Coast, Algeria, Senegal and Pakistan bring a vibrant spirit to the streets of the 10th arrondissement, straight to the doorstep of the hotel. The interior and, in turn, the lighting reflects these rich cultures and brings the flair of the lively streets into the hotel.

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028 | PROJECT | SILVER LINING DINER

Dining Delights The Silver Lining Diner is a group project, with interior design headed by Jeffrey Beers International, to restore the 1957 diner to its former glory.

Images: Max Touhey

The Silver Lining Diner located on Montauk Highway, framed against the rising sun, has occupied an iconic diner space in Southampton, US since 1957. Jeffrey Beers International, lead architectural firm on the project, explains to darc the history of the diner and hope for the site's future: “The restaurant was a long standing destination in the community but had lost its appeal. The goal was to bring a fresh, bright and modern take on what people feel a diner should be.”

Route 27 was formerly known as the Sunshine Highway, thanks to its position with regards to the sunrise, and the ‘Silver Lining’ name is a

nod to this old moniker as well as, perhaps, the optimism invested in the diner’s rebirth.

The intent was to shape the Silver Lining Diner around the customer, and to imbue it with the ideology of the American Diner: an egalitarian, unpretentious place, where guests can be welcomed at any time, whatever the occasion. This has been fundamental to each aspect of the design. The menu stretches from $10 burgers to $58 steaks, providing something for everyone at every price point, while the drinks menu is adapted to ‘spirited’ and ‘spirit-free’ versions of cocktails so

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anyone of any age can partake. In close collaboration with Beers, MT Carney, the co-founder of Plan A, led the re-imagining of the diner’s interior space in addition to its overall identity, both visual and conceptual. Carney tied together the overall design of the space, from the restaurant logo and jumpsuit uniform, to the branded coffee mugs, napkins and customised neon sign above the bar.

This egalitarian philosophy is reflected in the design of the bar’s coffee section, which is shaped like a horseshoe and intended to induce communication and intimacy amongst the diners. This atmosphere

is created by the Louis Poulsen Panthella table lamps interspersed across the countertops, provided by Ylighting. Carney’s concept of utilising a crisp and light palate of sunshine yellow, warm whites, stainless steel, and light hued woods allows the various spaces to feel simultaneously contemporary, light and optimistic, decorative lighting was key in creating the modern diner experience, as Beers explains: “We wanted the decorative lighting to be memorable and tie into the overall look; the booth globe fixtures provide light at the tables but also reflect other design elements on the mirror globe surface.”

030 | PROJECT | SILVER LINING DINER

There is a marked difference in the choices of decorative lighting and the fixtures themselves: all the decorative lighting has polished stainless steel or a chrome finish, a traditional metal used in diners, while the fixtures were specifically chosen to reflect the modern diner concept. Beers continues: “The goal was not to over light the space and use the decorative lighting as the main feature, using accent lighting when needed.” Examples of these are the Edendale Angled Semi-flush ceiling fixtures, which adopt a modern, bubbled design, and the understated West Elm mobile ceiling lamp with a handblown, spherical shade and an angled cut opening.

Carney describes her design plan as such: “A diner has always been more than a restaurant; it’s a barometer where a seat at the counter or in a booth has offered a front row view of American life. There is nothing elitist about a diner; it’s a welcoming egalitarian place. We hope to recreate that experience at Silver Lining Diner, making it a staple for the community who live in the Hamptons and those who visit throughout the year.” jeffreybeers.com www.plan-a-ww.com

Design Details Silver Lining Diner, Southampton, USA Architects: Jeffrey Beers International Lighting Specified: Booth pendants by Tom Dixon; Mobile ceiling lamp by West Elm; Edendale Angles semiflush fixtures by Rejuvenation; Louis Poulsen Panthella table lamps provided by YLighting

The Silver Lining diner is a restorative project between branding guru MT Carney, interior and architecture design firm Jeffrey Beers International, Chef Eric Miller and General Manager Mark Miller, and financier Richard Silver. The diner has been designed to reflect an egalitarian principle of American service, whilst fusing classic and modern styles. Accent fixtures are used to offset the decorative lighting, with West Elm and Edendale providing the ceiling fixtures. Ylighting provided the decorative Louis Poulsen Panthella lamps.

032 | PROJECT | AB CONCEPT STUDIO

Inspiring Minds AB Concept's new studio offers cooperative work spaces and a thoughtfully curated collection of materials, as well as stunning light pieces that immediately catch the eye.

Images: Owen Raggett

Renowned for their refined projects, meticulous attention to detail and narrative driven interiors, design and architecture duo Ed Ng and Terence Ngan have built their practice AB Concept into an international design powerhouse; one that has established a well-respected name in the hospitality, retail and commercial sectors. This year, the studio has moved its headquarters to one of Hong Kong’s most prestigious buildings – Victoria Dockside.

Part of K11 Atelier – the innovative next-generation workspace inside the Victoria Dockside building – AB Concept’s studio benefits from spectacular views of the harbour in a modern, inspiring setting.

The new office thus features more cooperative spaces and a more thoughtfully curated collection of materials.

“Ever since AB Concept was founded in 1999 it has been a quest of ours to find a comfortable workplace that helps our designers communicate with each other, where everyone feels at ease and is inspired by the space, while remaining engaged in complicated design work,” Ed Ng tells darc. “Prior to moving to the new studio at K11 Atelier, we actually had a much bigger studio, but after experimenting with numerous layouts we have learnt that a lot of space can in fact create an inefficient workflow, with a lot of time actually spent just walking from one end of the studio to another in order to retrieve something, or even just discuss projects with a colleague.

“We have also eliminated the ‘Principal’s Desk’, so Terence and I will just walk around the office in order to work with our designers at their

033

custom-made hexagonal workstation – it’s much more efficient.

“When we first saw the K11 Atelier space we felt it was almost the perfect space – equipped with spectacular 270º views of the harbour, with plenty of natural light and most of all, the unparalleled arts community around Victoria Dockside that enables our colleagues to gain easy access to not just our own library of references, but almost all aspects of the K11 complex.”

Thanks to the views of the harbour and an abundance of natural light, the design duo found that a lot less architectural and support light was needed to illuminate the space; in turn they decided to place several decorative lighting pieces throughout the office.

“Besides wanting to create a relaxed yet dynamic workspace, we

034 | PROJECT | AB CONCEPT STUDIO

always wanted to include decorative lighting elements – not just for their lighting qualities but to act almost as items of furniture as well.

We wanted them to be a source of inspiration for our team, hence why we have included fixtures from our personal collection, such as the Flux Collection – a collaboration we worked on with Lasvit, which is the first piece you see when you enter the studio.

“There is also a Frank Lloyd Wright ‘Taliesin II’ floor lamp in our conference room, while an ‘Oh Mei Ma Weiss’ chandelier by Ingo Maurer decorates the pantry room, which provides a nice contrast to the Victoria Harbour view. This amazing lamp is both substantial yet light; you can only see the reflected light, which gives it a beautiful radiance and enhances the room. We also used Ingo Maurer ‘Maru’ lamps above the workstations – these are made of Japanese paper and iron, with the height adjustable using the red iron ring.

“We are very happy with the design of our new office… for now! We are constantly experimenting with new designs as and when we sense they are needed. The space is intended to be organic, if along the way we see that something isn’t working, then we will change it.” www.abconcept.net

Design Details AB Concept Studio, Hong Kong Interior & Lighting Design: AB Concept Lighting Specified: Oh Mei Ma Weiss by Ingo Maurer; Maru fixtures by Ingo Maurer; Flux Collection by Lasvit; Taliesin II fixture from Frank Lloyd Wright

Thanks to the views of the harbour and an abundance of natural light, the AB Concept founders discovered that a lot less architectural and support lighting was needed to illuminate the new studio space; in turn they decided to place several decorative lighting pieces throughout the office. The decorative lighting pieces have been chosen not only for their light qualities, but their ornamental features, acting almost as pieces of furniture.

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036 | PROJECT | ROSEWOOD HOTEL

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Female Flare Interior designer Celia Chu worked alongside lighting design studio UnoLai Design to bring the new Rosewood Hotel in Bangkok to life. Making use of one-off, sculptural lighting pieces to ensure each space within the hotel is full of meaning and communicates with its clients.

Images: Panoramic Studio Bangkok

038 | PROJECT | ROSEWOOD HOTEL

Rosewood Bangkok is a 30-storey, visually stunning architectural marvel. Its form is inspired by the ‘wai’ - a famous Thai gesture of greeting - while the modern silhouette is a creative expression of the Thai spirit. Rich Thai culture is also emphasised by interior design elements and the exquisite water features within the hotel that are a tribute to Bangkok, a city built on water.

Destined to establish a new design icon for the Kingdom’s capital and the world stage, Rosewood Bangkok’s contemporary residential styling allows each guest to be welcomed and treated with personalised attention just as if they were entering their own manor home - a true tribute to the Rosewood brand’s philosophy. The hotel offers an intimate, secure and private ambience in the heart of Bangkok and features unique, specialty suites and houses with private pools and terraces, reinforcing an exclusive residential feel. The sense of staying in a fine private home is complemented by warm hospitality, delivered by a team dedicated to creating lasting memories for guests. Located

in Bangkok’s central business embassy and upscale retail district, the property is a new gateway for Rosewood in Southeast Asia.

Celia Chu Design, together with lighting designers UnoLai Design, worked to bring the Rosewood interiors to life, making sure strong decorative lighting played a key role at every stage of the project.

“To me (when working on a hotel project), it is important to first understand what kind of a story you want to tell and how you want the guest to feel,” Celia Chu tells darc. “Each space within Rosewood Bangkok is full of meaning, which we believe creates strong connections with the guests.

“I like to work with high-end hotel chains that give us the freedom and space to do our job – to design. We do have to keep in mind that each hotel has its own DNA and standards, but we are still able to present the story we are looking to tell. We wanted to create a hotel that becomes a home from home for both local clients and international travellers. The way international visitors view Thai culture and what

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they expect to see from the design approach of the hotel is completely different to local people.”

For Chu, decorative lighting is always a highlight of any space she works on, considering it the 'lead performance'. “Decorative lighting expresses each chapter of the story we are telling and becomes the spotlight that shows off the design concept,” she says.

“We like to make sure the entire space works fluidly and design the lighting layer by layer. As early as the pick-up / drop-off point we created a homely and welcoming vibe, which is the most important concept of the design.”

“For the general lighting design of the Rosewood hotel we used warm coloured lights to reinforce this residential impression for the travellers, rather than bright, dazzling lights,” adds Uno Lai, founder of UnoLai Design & Associates. “We carried this throughout the project, consistently using the same lighting tones in the lobby and lounge, which is more comforting and provides an even warmer touch

for guests. The lighting – together with the art collections – in the hallway, heading towards the guestrooms, is even more subdued and intimate than from where guests first enter the hotel.

“In the guest rooms themselves, instead of using many downlights, we utilised more decorative lighting to balance the atmosphere of private, comfortable surroundings, By using floor lamps, table lamps and wall lamps, as well as reading lamps with adjustable dimming controls, we hoped to bring a sense of calm to the rooms. By doing so, the lighting also fits the needs of different scene settings from day to night, from holidaymaker to businessman.”

Elsewhere in the hotel, the public spaces continue with this ‘warm and cozy’ lighting feel – with the spa in particular creating a wonderland for the guests to enjoy and truly relax. In the restaurant and bar, the lighting can also be changed in order to suit the mood depending on the time of day and related events taking place in the space.

“We have used a couple of feature lights within this project,” continues

040 | PROJECT | ROSEWOOD HOTEL

Chu. “Such as the bespoke crystal light fixture in the Pavilion function rooms and residential ballroom space, inspired by traditional Thai dancing. The shape of the piece is inspired by the spinning dancing gesture, while the composition of crystal pieces and the decorative metal sheet shows the harmonious balance between female and male or ying and yang.

“Another example is the lighting fixture in the Sky lobby, which is inspired by the traditional fan used to battle against the hot weather in Bangkok. For both of these bespoke fixtures we worked together with Lasvit.

“We also worked with local Thai lighting firm Ango on a bespoke feature, which can be seen as you enter the Lakron all-day dining European brasserie - a western dining venue that offers stunning views and elegant cuisine. The customised Ango jewellery series of lighting was uniquely created for the Rosewood project.”

“We have been delighted to receive so much positive feedback from the hotel owners and guests on the interior design at Rosewood,” continues Chu. “In all of our designs we carefully consider both decorative and architectural lighting – the two cannot be separated.

Often in projects you will find the lighting designer only working on the

architectural lighting elements, whereas I don’t believe this is a good idea as there is a balancing act between the two, which makes a big difference to the final result.”

“For some, decorative lighting feels like a small part of an interior design,” adds Lai, “but it actually plays a big role. Contrast and balance are key to working with architectural lighting. We direct different expressions between decorative and architectural lighting during the day / night and in each space. There are two major ideas behind the lighting design at Rosewood; first of all we arranged more accessible lighting in guest rooms that can affect guests’ emotions and perceptions or can even be controlled by themselves – such as the table lamps, floor lamps and pendants. Secondly, there are the collaborations with Lasvit and Ango for the bespoke lighting features – creating a lavish, modern and luxurious atmosphere. With these two ideas the lighting designs show hospitality with luxurious atmospheres at the Rosewood.

“For a commercial space we used quite a large amount of pendants and chandelier-like pendants at Rosewood. It was a challenge for us but we managed to avoid any additional construction requirements in

this project.”

042 | PROJECT | ROSEWOOD HOTEL

Reflecting on the project, for Chu – while each and every project is unique and designed from the heart, for this particular project the most special part was the fact that the owners of Rosewood are female. As such, she “wanted to create a hotel with the sense of a ‘female’s perspective’ – developing a sense of beauty and elegance and I feel we achieved this, without the hotel being too feminine. This project has innumerable good memories for me. I have already taken aspects of this journey forward on new hotel projects underway in Taiwan.”

And on working with Unolai Design on this project, Chu tells darc: “They have been our lighting partner for thirteen years – we share a friendship, vision and passion for design. I always believe each speciality has its own skills – there’s no way for interior designers to control the mood of a space without a lighting designer. I believe, it is only by working together, that we can make the most accurate and most profound design result for our clients." www.celiachu.com www.unolai.com

Design Details Rosewood Hotel, Bangkok, Thailand Interior Design: Celia Chu Lighting Design: UnoLai Design Lighting Specified: Various bespoke pieces from Ango & Lasvit

Decorative lighting is always a highlight of any space interior designer Celia Chu works on, she tells darc that it expresses each chapter of the story she is aiming to tell and becomes the spotlight that shows off the interior design concept. Chu likes to make sure the entire space works fluidly and as such, designs lighting layer by layer. As early as the pick-up / drop-off point at the Rosewood hotel she aimed to create a homely and welcoming vibe, which is the most important concept of the design.

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045 | M ATERI ALS FOCUS | NOCTAMBULE

Contemporary Classic Winner of this year's Best Decorative Lighting Fixture at the [d]arc awards - the Noctambule collection from Flos comes to glamorous life at night.

Images: Santi Caleca

046 | M ATERI ALS FOCUS | NOCTAMBULE

Winner of Best Decorative Lighting Product in the 2019 [d]arc awards, Noctambule – meaning the night owl or reveller – appears mostly invisible during the day but comes to life during the night.

The new collection of lamps from Italian lighting giant Flos has been designed by Konstantin Grcic and is made of see-through blown glass modules, which in turn make the fixtures almost inexistent during the day. But, when you switch them on as it becomes dark, they transform into stunning, illuminated lamps. The cylindrical glass modules set the basic grammar of the collection; the single module acting as a lantern. When several modules are stacked on top of each other they work together to create a light column, or suspended chandelier inside a stairwell. Extra elements such a glass dome or cone-shaped head allow for added performance such as a floor-standing uplighter and pendant. From a technological perspective, the carefully calibrated LED technology that powers the lamps is discretely integrated into the junctions between the glass modules; almost absent, but ready to be activated at any time.

Born in 1965, Konstantin Grcic began his career in design training as a cabinet maker at The John Makepeace School for Craftsmen in Wood, before studying Design at the Royal College of Art in London. Having initially set up his own studio in Munich, Germany in 1991, today Grcic Design is based in Berlin, with the office active in several fields ranging from industrial design projects, exhibition design and architectural collaborations. Alongside Flos, some of Grcic’s renowned clients include: Aeance, Authentics, Cassina, ClassiCon, Flötotto, Galerie Kreo,

Kettal, Laufen, Magis, Muji, Nespresso, Plank, Smart and Vitra.

The recipient of numerous awards such as the Compasso d`Oro for his MAYDAY lamp (Flos, 2001), the MYTO chair (Plank, 2011) and the OK lamp (Flos 2016), Grcic’s work also forms part of the permanent collections of the world´s most important design museums (a.o.

MoMA/New York, Centre Georges Pompidou/Paris).

Grcic defines function in human terms, combining formal strictness with considerable mental acuity and humour. His work is characterised by careful research into the history of art, design and architecture and his passion for technology and materials.

Having collaborated with Flos for the past 20 years, Grcic talks darc through the Noctambule project: “At the very beginning we had the idea for a chandelier that would make use of LED technology, producing a more modern, contemporary form of chandelier. The classic chandelier, made of crystal glass, uses very little light, but instead light potentiates through the reflections of the many glass pieces.

“In our design for Noctambule, the pieces of glass have now translated into larger cylinders that are completed at the top and bottom with an LED ring – so each has its own light source. The glass reflects the light creating the illusion that it is shining by itself.”

For Grcic, the modularity of the lamp provided some challenges during the design phase – requiring great precision. “The mouthblown glass bodies are in a certain contradiction to this,” he continues. “The challenge was to overcome precisely this conflict; together with the

048 | M ATERI ALS FOCUS | NOCTAMBULE

Traditional techniques Flos and Konstantin Grcic worked with specialist glass blowers to produce the Noctambule collection. Due to its modular nature, the range can be used in almost any setting and the glass modules can be combined in a variety of configurations.

049

Function and form Noctambule is a functional lamp and sculpture at the same time.

It can perfectly illuminate a space while having an impressive physical presence. Flos succeeded in making it possible to plug the individual parts together like Lego bricks with connections that conduct the current.

050 | M ATERI ALS FOCUS | NOCTAMBULE

technical team at Flos we worked closely with a glass manufacturer.

The highlight lies in the combination of the individual modules; we succeeded in making it possible to plug the individual parts together like Lego bricks, with connections that conduct the current.”

Due to its modular nature, Noctambule can be used in almost any setting. One can combine the glass modules in a variety of configurations.

“Noctambule is a functional lamp and sculpture at the same time. It can perfectly illuminate a space while having an impressive physical presence,” adds Grcic.

Commenting on the [d]arc awards win, Ulysse Dormoy, Managing Director of Atrium, exclusive distributor of Flos in the UK, commented: “We’re all thrilled that Noctambule has won this prestigious award.

Noctambule is a truly unique and exciting collection of lamps made of handblown glass modules punctuated by circles of light. Suspended or floor standing in an almost unlimited variety of configurations,

the simplicity and transparency of Noctambule presents the design as a powerful glass sculpture in daylight, but when switched on at night, it comes alive like some nocturnal creature - as the name might suggest. These stunning cylindrical glass forms transform into the most wonderful illuminated lanterns, chandeliers or epic light columns. A glass dome and cone-shaped head create a final elegant flourish for pendant or uplighter, while the carefully calibrated LED technology that powers the lamps is discreetly integrated into the junctions between the modules, forming glowing rings in each structure. With Noctambule, Flos demonstrates, yet again, that by combining the creative vision of leading designers with its own technical leadership ensures the company remains at the very forefront of lighting innovation.” flos.com www.atrium.ltd.uk

KIT: TOP TEN DECORATIVE LIGHTING PRODUCTS

052 | [D]ARC AWARDS 2019 REVIEW

2nd Place: Arame Tom Raffield The Arame wall light is a dynamic, new steam bent product that brings nature to the forefront of lighting design. Created with both light and dark in mind, the final aesthetic transforms space, with a flick of a switch and captures the beauty and complexity of nature in a biomorphic, yet functional way. Named after a complex seaweed formation, Arame is inspired by the symmetry and organic structures found in the natural world. Replicating intricate formations and sequential organic shapes in light form, the sculptural piece creates vivid shadows and diffuses a soft golden glow upon every surface it touches. Particularly effective when displayed in multiples, the final product ventures beyond usual lighting design and transcends the boundaries of everyday art.

3rd Place: Halo Willowlamp A futuristic ghost-like semi-transparent form. The success of this design results from an ingenious clip device that has enabled Willowlamp, for the first time, to attach the ball chain to itself. This allows for dynamic and distorted curves to be created. The idea is inspired by Antoni Gaudi who used inverted chain models in the structural design for the Sagrada Familia.

4th Place: Madrone Sin Perdida De Su Luz This decorative outdoor fixture comes in two sizes and can be placed in two distinct ways – either hanging from a tree branch from its leather straps, or simply resting on the ground.

Its shape was inspired by the ‘madrone’, which is the fruit of the Arbutus tree, and the geometrical proportions of an icosahedron.

Lighting-wise, the fixture is intended to project light alongside a leaf-inspired shadow pattern. To achieve this effect, each triangular face of the icosathedron has been laser cut to include a geometrical pattern that resembles tree leaves.

5th Place: GLY Monolicht This special luminaire, designed by lightsphere in collaboration with Martin Nievergelt, supports the ornamental plantâ&#x20AC;&#x2122;s health and pleasant appearance, within the Zurich Innovation Center of Givaudan. Its perfect integration into the greenery underlines the biophilic design. The luminaire is composed of a curved hook-shaped body, that carries nine rotatable heads, allowing ideal light distribution on irregular, complex surfaces like columns. Each head is equipped with special LED chips and a honeycomb louver for a glare-free appearance from any angle. Various facets of bronzed brass anodised finishes are combined to create a multi-faceted reflective surface. This allows GLY to reflect the surroundings and neatly camouflages itself into the green surface of the column.

053

6th Place: Entwine Collection Satelight Design Entwine is a story, it is the narrative from beginning to end, the curves and flow of the coils of rope are a journey in light. The interweaving of paths and connections make this more than a light fixture, it is a sculpture. Created by Duncan Ward and Ben Merrylees for Satelight design, it is a flexible kit to create many different design solutions. With a fusion of woven rope, brass and timber, the collection is comprised of the Entwine pendant, String theory wall light and the Unwind wall and ceiling fixtures, which is also used to create some amazing installations for lobbies, restaurants and residential projects.

7th Place: Aurora Luum Aurora is named after the spectacular natural light display in the northern hemisphere. With Aurora, Luum set themselves the challenge of drawing with light, emulating the streak of light captured in a long exposure photograph or the trail of a bright light in motion. This fitting brings that ambition to life with energy and modernity; a sinuous aluminum ring that circles around itself in a series of subtle waves to create its fluid form. Gentle LED light is emitted from integrated silicon diffusers that twist and flow with the curve of the tubes, which are produced with Japanese 3D tube-bending technology.

Suspended by fine steel cables that also connect to the power source, Aurora almost appears to float freely.

KIT: TOP TEN DECORATIVE LIGHTING PRODUCTS

054 | [D]ARC AWARDS 2019 REVIEW

8th Place: Fold Linear chandelier Tigermoth Lighting A linear array of folded brass shades with each one handgrained to bring out the best in this beautiful material. The appeal of the piece lies in the contemporary juxtaposition of its’ lightness and strength, with the sharp angular shades being used to create an organic and sculptural chandelier.

The unique modular ceiling rose continues this geometry throughout the chandelier and provides versatility in the length and configurations possible. Each of the 45 shades are illuminated, casting light across the rich warm colours and highlighting the natural textures of the material. The bronze finish has been hand-relieved inside the shade to uncover the beautiful brass finish beneath.

9th Place: Gold Moon Catellani & Smith Catellani & Smith has reinterpreted the traditional notion of a chandelier through its unique approach for the Gold Moon chandelier, which is composed of a set of irregular black/ gold wrap discs, suspended from a satin-steel base by thin black cables of different lengths. The discs have a diameter of 20cm and are covered by thin gold-coloured leaves that ‘host’ precious copper curls and small gems of glass, provided with LED light sources. The interchangeable LEDs are IGBT / Triac dimmable and therefore the intensity of light can be adjusted, to get the most suitable lighting in the room. Custom versions are available, with a ceiling base in various diameters.

10th Place: OE Quasi Louis Poulsen Inspired by the relation between mathematical forms, OE Quasi Light, designed by Olafur Eliasson, uses geometry to shape light and reinforces Louis Poulsen and Eliasson’s shared idea that good light = good life. The light is composed of two contrasting geometric shapes, nested inside each other. The outer layer, a rigid aluminium frame, is in the shape of an Icosahedron (a form possessing 20 faces and twelve vertices), while the inner layer, in the shape of a dodecahedron (a form featuring twelve faces and 20 vertices) seemingly floats inside, reflecting the light in a spherical light distribution.

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056 | [D]ARC AWARDS 2019 REVIEW

ART: BEST BESPOKE LIGHT INSTALLATION - PARK PAVILION The biophilic light chandeliers from Beersnielsen Lighting Designers are situated in the Park Pavilion De Hoge Veluwe, the largest nature reserve in The Netherlands. The pavilion is a boomerang shaped building, with high vaulted ceilings, that houses a restaurant, shop, congress rooms and a reception area. A key point of departure for the architects and lighting designers was that the entire building must form an integral part of the landscape and the park experience.

An important part of the pendant design was to bring the natural light and shadows as perceived in the forest into the building, thus enjoying, for a little longer, the soothing feeling of nature.

A shadow play of gentle wind through tree leaves is simulated by nine chandeliers, supported by bird songs that echo in the space. This is an example of biophilic design, which reinforces contact between people and nature by incorporating elements of nature into the built environment.

To realise the perfect shadows and to create a shape that feels natural in the space, a total amount of seven prototypes were made before the final result was achieved. The ultimate design turned out to be a Pringle-like metal-cut pendant that has a mixture of patterns of leaves, small birds and animals.

Each pendant includes 20 individual light sources that are fully dimmable. Video footage of light and shadows is used as a base for the algorithm that controls each light fixture, thus creating a natural feeling of movement. The lighting gives a subtle and natural vibe to the space without being too present. www.beersnielsen.nl

ART: TOP FIVE BESPOKE LIGHT INSTALLATIONS

058 | [D]ARC AWARDS 2019 REVIEW

2nd Place: Innovation Hub, Botswana SHoP Architects & Luum Luum was commissioned by New York-based architectural practice SHoP Architects, to develop and manufacture a bespoke lighting sculpture for the Botswana Innovation Hub situated in the capital, Gaborone. A first-of-its-kind building, The Innovation Hub provides space for technology-driven and knowledge-intensive foreign and local businesses. Forming a central feature in the building’s main lobby, the design measures five-metres wide by four-metres tall and is located in a steel-clad oculus that connects the first two floors. It is comprised of 242 custom LED light modules, each one located at the node of a stainless steel net that is formed in the void between the lower floors.

3rd Place: Giant Fuschia, Congo Adam Hoets, Willowlamp Designed by Adam Anthony Hoets, Giant Fuschia is an exquisite, sumptuous, massive 4-metre diameter mixed metallic version of Willowlamp's ‘Fuschia’ design. Featuring smoke outer chains and gradating chain from brass to copper for the inner chain layering, it is illuminated by thirteen E27 LED warm white lamps in a spiral arrangement.

4th Place: Aroma, India Vibhor Sogani The light installation ‘Aroma’ becomes the centrepiece in the 50ft high reception atrium of a leading spice manufacturing company in India. Its design traces the journey of the process of cooking, ascribing to it a tangible, sculptural sense. The 35ft light installation is suspended from the ceiling, representing beauty in its truest form — mirror finished stainless steel balls, almost glass-like in feel and floating ‘aroma rings’ of light keep enlarging as they spiral up and spread out. The light installation, essentially, is redolent of everything that creates a tempting gastronomic experience, celebrating the role of spice-making as a work of art, while paying homage to those who are deeply involved in this undertaking.

5th Place: Southern Flame, South Africa Adam Hoets, Willowlamp The Southern Flame is a sculptural artwork based on a disrupted, melting crystalline geometry, conceptualised as a ‘leak’ from a pure geometric dimension into our reality; these ‘leaks’ occur where surfaces like walls and ceilings meet.Intended to evoke fire running up the wall, the idea of a chandelier being moved from the traditional centre of a room to a wall/ceiling cornice questions the notion of what a chandelier is or can be. Instead of being an ‘object’ it starts to become one with its surroundings. The art-piece is 3.2-metres by 2.5-metres with 130 suspended G4 LED UFO lamps.

Best [d]arc night installation: Ministry Lighting Design International + Linea Light Group Designed to reignite the child-like Christmas ‘spark’ in [d]arc awards guests, transporting them to a simpler time – before responsibility, before careers – the clubbing days of the 90s and noughties when people lost themselves in clubs. As guests approached Ministry they were greeted by an oversized Christmas present, complete with decorative bow. It was only as guests peered around a curtain that they were transported into a club like experience. “Ministry was designed to bring our work family together,” says Linea Light’s James Finiguerra.

“Everyone who works in this industry. It invited everyone to come and experience fun, frivolity and recklessness. Ministry was never meant to be serious or mature.”

Best [d]arc night Christmas outfits

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[d]arc night images: Sarah Cullen & Gavriil Papadiotis

[D]ARC AWARDS 2019 REVIEW

061| DESIGN REPORT | FRANCE

France Design Report Paris-based industrial designer and scenographer Constance Guisset chats with Maria Elena Oberti about how the openmindedness of her fellow Frenchmen helped her become the boundless creative she is today.

A self-professed professional neophyte, French designer Constance Guisset has made a name for herself, both at home and abroad, with her whimsical objects and spaces.

Rather than relying on what she knows, she continuously challenges herself, taking on projects that require her to delve into new disciplines, forever putting her skills to the test.

With more than two decades of design work under her belt, she’s mastered the art of being a perpetual beginner. From sculptural lamps to ethereal stage designs, her creativity knows no limits, and, as we learn, it’s all thanks to her native France.

“I became a designer quite late, I was 25 when I decided to study design,” she tells darc. “I wasn’t exactly sure what I wanted to do at that time, I just knew I wanted to do something creative that would also allow me to work independently, as my own boss. I considered a lot of different careers, like becoming an artist or a surgeon, anything that

would allow me to work with my hands. I knew very little about what it was to be a designer before I decided to become one.

“The decision to study design in France was a natural one for me. I’d worked in Japan for a period in my early 20’s, but by the time I decided to switch to design I was already back in Paris, so it made sense for me to do my studies here. I still had some doubts going into it, but I submitted my application to ENSCI and, to my surprise, got in. I thought, OK, if they think I’m good enough to be a designer, then why not try it?

“I spent about four years at ENSCI. I remember those days as being very, very busy. The program was meant to be full-time, but I also had a part-time job at Studio Bouroullec, where I worked as an administrator, so time was precious.

“I worked with the Bouroullecs for roughly seven years before launching on my own. I officially opened my studio in 2009, which is around the time I found out that I was pregnant with

062 | DESIGN REPORT | FRANCE

my daughter. Juggling two things at once is manageable, but three is when it becomes complicated. So, about six months after having my daughter, I left the Bouroullecs to open my studio.

“I personally didn’t feel the crisis in France when I started out. It all sort of snowballed, from one project to the next. I worked hard but was also very lucky. I won some French design competitions, like the Grand Prix du Design de la Ville de Paris and the Prix du Public at Design Parade de la Villa Noailles, which got me attention in the press very early on. That helped me a lot, looking back. I was also very fortunate to have found loyal clients, who continuously gave me work.

“Light has been a focus for me since the start, it’s one of the things I like most. I’m fascinated by light, perhaps more than any other type of material or object. There’s something magical about it. I like the idea of sculpting it like a material, because that’s what it is, an immaterial material.

“Angelin Preljocaj, the French dancer and choreographer, was one of my first clients.

He’d read an article about me and asked me if I’d be interested in working on one of his performances, which was four months away.

He wanted me to start immediately. I had no experience in scenography but decided to go for it anyway. I think my daughter was just three weeks old at the time.

“In addition to being my first project for the stage, it was also my first time working closely with light. Light is essential to scenography, but at the time I knew nothing about it. I didn’t even know where to begin.

I clearly remember the conversation I had with Angelin, when he asked me whether I thought the light was too hot or too cold.

I had no idea what he was talking about. I really was a beginner at that moment. It’s the basics of the basics, but I had to be taught.

It’s a bit like colour. I had to train my eye.

When I discovered how to work with colour, I also discovered that I was able to see colour, which isn’t the case for everyone.

“My first object was a light fixture called Vertigo. It isn’t a very good light, from a functional perspective. When you think of a good lamp, you think of diffusion and things like that. Vertigo is very simple, it’s really just a light source. What makes it unique is its form, it creates a special atmosphere, like a kind of shelter. The light itself is what you decide it to be, because you pick the type of light source. It’s an object that the customer can choose to use as a light.

“The concept for Vertigo came to me while working on a school project. When I launched my studio, I went around looking for someone to manufacturer it. I’d been speaking with a number of different retailers and brands that were interested in Vertigo. Many told me that

it wasn’t commercial enough, which is quite funny now that I think about it.

“In the end I partnered with Parisian furniture company Petite Friture. I met the owner, Amélie du Passage, and had an instant connection. She had just launched her company, so we had a lot in common, we were both just starting out. I thought that was interesting, to both be at the beginning.

“I’m a perpetual beginner, everything I’ve ever done has been for the first time. I’ve never done a project that I’d been taught how to do.

Even to this day - I just started a project that is completely new, in an area where I have no previous experience. It’s like an experiment each time.

“I think being a beginner is very interesting because you do things differently. It can be very exciting, but sometimes it’s also important to know where your limits are.

There are things that I know just aren’t for me, that I simply can’t do. I prefer to collaborate in these instances.

“Vertigo is very special, but out of all my light fixtures, Cape is the most important to me.

It’s an expression of all the things I like in terms of shape and sensuality. I also really love Angelin, which follows the same idea of something that is very generous and present.

It’s a real sculpture with paper.

“I also love what I’m working on now, which is a collection of lamps that will be released

063

this spring in Milan. All I can say for now is that it’s a play on tension, between something that is very soft and very strong. I think this is a common theme in my work, this search for balance and equilibrium.

“Generally, I think that people are quite open in France. I’d say that’s one of the biggest benefits of working here. We have a lot of competitions and opportunities for designers. There’s a lot of public work and support available. But, then again, in Sweden designers are also very supported. Honestly, there are advantages everywhere.

“Paris is still at the heart of the design industry in France, but I think Lille could be the next hub. Particularly after this year, since it’s the 2020 World Design Capital. It’s true that I have worked mostly in France and with French clients, but this is more of a coincidence than a conscious choice. It’s always easier to work within a culture you know, but I don’t have a bias for the French. I enjoy working with Italians, the Spanish, the Swedes, and so on.

“Everyone has a different way of working.

We don’t work the same way in France as they do in Sweden. I wouldn’t say there is a big difference, though. Maybe when it comes to schedules, but even then, I think the biggest differences are between people and companies, not so much between countries.

“There are a lot of great design companies

in France, the ones that come to mind are Ligne Roset and Petite Friture. Amélie and her team are very energetic. There are also a lot of young design companies in France that are doing very well, Alki, for example, or familyrun companies like Ibride. Things take longer with these smaller companies, but they all work very hard and really believe in their projects. Then there are larger companies like Moustache, which can take more risks. Each company is different, with its own story and spirit.

“The design industry in France is much more open than it was in the past. People are more open to design, they are expecting something that’s different. When I began, people were less interested in objects. Not in the sense of possession, but in that they didn’t pay attention to what they were buying.

They were filling their homes with all the same things. People today are paying more attention to smaller companies and to how objects are being made.

“I think that we have a better balance between craft and industry now in France. People are interested in craftsmanship, they accept - and even look for - objects that have so-called faults. Sustainability is also more of a focus, but it’s a process. We’re moving in the right direction, but we’re still not totally there yet.

The public is ready for it, at least in France, but the manufacturers aren’t. Mostly for

economic reasons, but also because of laziness or habit. Change is never easy.

“Do you remember when the organic trend began? It tasted terrible, but we ate it because it was good for us. I see the same now with sustainable design. I’m not saying that all products that are sustainable are ugly, but it’s more difficult to make a fantastic project using only sustainable products. Beauty and sustainability aren’t totally synonymous yet.

“I try to push a lot as a designer, but ultimately it’s up to the manufacturers. As designers, we need to be responsible, but there’s only so much we can do. It’s different if you’re Philippe Starck or the Bouroullecs. People will listen. Some designers can say it’s either this or nothing, but not everyone has the luxury or status to do that.

“Sometimes I will say no to a project if it really goes against my principles, but then there are times when you find yourself working with a great company, one that is making progress in terms of sustainability and recyclability, but that isn’t completely there yet. Sometimes you have to accept it, that this is the best we can do right now. Not working with companies that are making real efforts but that aren’t completely sustainable yet, would be a shame. We need to work together. We’re moving in the right direction, we just need time.” constanceguisset.com

064 | DESIGN REPORT | FRANCE

ace french association of lighting designers ACE (the French association of lighting designers, founded in 1995), today, accounts for approximately 100 lighting designers across the country. Created in order to reinforce relationships with other design specialities, associations and organisations, ACE is supported by more than 40 lighting manufacturers and installers and is led by a board of seven members, which are elected each year.

With the aim of promoting lighting designers within France at an international level; spread know-how about light and lighting; support and promote innovative and rational use of light; and promote common ethics of lighting design within the sector, darc spoke with current ACE President Virginie Nicolas on lighting’s role within French design. “The hospitality sector is definitely continuing to grow in our very tourist focused economy – with a lot of new hotels appearing, most of them with very high standards,” she says. And this in turn is having a positive effect on the lighting design sector. “There are as many trends as there are designers; France is rich with a large number of Fine Arts and design schools, which aren’t expensive to attend. So, there’s been a lot of newcomers with new ideas…

“From a manufacturer’s perspective, I spoke with one company recently who had made a number of observations. When it comes to decorative lighting pieces, they are being used in order to keep a strong link with the design heritage of the country, with new editions being released of classic designs but upgraded to include LED technology. There’s also been a trend towards wireless lighting products and IoT lamps… in terms of projects, we’re seeing more and more retail projects inspired by exhibition and museum lighting, which means we’re seeing a return to shadow subtleties and so on.

“One main change we have seen – not in terms of design itself, but the creative process – is that there seems to be less individual ‘stars of the industry’ and more collaborative work and multidisciplinary teams.”

For Nicolas, decorative lighting design and architectural lighting have always, and will always work together in France. “A typical problem

I face is that an interior architect or designer will choose a beautiful lamp but it might have a strange light output, or isn’t efficient – it’s then the job of the lighting designer to complete the project and make sure the fixtures work to reach the standards of illuminance and visual comfort required. This usually means we need to add some very discreet and integrated architectural lighting fixtures… when in a restaurant for example, this is no problem, but when it is an office or public space, it becomes much more complex. Most of the decorative lighting pieces I see in catalogues are nice to look at but aren’t always designed to provide the correct light levels efficiently.

“Design schools in France offer very few lighting design training courses, which could explain why this happens,” she continues. “The students I observe mostly create nice objects with a light in it, rather than creating a light-effect first, then building the object around it.

“A symptom of this is that we face difficulties obtaining solid photometric calculations for decorative luminaires – just recently for example, I had to explain that the nice hanging chandelier, which had been chosen for a trendy training room was excessively glaring and impossible to install in that particular context.”

Moving forward, for Nicolas, France – along with other European countries – has to develop more sustainable products, with less energy consumption, less plastic and ensure it is repairable. “In just a few weeks’ time, new laws in France will strongly tax products to reduce programmed obscolescence and repair solutions must be offered,” she says. “Most manufacturers are ready for the change however and the new rules will work towards a better planet.

“I think we will also see a continued move towards handcraft skills and local manufacturing. A lot of exciting fields are now being explored – processes such as 3D printing and DIY repairs etc. As an association we try to promote and develop collaborative relationships between designers, sharing experiences and knowledge – it seems to work quite well and together, we will grow faster.” www.ace-fr.org

In 2017 the members of the ACE drafted the manifesto of Lighting Designers for sustainable lighting projects.

For more information and to put your signature visit our website at www.ace-fr.org or write us at info@ace-fr.org

of Lighting Designers for

sustainable lighting projects

This

has been compiled by professionals

This

demonstrates our awareness of the value of our profession

This

is a tribute to light, a tribute to darkness

1.

Taking all light into consideration.

2.

Reinstating the pleasure of twilight and darkness.

3.

Respecting geo-cultural indicators.

4.

Making common use the core of our projects.

5.

Working for the well-being of all.

6.

Preserving resources.

7.

Assuming responsibility as fully independent consultants

8.

Sharing and passing on our innovations

9.

Guaranteeing quality and expertise.

10.

Creating a laboratory of ideas.

066 | DESIGN REPORT | FRANCE

lumigon by flynn talbot barrisol Australian lighting artist and designer Flynn Talbot has, throughout his career, sought to connect light and material to create unique experiences.

Whether through dramatic light art installations or bespoke product collections, his starting point remains the same: beginning with the consideration of the “light effect”, before constructing each detail around it.

With an approach that is not bound by style, material or form, Talbot’s work has a strong point of difference to it, and a timeless quality that lingers in the minds of those who experience it.

In 2017, Talbot collaborated with French manufacturer Barrisol to create Reflection Room, an immersive, coloured light experience developed for London Design Festival and housed in the V&A Museum’s Prince Consort Gallery. For the installation, the vaulted space was lit at each end to highlight and define the dramatic 35-metre length of the gallery, its ceiling structure and the audience walking within.

Talbot utilised large gloss black Barrisol panels to expand the width of the space, offering a fragmented view of shifting colours, reflections and light.

It was following this collaboration that Talbot worked with Barrisol to create super sized pendant Lumigon – a unique light feature where the interior of the product is as celebrated as the exterior.

“Lumigon is made of light,” Talbot explained. “It is a seamless integration of light, structure and diffuser that commands its surrounding space. The unique composition of these lit modules means it is visually engaging to look at and takes a second look to fully understand. It invites a deeper gaze.”

An aluminium extrusion forms the structure of

Lumigon, comprised of four ellipse modules covered in Barrisol Blanc Vénus material. The piece is illuminated via flexible linear LEDs, available in a range of colour temperatures.

The flexibility of Barrisol’s “unique membrane material” meant that the possibilities were “truly endless” for Talbot when developing Lumigon. “I was given no direct brief or limitations on what the product should be, which is of course a creative dream, but also a real challenge,” he said.

“My one main issue was that I had too many ideas; too many creations I would love to see come to life. It is such a unique opportunity to work with a company like Barrisol that it was a challenge narrowing down my favourite concepts.”

Describing Lumigon as “futuristic, ecological and human”, Talbot sees the fixture as a “true modern centrepiece”, but despite this, he feels that there are “no limits” on where it can be used. “I assume architects and designers will use it where the futuristic feel matches the interior, or is in stark contrast to it, but we’ll have to wait and see,” he said.

“I feel good knowing that this product has very strong ecological credentials and that the frame and Barrisol diffuser are all fully recyclable. It would be good to see more lighting products be as considered as this.”

“It has a strong presence and a feeling of lightness.

It is also open and as one can look through it, it interacts with an interior. It was created to capture viewers’ attention with its unique composition and construction.” www.barrisol.com www.flynntalbot.com

Barrisol Lumigon®

by Flynn Talbot

WORLD N°1 OF THE STRETCHED CEILING

Butterfly Lamp by Chantal Thomass for Barrisol

®

Infinite Loop® by Ross Lovegrove for Barrisol

®

Lamp 1954 by Piero Castiglioni for Barrisol

®

Luminaire Plus®

Lighting Solutions

by Alix Videlier for Barrisol®

Manta® by Ross Lovegrove for Barrisol

®

Piadno® Lamp by André Manoukian for Barrisol

www.barrisol.com

®

068 | DESIGN REPORT | FRANCE

reef by jette scheib designheure Designheure recently commissioned product designer Jette Scheib to design a new sculptural form for the brand’s everexpanding portfolio of lighting. Given the brief of introducing a solid form that plays with symmetry in a strong graphic style, Scheib drew on her great fascination with the diversity, beauty and peculiarity of organisms from the underwater world.

A Reef is a creature, an organism, it is a shell, a sea plant, a coral or a fossil found from prehistoric times. It offers a surprisingly different perspective from every angle and this is what really brings the Reef light fixture to life.

Designheure’s Reef fixture is a piece of art inspired by the best artist there is: nature. Thanks to its unique geometrical shape, when suspended within interior spaces, the collection provides a contemporary, strong graphic impression.

Having taken a full twelve months to develop – various finishes and sizes are available to suit different applications.

Composed of a fabric lampshade, which can be customised, the fixture is 100% made in France, something which, along with selecting the finest materials, Designheure prides itself on in order to provide illuminated beauty and poetry to exceptional spaces.

The Reef range includes chandeliers, pendants and recently launched during January’s Maison & Objet exhibition in Paris, floor and table lamps in three different sizes.

Since its inception in 2005, Designheure has mastered the capability of creating unique, modern forms of lighting, however the development of this new range took the team’s talents and materials expertise to a new level. The seamless finishes of the textile body had to not only meet challenging sculptural requirements, but also embody the French elegance Designheure is known for.

Designheure is committed to designing flexible, versatile and adjustable LED lighting products, meaning the modularity of the lights extends to the more technical aspects as well, as they can be mounted in compliance with all major international electrical standards. Popular with the specification sector at an international level, Designheure’s latest projects span high-end hotels in the US, Middle East and the UK, to name just a few, and this new collection lends itself to interiors looking for a striking, modern touch.

The customisation aspect of the finishes makes it suitable for hotels, restaurants and public spaces that are looking to introduce personal colour schemes and custom-made compositions. www.designheure.com www.jettescheib.com

Contemporary lighting Made in France

DARC - Janvier Fevrier 2020.indd 1

Design Contract Lighting

www.designheure.com contact@designheure.com +33 (0)4 67 53 99 63

18/12/2019 10:12:11

070 | DESIGN REPORT | FRANCE 000 | DESIGN REPORT | NORDICS

link collection cvl luminaires Celebrating its 60th anniversary this year, CVL Luminaires, located in the Loire Valley of France, brings a wealth of experience in the design and production of high-quality lightings, offering a range of modular and adaptable off-theshelf products alongside bespoke lighting services. Each light fitting is entirely handmade and highlights CVL’s know-how, driven by its passion for its favourite material - brass.

CVL’s design studio is managed by Émilie Cathelineau who joined the company in 2003. Up until that point, the brand did not have a design studio, so it was her mission to develop the existing lighting range further. As part of this, over the past few years, the design office has collaborated with independent designers such as Hervé Langlais, POOL and Kristian Gavoille on numerous collections. Cathelineau herself has designed over ten collections for CVL, finding inspiration in Art Déco forms to the more contemporary styles.

One of her most recent collections, Link, is a range that has developed and been added to over time, with the first wall light introduced three years ago and the most recent fixture, the table lamp.

The idea behind the Link collection is ‘simplicity’ as Cathelineau explains: “We wanted to be able to create a line of light that would highlight the brass materials used – a delicate but simple and practical product. One of the most challenging aspects of developing the product was keeping it as compact as possible while integrating quality LED technology. We adapt all of our products to any technological requests, for example they comply with most international norms (the Link wall fixtures are UL certified for example).

“Installed vertically or horizontally, over a headboard for functional design, or in repetition throughout a corridor for more graphic design, the Link light fixtures are mostly specified by professionals such as interor designers and architects – for both residential and hospitality projects.

“What makes Link special to me is that its simple design blends in well with different environments, yet it is a very versatile product. It is possible to manufacture the product in various bespoke dimensions depending on the client’s requirements.” www.cvl-luminaires.fr

CVL Luminaires Made in France

www.cvl-luminaires.fr contact@cvl-luminaires.fr

renault boulonge billancourt ponctuelle x ambiance Lumiere

072 | DESIGN REPORT | FRANCE

Ponctuelle Light Design’s Monia Ounis has collaborated with Ambiance Lumière to create a beautiful fibre-optic installation for Renault at its newly renovated Boulonge Billancourt site.

Proposed by project architects BOMA, the monumental, 14-metre chandelier dominates the double-height entrance hall of the building – itself a testimony of the industrial architecture of the early 19th century.

Ounis designed the chandelier alongside Ambience Lumière after being approached by the architects to create something that would complement the natural light that floods into the space through its glazed roof.

Through the use of Ambience Lumière’s fibre-optics, Ounis has created an installation that creates a shimmering rain-like effect that fills the hall, bringing a lively sense of intrigue to the space.

However, the project was not without its challenges, as Ounis explained: “Due to the weight and the budget, the number of fibres couldn’t exceed 740, and the challenge was to find the best distribution to have a density perception, and at the same time to have a suitably large coverage for the entrance.

“For the design of the grid, we worked to achieve the right balance between density and lightness, number of points and coverage. From the original circular support imagined by the architects, we moved to an ovoid shape,” she continued.

Four optical fibre bundles are connected to an LED generator in the attic space, before passing through the glass ceiling to be distributed across the 740 points on the grid, adding to the cascading nature of the piece.

The fibres then had to be trimmed to size, cut to random lengths to create the suspended ‘rain’ of fibres that Ounis sought. “That led to the most exciting step of the job after the design,” she said. “The last phase was to make the final ‘hair cut’ of the fibres, adjusting their length manually before adding the glass pendants on site.”

With its soft illumination, both in day and night, the installation brings a delicate brightness to the grand entrance hall.

Through her collaboration with Ambiance Lumière, Ounis has designed a remarkable piece that beautifully captures the illusion of smooth rain under a clear sky. www.ambiance-lumiere.com www.ponctuelle.fr

Image: Paolo_Carrozzino

Residential Reform

THE PERFECT MIX Bert Frank

075 | RESIDENTI AL LIGHTING FOCUS

Having worked with Bert Frank on numerous projects, photographers Ben & Sam Robertson began their residential project from an unusual stance - having purchased many of the light fixtures before even finding the perfect house.

It’s safe to say the duo wanted it all from the residential project - minimal and clean living, while allowing for the requirements of every day life, and cosy spaces were a must.

Wanting to create something that embodied modern aspects of interiors, it was important the design also reflected the surrounding countryside and had a timeless, classic feel to it.

“Being interior photographers we knew exactly what we wanted and the many ways we could use lighting within the project to make this happen,” they tell darc. “The combination of large expanses of glass with the use of Bert Frank lighting would create the look and feel we wanted - we just needed to find the right place in which to do it.

“A few years later we did; a small cottage bungalow built in the 1920s surrounded by a third of an acre of well established garden in the countryside. The whole project was about maximising space and light. Natural light was essential, as was the feeling of the outside being let in, but equally, changing light creates beauty and variation of colour and mood and we wanted to be able to experiment with this during day and night and seasonal changes. The initial bungalow, while small, had a great feel with natural light and the surrounding garden being brought into the house through large windows. So to continue with this theme, creating spaces of light within the house, both natural and with timeless feature pieces, Bert Frank’s classic mid-century lines and the use of brass was the starting point for us from where the rest of house would evolve.

“We continued with the green and brass hues throughout the whole house, using natural textured materials, oak and marble to create the clean lines but maintaining a warmth and friendly family appeal. Having photographed so many styles of interiors, there were aspects of so many things we wanted to bring in. A bit of opulence, a boutique hotel feel to the ensuite bathrooms, a nod to the country roots of the house with oak nooks under the stairs, all spaces that we could experiment with the use of the lights and the feel they would create.” bertfrank.co.uk www.7amcreative.co.uk

076 | RESIDENTI AL LIGHTING FOCUS

THE TREE OF LIGHT CP Lighting

CP Lighting is often called upon to create custom decorative lighting to fit the needs of a space. For residential projects, the most sought after fixtures come from the company’s newGROWTH collection – tree branch-inspired work that can take the form of wall sconces, pendants and chandeliers.

Bob Bowden is a designer and home builder in Aspen, USA. During the construction of his 13,000sqft Aspen Lakes Ranch, he contacted CP Lighting to work with him on a decorative lighting package. CP Lighting founder Christopher Poehlmann was flown out for a site visit to get a feel for the space, which he expected to find overwhelming, given the size of the structure. However, due to the design decisions employed by Bowden, the home instead felt intimate and inviting.

After discussing the specific needs of the space, Poehlmann and Bowden decided to create a bespoke newGROWTH fixture for the living room, and another for the adjoining dining room that would complement the ‘Mountain Modern’ style of the home.

With a vast living room comprised of two main seating areas and a 26ft peak ceiling, the two designers determined that a large, 10x14ft OAH fixture would nicely fill the space, create a balance between the seating areas, and bring some of the surrounding nature into the home. The dining room required a smaller fixture, 6ft in diameter, while the lower ceiling meant that a branching support stem of 8ft was used.

Bowden wanted both fixtures to reference traditional chandeliers in a modern rustic style. This was the perfect prompt for Poehlmann, who said: “When designing and fabricating the newGROWTH fixtures, I always think about how a tree might naturally grow if genetically predisposed to become a light fixture. With the Aspen Lakes project, I simply imagined a grand ballroom crystal chandelier when designing the main chandelier, morphed with the canopy of a tree.”

The next step for Poehlmann and Bowden was to extend the newGROWTH concept to the bar area just off the home’s entryway. After many discussions and sketches, the designers settled on the idea of dropping three long branch pendants over the bar, as if they were clipped from the same grove of trees that inspired the living room lights.

The home also required a large number of wall sconces throughout. So as not to push the rustic design too far, Poehlmann suggested a series of torchieres with a variety of post lengths and shade sizes to work in harmony together, yet proportionally fit the different locations throughout the home.

The entryway was outfitted with 7ft tall torchieres that hover off the floor, while three and 4ft torchieres guide guests down hallways, and illuminate the stairway to the lower level. Wall sconce versions of these fixtures – now known in the CP Lighting catalogue as AL Sconces after Aspen Lakes – were installed in other locations.

Elsewhere, Poehlmann suggested a pair of CP Lighting BigShade pendants for the client’s pool table, as they provide plenty of soft, shadow-free light, and the shape references the traditional green glass lamps often found over tables in traditional pool halls.

Speaking of this project, Poehlmann said: “Working closely with clients to customise and collaborate on new ways of seeing our lighting is a point of pride at CP Lighting.

“For us, it is an extra connection that we simply would not get by just shipping standard product. For many of our clients, it is that extra connection with the product that gives them objects to live with that evoke meaning.” www.cplighting.com

Astro

D E S I G N E D & M A D E I N I T A LY +39 049 5746067

info@metalluxlight.com

www.metalluxlight.com

078 | RESIDENTI AL LIGHTING FOCUS

ELEGANTLY PRECISE Karice Combining elegant design with precision geometry, Karice designed the Square Diamond chandelier - a four-tiered light - for a unique residential space in Boca Raton, Florida, USA. After initial consultation with the client, specific direction and a hand sketch were provided for this custom-lighting installation.

After viewing photos of the space, Karice realised that this large, magnificent room needed a larger version of the lighting design presented by the client.

Once the architectural elevation drawings of the space were obtained from the client, Karice continued to design the light to specifically fit in the space. New elevation drawings were drafted illustrating a larger version of the clientâ&#x20AC;&#x2122;s original conceptual sketch.

To provide more interest, it was decided to proceed with a design reminiscent of Kariceâ&#x20AC;&#x2122;s signature nine-sided chandelier, Diamond Luxennea. The new fixture design has sides that point down at a 45-degree angle to afford greater illumination, and it uses aircraft cable for suspension, so it appears to float. A 4000K LED was selected to maintain the crisp ambient light desired by the client.

The black and white sharp lines of the light contrast

well with the modern design of the room, while a unique, moody atmosphere is created once the lights are dimmed.

Consultation with the general contractor was necessary to ensure that the sloped, two-storey-high ceiling structure was able to support the weight of the light, and a custom box was constructed on site to enable a seamless installation.

The light features energy efficient LED technology and smooth, seamless finishes are achieved through meticulous craftsmanship. Karice also used its proprietary aluminium extrusion to create the fixture.

The extrusion is available in two profiles, a 50.8 x 50.8mm profile for smaller pieces and 76.2 x 76.2mm profile for larger scales. The 76.2mm extrusion was selected for this location. Using the extrusion, four tiers measuring 1524 x 1524mm, 1219.2 x 1219.2mm, 914.4 x 914.4mm, and 609.6 x 609.6mm were suspended at equidistant heights to create a fixture that was 1251mm high. www.karice.com image: www.JohnTrigiani.com

HAND BLOWN GLASS LIGHTING - MADE IN ENGLAND Worlds End Studios, 132-134 Lots Road, Chelsea, London SW10 0RJ

www.curiousa.co.uk

DARC_SUMMER_2019.indd 1

17/01/2020 08:54

Fleur de Kaolin

Nuage

080 | RESIDENTI AL LIGHTING FOCUS

Eau de Lumière

REFINED LIVING Designheure An award-winning private residence in Scarsdale, USA, designed by Alice Pirsu Interiors, features a selection of Designheure’s decorative fittings that were incorporated into the client’s desire to have a new construction that was modern yet warm.

As part of the scheme, Designheure’s Nuage, Fleur de Kaolin and Eau de Lumière were carefully selected and interwoven into the property’s concept to emphasise the desired modern touch.

For the living area, Designheure’s Fleur de Kaolin chandelier was commissioned to be suspended above the fireplace. The warm light emitted by the twelve porcelain components draws you into this cosy area.

These decorative components were designed and made in partnership with Haviland, a renowned French porcelain manufacturer that mirrors Designheure’s ethos of 100% made in France. The delicate detail that can be seen within this design highlights the company’s recognised touch of French elegance.

The lighting within this space is further complimented with the chandelier Eau de Lumière, illuminating the dining table and the ceiling with its poetic reflections.

The contrasting rectangular forms of each lampshade within this piece reflect the surrounding, strong wooden finishes. Solid oak detailing is

combined with a black fabric that envelopes each component, which houses an integrated LED system.

Designed by Davide Oppizzi, the Eau de Lumière collection concept takes its story from the world of luxury perfume. From the sculptural point of view, this design symbolises the iconic shape of the perfume bottle to extract an essence and delicacy. To emphasise each of the four lampshade forms, they have been arranged in an asymmetric composition, made possible by adjusting the steel suspension cables.

Designheure’s signature collection Nuage was installed within the master suite of the property.

At either side of the bed, the pendant wall lamps gracefully illuminate the space.

Providing the possibility to customise the finishes of each piece, the client on this occasion opted for a warm, gold interior to the lampshades to offset the interior colour palette. The nomadic spirit of this light offers a great choice of placement with its textile cord and adjustable suspension system.

The project was chosen as a finalist for the Westchester Home Design Awards in two categories: the master suite and the whole home design, where Designheure’s fittings featured. www.designheure.com images: Phillip Ennis

TO ADVERTISE HERE ENQUIRIES SHOULD BE MADE TO ADAM SYME A.SYME@MONDIALE.CO.UK

082 | RESIDENTI AL LIGHTING FOCUS

COMBINING CLASSICS Christopher Hyde Lighting In this luxury 5th Avenue New York apartment, with spectacular views of Central Park and the city’s busy Manhattan streets, a renovation was recently completed in the living area to reflect the personality and lifestyle of its elite owner.

For this project, the interior brings together the stunning crystal lights of London-based Christopher Hyde Lighting with the furniture manufacturer’s Clive Christian Furniture architectural ivory wall paneling.

Both elements naturally complement each other in its classic architectural surroundings.

Each light is produced using traditional methods and first class materials, where skilled craftsmen individually manufacture each luminaire. From every angle the crystal chandeliers, wall lights and table lamps exude elegance and an attention to classical detail. The Belgravia chandelier, Carlton wall lights and Berkeley table lamps are all available in a number of finishes to suit any scheme including Christopher Hyde Lighting’s classic finishes antique silver, french gold and antique bronze. www.christopherhyde.com

8. – 13. 3. 2020 Frankfurt am Main

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Aesthetic diversity, digital networking and limitless imagination: Be impressed by an array of technical solutions and fresh design ideas – at the world’s largest think tank for lighting trends.

Connecting. Pioneering. Fascinating. info@uk.messefrankfurt.com Tel. +44 (0) 14 83 48 39 83

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Design meets function: a real win-win situation.

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England

YEARS

084 | DESIGN REPORT | THE NORDICS

The Nordics

Light defines the cycles of the day, is a strong marker of time and the passage of the seasons, nowhere is this more so than the Nordics, as darc finds out from the design community that calls the region home.

Finland Lighting Design Collective (LDC) based in Helsinki, Finland, specialises in customised lighting solutions and applications with a uniquely integrated portfolio covering cutting-edge services such as digital content creation, software development and innovative design strategies.

Its experience covers cultural, hospitality, retail, office, and mixeduse schemes as well as residential, landscape and infrastructure developments. For LDC partner Jari Vuorinen, the hospitality sector in Finland is currently very focussed on attracting tourists with new hotel operators beginning to enter the market.

“These new hospitality brands rely heavily on the Nordic / Finnish marketing strategy where local elements are introduced to international visitors – they really play on the ‘Finnish flavour’, ensuring the hotels are appealing, with a lavish and authentically Finnish feel to them,” he tells darc.

With only five million people in the country, for Vuorinen this upsurge in the hotel sector is not currently reflected in other areas of Finnish hospitality and entertainment – such as restaurants and bars. “Unless we see a huge upsurge in tourism this is unlikely to change,” he says.

“And the establishments currently tend to be on rotation, with a twoyear lifespan. There’s the odd one that’s very traditional and been around for years but the majority pop up for a bit and are then replaced with something else.

“In terms of lighting trends within the hospitality sector, we are seeing warmer and warmer colour temperatures being introduced. As well as this, a very heavy trend has been linear lighting both in the retail sector and offices. Integrated solutions are being well received and allow for subtle features to be combined with furniture and architecture.

“One of the main challenges we face in Finland is that very little discussion happens around the atmosphere and lighting aspirations of a project – it is all much more technical; it’s a heavily engineering driven market. Sweden for example has always had that nice little

edge to design where they have managed to incorporate a lot of atmospheric elements and add something that goes beyond normal technical lighting design. Whereas in Finland - and Norway to some extent - in my experience, the main questions asked on a project seldom focus on atmosphere so it’s mostly very functional – they do it by the book – something we’re trying to break out of and are succeeding with to some extent; but Finland is a tricky market as clients really listen to what the engineers say – it’s almost like the Bible.

“When we’re working on a project in Finland we will always try and push a different perspective through – we always start with the concept and really try to get to the bottom of what the client wants and what it is they want to communicate through the project rather than just going for the functional – the technical detailing should never be the starting point of a conversation when talking about lighting design. It’s just about continuing to educate the clients and working in a collaborative way on the projects – as much as we can anyway.”

When asked about the lack of daylight experienced by Nordic countries in the winter months on the effect of lighting design, for Vuorinen, in Finland there is a real appreciation for darkness, as he explained: “When you head outside of the city – beyond the world of functional lighting – the darkness suddenly becomes very, very special. I wouldn’t call it a trend necessarily, but it is definitely something that we are talking about a lot – even at an international level; there needs to be a balance, which in a way is ‘darkness design’, you don’t need to light up everything and anything and to me, that is the Nordic approach to lighting design and I hope to see more of that.”

Norway Snøhetta, based in Oslo, Norway, began as a collaborative architectural and landscape workshop, and has remained true to its trans-disciplinary way of thinking since its inception.

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Its work strives to enhance our sense of surroundings, identity and relationship to others and the physical spaces we inhabit, whether natural or human-made. On the subject of light within the Nordics and Norway in particular, Snøhetta architect Manon Tardieu tells darc: “The notion of light for a healthier interior environment has become very important. We believe that light should feel naturally present in the space, so our projects tend to prioritise the integration of light sources into the architecture.

“Light defines the cycles of the day, it is a strong marker of time and the passage of the seasons, especially in the Nordic countries and Norway. There is wide variation in brightness outside between the summer and winter months, where the light never actually rises in the northern part of the country during the Polar Night. In the Nordic countries, our eyes are better used to the twilight and people here

even find comfort in the semi-lit spaces. Nordic interior lighting is often a play of contrasts between bright zones and darker zones, it is a variation of light and soft shadows. This today translates less into the design of a fixture but rather of a sculpture around light. Light design in Norway seems to evoke natural light, there is a less direct relationship between the fixture and the light it gives; there is a more poetic approach in the output of light, often more diffused and less obvious.

“At Snøhetta we use light to enhance the architectural gesture and tend to use light as part of the integrated furniture. There is a focus on the functional aspect of lighting, with the main intention to solve specific needs; it is only when those are resolved that we look at lighting as an atmospheric element.

“In larger building facilities there is a homogenisation of the ceiling functions in terms of sizing and aesthetic, often using lighting fixtures as a starting point. We often see the benefit of integrating as many necessities as possible within one system for larger building facilities, this leads to cameras or sprinklers matching the size and look of spotlights.

“In terms of lighting challenges in Norway, as mentioned already, winter months in Norway are very long and can be very dark. The challenge here is to address the needs for brightness while trying to have a reasonable consumption. More sustainable awareness of the impact of the life cycle of light fixtures and their consumption, is a crucial issue when it comes to large infrastructures, which demand a high number of lamps. Automatic systems that turn on and off have also proven helpful with energy saving efforts.

“Moving forward, at Snøhetta we strongly believe that environmental consciousness will drive the choices of clients and designers – both in terms of fixtures, systems and reuse. It’s crucial to implement more durable and long-lasting fixtures. At Snøhetta we are having discussions not only on the origin of the materials that we use in our projects but also about their future; what happens when they become obsolete? Technologies are changing fast so it is important to look at the material and parts that make up the fixtures so it can be recycyled and adapt to future solutions.

“Overall, I think we should think more of simple analogue measures as a solution to some of our daily needs rather than add on more technology.

We, as designers and architects, should not be part of the ever-growing demand for technical systems, which often increase the energy consumption, lead to difficult daily usage and maintenance. Better communication on the importance of simple gestures like turning off lights when one leaves the room or is done reading, could be just as good a solution sometimes.”

086 | DESIGN REPORT | THE NORDICS

Denmark Established in 2005 by Signe Bindslev Henriksen and Peter Bundgaard Rützou, Space Copenhagen is a design studio that works across multiple disciplines from interior design for private homes, hotels and restaurants all over the world to art installations and art direction, furniture, lighting and refined objects.

When darc asked the founders how the design industry has changed in Denmark in recent years, they explained that while “certainly, change is becoming apparent,” they feel it isn’t something that’s specifically tied to Denmark, but more of a general sign of the times, as with most bigger cities in Europe.

“Retail is suffering and in need of reinvention,” they say. “Street level spaces with rising vacancies are in demand of change on programmatic content and purpose, this would shift the perception of our cityscapes in all major urban environments; there is an insufficiency in adding just another coffee shop to fill the gap. It’s going to be interesting to see the consequences and possibilities in the wake and design and architecture will be instrumental in orchestrating solutions.

“In terms of hospitality, we have noticed a rise in the number of hotel rooms looking to accommodate the number of global travellers. Copenhagen, especially, has gotten a lot of global attention in the past decade.

As well as this, the success of Nordic Cuisine is reflected in the growing number of venues and social spaces - all in all, the market has definitely expanded over the past decade.

“The design industry, to a large degree, has been responsive to this discourse of trying to uphold the Nordic characteristics of natural materials and functional relevance as a defining means of design application, however, also evolving to other perspectives.

Content awareness, meaningful purpose and

resource responsibility; all of these factors are high on the radar. Work-life balance aspects are also an integral part of design-thinking in Denmark.”

Commenting on the main interior and lighting designs within Denmark, the designers continue: “As part of the Northern Hemisphere, our sensibility to light and space is somewhat defined from being deprived of daylight for large periods of the year, this, of course, meaning that we have always put a special interest in our perception of space, as related to – and to a large degree defined by – either the presence or absence of light.

“The current interior understanding reaches back into the beautifully melancholic depictions in works by classic artists such as Vilhelm Hammershøi. But, also on a parallel, there is a curiosity and interest in investigations into sensory encounters in the works by modern artists such as Olafur Eliasson. This duality seems to define the progression forward: using both modern technological evolution to enhance ambience, emotion transmittance, architectural articulation and sculptural motives in combination with a consistent appreciation of human emotions and our rooted relationship with natural textures and materials.

“Another, and completely different topic, on the horizon is energy efficiency. A strong focus and part of almost all contemporary spaces and light programming; even to the text that it is getting a lot of legislative

attention to constantly heighten and improve the standards defining architectural practise.

Green-sector awareness has become the norm.”

In Denmark, when it comes to the use of decorative light, for Bindslev Henriksen and Bundgaard Rützou, it is becoming increasingly important, however they – along with other designers – try not to completely separate the decorative from the practical.

“This combination is still the defining factor,” they say. “Sculptural properties and translucent qualities equally so. A beautiful light fixture can sometimes define a space.

“Another tendency that we are very engaged in is the accelerated evolution of cordless light sources, re-chargeables, and battery lamps with long efficiency rates. The flexibility and ease of location is extremely desirable to accommodate ambience in both social as well as domesticated spaces.

“One other thing we have noticed, is that there are many manufacturers based in furniture design that are now venturing into lighting design, recognising that it is the totality of an interior that defines the experience and perception of the space. And, there is the customer discourse seeking a larger degree of consistency within their palette of aesthetic preference, providing commercial opportunity. Over the next year our studio will be launching numerous light programs with manufacturers such as GUBI, &Tradition and Fredericia Furniture, so watch this space!”

Iceland Liska is a lighting and electrical design company with more than 30 years of extensive experience in lighting design and electrical design of buildings, streets and areas.

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Speaking with darc on lighting trends across Iceland, senior lighting designer Kristján Kristjánsson comments: “Icelanders are brought up in places where light conditions reflect with the principle of lower light levels and warmth. In the wintertime, the days are very dark and can feel very long. The daylight lasts for only four hours in the winter solstice in our capital city Reykjavik. The little daylight we get creates a warm glow covering the country in a beautiful and almost mystical way. Then in the summertime, on the other hand, the days are long with our midnight sun.

“This condition has an impact on how we use artificial and natural light. In the dark and gloomy times of the winter, Icelanders use a lot of candles and keep the light levels low to enhance the feeling of warmth and the pleasant experience throughout the long dark days. In no place I have travelled to or lived in do people use as many candles to light up their homes as I have experienced in Iceland. The only existing numbers of how many candles Icelanders burn each year can be found from the recycling centre in Iceland. In 2007 they started to encourage the public to turn in burned candles for recycling because at that time it was estimated that 60 tonnes of burned candles ended up in landfill in Iceland every year. That means that each Icelander bins 6kg of burned candles per year. I would, therefore, say that the most common light source in Iceland is the candle.

“When it comes to artificial light In Iceland, it is common to follow the Nordic atmosphere for the design. It is commonly characterised by two concepts - simplicity and minimalism. Clean, simple lines result in aesthetically pleasing light tones or a dark, harmonious environment, which creates a dynamic outcome and characterises Nordic lighting design.

However, there’s still one significant difference between Nordic design and other minimalistic styles, and that is comfort level. While many minimalist interiors can be characterised as being cold, Nordic lighting schemes are meant to be warm and inviting.

“For the last two decades, recessed lighting and cove lighting have been standard with a mix of pendant light fittings over the table area.

We like the softer and warmer atmosphere where we gather and sit down for a conversation or feasts and a simple and non-visible light source in our common areas. In the last two years, the use of more flexible solutions like track lighting are coming back into projects.

Especially after smaller tracks with magnets came to market. Even if it is a new technology, we are using the same design idea from the 80s, a minimal and customised system for the end-user. It has only been three decades since people were using the 12V wire system for halogen spotlights in Iceland. It is the same idea with new technology.

Using more flexible solutions again, I think is positive both in regards to the commercial sector and for our private homes.

“Over the last decade, we have experienced the most significant technological revolution since the electrical light with the LED becoming the only option in the market. Since then, it has been more challenging to create a warm atmosphere for our projects.

We are dealing with low and high levels of natural light all year round in Iceland, therefore controls and dimming have become a big part of our everyday practice. No one can argue that the quality of light is one of the key elements of good lighting design practice and dimming should be part of that quality. There is a connection between flickering and health issues that we have to be aware of and especially with LED. Nowadays we work more closely with light manufactures than ever before to make sure we get the right quality for our projects. It has become uncommon to use off-the-shelf products since quite often, they do not meet our quality standards.

“One of the main issues we are dealing with these days is achieving higher quality in colour rendering for outdoor areas. In our tenders for urban areas like a square or even street, we are asking for an R9 value of more than 20. The manufacturer, in some cases, does not offer a higher value of R9 than 0. In some cases, the information on R9 value will not be known even if asked for it - manufacturers have even challenged our specification for outdoor urban areas. We believe that the request for higher colour quality in urban lighting in the Nordic atmosphere will become a reasonable standard as soon as we depend on artificial light in our winters and the environment needs to be appropriately lit.

“Even if the LED technology is improving every day for the better, we are still not there yet. Artificial light is crucial for us since we live in a place where the day can be dark, and our nights can be bright. It will not matter if it is an urban or indoor project the lighting design quality needs to be for the people.”

Chiara Carucci is a lighting designer at Tengbom.

She first moved from Milan to Stockholm in 2015, she explains the transition of moving from Italy to Sweden: “It was more than a culture shock, especially when I first saw the snow falling, in May! When I understood the very different role of architects in the design process, I realised how getting into this culture would be a challenge. However, I was very curious about Scandinavia, because here there are municipalities such as Malmö that have a lighting designer on staff. Generally, everything is less hierarchical, and the most important thing is the community.”

088 | DESIGN REPORT | THE NORDICS

Isabel Villar, a lighting designer at White Arkitekter, moved to Sweden from Chile thirteen years ago. “There’s no comparison with Chile when it comes to the cultural awareness Swedes have on how lighting affects us as human beings,” she said. “The lack of daylight during winter and the excess of it during the summer is something unique for people living at this latitude and cannot be compared to the natural lighting conditions people have further down south.

“Here, the sun is something people long for, in Chile it is something we often want to shield from. To respect and understand the context and the light culture of the place we are working in is crucial at the start of our projects, and we carry this information with us all along our design process.

“Understanding the local daylight conditions should be at the start of every project, as well as considering any cultural associations that light can have within the context, such as specific

traditions or even light preferences when it comes to lighting qualities.

“At home in Sweden, we use warm light, 2700K or even lower; we use candles, are very sensitive to glare, and when it gets dark, we dim the lights to very low levels,” explained Villar. “But if you go to places that are hot, take southern Europe as an example, the lights are much cooler, they are more intense as if when the sun goes down you should have the same level of light from electrical sources, and you very seldom see candles around.”

While the local conditions mean that residents across Scandinavia interact with light in a different way, the lack of natural light has a very real impact on the approach of lighting designers, for a variety of reasons.

“It does have a huge impact, and this is something I identified soon after arriving in Sweden,” says Villar. “Because the lack of daylight impacts us so much, physiologically and psychologically, daylight availability and time should be taken into account when designing lighting strategies at this latitude.

“We strive to run daylight simulations of sDA (Spatial Daylight Autonomy) at early stages of every project, to have a better understanding of how the building ‘breathes’ throughout the year, taking into consideration the different orientation of the rooms and the weather conditions specific to each site. This gives us valuable information to map areas that receive low levels of daylight and that might need ‘higher quality’ of electric light to compensate the lack of natural light, as well as areas with good daylight levels where electric lighting takes a secondary role during the day.”

Sweden Light Bureau’s Seren Dincel (formerly ÅF Lighting) relocated to Stockholm having previously worked for JVL Studio in Turkey, her Master’s thesis examined the possible connection and influence of Scandinavian culture, climate and way of living on lighting design.

“There is a cultural tendency for being reserved, calm and tranquil among individuals, not bringing something to the forefront as an achievement,” Dincel says.

“Prevalently known as ‘lagom’ in Swedish, which means the adequate amount of something, not too much and not too little, this has an impact on many things, from social behaviours to design approaches. I assume this reflects on the lighting design generally by not making bold or extravagant

concepts, or using too bright or dramatic lighting schemes, instead keeping things functional and smooth.”

During her time in Sweden, the lighting designer tells darc she has noticed how “city lights are mostly not so bright or colourful, and not all the historical, significant buildings or parks are illuminated, even though these spaces are exposed to longer periods of darkness every year.

“Living in Sweden has increased my awareness and consideration about darkness, both in terms of preserving it and illuminating spaces for the needs of people,” Dincel continues. “However, from my point of view, the balance of using both light and darkness should be key. The conservation

of darkness enables us to see natural elements like the night-sky, stars and Northern Lights in the northernmost parts.

“My colleagues at Light Bureau have been working on a project for the new city centre in Kiruna, located in the northernmost part of Sweden, that involves the implementation of lighting control systems for enabling the visibility of the Northern Lights.

Several aspects need to take place in order to experience this light phenomenon, and in the inner cities where there is too much light, the chances are even lower. The project is still on-going, however the idea is to use a lighting control system that adjusts illumination levels based on the presence of the natural light phenomenon.”

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090 | DESIGN REPORT | THE NORDICS

ebb & flow denmark With both a Bachelors and Masters degree in International Business and Marketing, being a designer was not the first career choice for Susanne Nielsen, founder and designer of Danish lighting brand Ebb & Flow.

For more than 20 years her career centered around international trade, marketing and concept development within the fashion and home accessories industries. Based in London for many years, she returned to Denmark in 2009 to set up her own business, bringing with her a passion for interior design and the beauty found in the traditional glass and crystal craft traditions.

The result was initially Who Found Otto, the forerunner to Ebb & Flow, that specialised in vintage furniture, glass and textiles.

In 2013, she founded Ebb & Flow and her lamp designs are rooted in the fascination and love of combining vintage with modern, thereby creating unique enduring design.

“Everyone is a product of their experiences and where they come from, and in my case, it is an amalgamation of Danish simplicity, and the love of no excess, combined with a handsome dose of British eccentricity, of colour and texture. I strive to satisfy both urges in my designs, simple lines with fabulous colours.”

Winner of the Iconic Awards 2020 – Innovative Interior Competition, the idea behind the Horizon

ceiling / wall lamp, was to design a fixture that was both incredibly functional and at the same time beautiful and versatile. Originally conceived as a pendant, its flat, wide shape also lent itself to being transformed into a ceiling and wall lamp.

Taking just under a year from initial drawing to finished product, the biggest hurdle for Susanne and her team to overcome was the metal cap that covers the front of the lamp and which proved a technical challenge for Ebb & Flow’s metal parts supplier. “The cap is round and curved in shape and needed to be detachable on and off the glass shade without it breaking,” Nielsen tells darc.

Mouthblown in three sizes and fifteen colours, combined with shiny gold or silver finished metal, the glass fixture uses conventional E14 and E27 fittings and LED lamps.

“The design is perfect for ceilings and walls both in public spaces and private homes alike,” adds Nielsen.

“It can be used to great creative effect in order to make a feature or collage on a wall or ceiling – using varying size and colour options.

“Its most striking feature is its timeless design appeal, as well as the combination of functionality with great looks. You really can find a colour and size to fit almost all situations.

“If I had to describe the product in three words, I would simply say - Functional, beautiful and versatile.” ebbandflow.dk

DANISH DECORATIVE LIGHTING ebbandflow.dk | Tel: (+45) 9816 3488 | Email: info@ebbandflow.dk | Fax: (+45) 9834 1388 |

092 | DESIGN REPORT | THE NORDICS

secto design finland It might be a surprise to find a fine arts museum at the end of a country road in Mänttä, Finland. It was here, by Lake Melasjärvi, that wealthy forest conglomerate owner and art collector, Gösta Serlachius (1876–1942) wanted to offer a shrine to Finnish art. Having constructed an English style manor and functionalistic conglomerate head office in Mänttä, unfortunately Serlachius never saw his dream of the art museum come true due to his death. Thanks, in part, to the prolonged war at the time, the ambitious museum project was abandoned for several decades. However, in the 80s, part of Serlachius’ significant art collection was exhibited on the first floor of the manor house and the entire building was opened as a museum. Twenty years later, the impressive head office has been turned into a museum, which today also includes modern and contemporary art.

When the success of the museum led to the need for more space The Gösta Serlachius Fine Arts Foundation organised an international architectural competition for an extension to the old manor house.

Barcelona-based architectural firm MX_SI won the competition and the Pavilion designed by architects Héctor Mendoza, Mara Partida and Boris Bezan has since received a number of architecture awards.

Together with the art exhibitions and the old museum milieu the new Pavilion has become an attraction in itself.

The interiors of the Pavilion have been designed

with the same care and insight as the architecture of the building. When choosing lighting for the lobby and restaurant, MX_SI contacted Secto Design, the Finnish manufacturer of birch wood lamps. The architects wanted to use ecological local materials and designs throughout the whole project. Due to their clear architectonic forms the Secto Design lamps also resonate with the composition and spirit of the Pavilion. As its basic structure consists of supporting laminated timber columns and wide glass surfaces that give the building its distinctive appearance and rhythm, the Secto Design lamps play with the alteration of material and emptiness.

During the interior design phase MX_SI and Secto Design discussed different lighting alternatives for the Pavilion, with the classic Secto 4200 pendant proving to be the best solution. The black Secto pendants make an eye-catching composition in the museum restaurant, with the warm light creating a cosy harmonious atmosphere appealing to the museum visitors’ mindset – receptive for art and aesthetic experiences. The material of the lamps connects the interior with the surrounding park dominated by birches.

The designer of the Secto Design lamps, architect Seppo Koho regards The Serlachius Museum as a most suitable place for the Secto lamps: ”It is not only the wood material or the form of the lamps. It is also the innovative spirit they both share,” he says. www.sectodesign.fi

louis poulsen denmark

explained Ole Elkjær-Larsen, architect at BIG and Project Manager on the Tirpitz project. “During this process, the idea arose of developing a fixture that would house these complex functions rather than incorporating them in the building.

And as we’ve worked very successfully with Louis Poulsen in the past, it made sense to contact them again.

“In addition to the functional and technical requirements, we wanted to create a fixture that harmonises with the museum’s simple design idiom and execution in pure materials such as concrete, glass and steel. Everything is stripped down to the basics with absolutely no decoration – and that was also the sort of lamp we wanted.

Therefore, we developed an LED fixture in a tight conical shape in galvanised zinc, which is perfectly suited to a building where nothing is painted, and everything is raw and naked and honest,” he further added.

The Keglen series, launched in early 2020, is the physical development of the Tirpitz pendant and features “organic shaped glass that sits perfectly beneath the cones as a small water droplet shaped by physics and cohesive forces in nature,” explained Jakob Lange, Partner at BIG Ideas.

The simplistic cone-shape designs ensure both an attractive and glare-free downward light that is suitable for multiple applications, whether that is office, hospitality or residential. They also feature a discreet, uniform opening at the top of the lamp that allows a small amount of light to gently flow upwards and emphasise the structure and texture of the chord. www.louispoulsen.com big.dk

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In a collaboration with BIG (Bjarke Ingels Group), Louis Poulsen has launched a new series of pendants in the Keglen series. There are four key pendant pieces in the series that each provide their own diffusion of light using a curved glass insert that is built into each shade that provides adaptability of light distribution.

The distinctive cone-shaped pendant was originally developed for the Tirpitz Museum in Blåvand, Denmark, as the result of the first collaboration between Louis Poulsen and BIG Ideas in 2017. Louis Poulsen was in charge of designing a lighting scheme for the museum situated adjacent to the Tirpitz bunker from World War II. The museum concept interplays between light and dark to tell a dramatic story of the area’s harsh landscape. The museum is built into a man-made sandbank leading up to the bunker.

By bringing together three museums in a single building, a spectacular cultural institution has been created in the otherwise totally protected area.

Illuminating an underground museum was a challenging prospect for the Louis Poulsen team to overcome. From the outset, the lighting therefore played a key role in the design of the 2,800sqm exhibition space, where large open glass sections stand in strong contrast to the gloomy bunker behind. To address the lighting issue, BIG partnered with Louis Poulsen to create two new fixtures.

“We knew beforehand that the building would require very flexible lighting, and therefore planned numerous and complex sockets in all the rooms, so that we could be sure of being able to install light fixtures exactly where we wanted,”

094 | DESIGN REPORT | THE NORDICS

saas finland

The Helsinki-based Finnjävel restaurant is deemed a cultural act and intervention in the culinary, social and cultural landscape of Finland, in the form of a restaurant, which celebrates Finnish cuisine, design and craftsmanship. The restaurant is designed in the spirit of a Gesamtkunstwerk that stages food, the historical space, and its objects in an intimate choreography for guests to enjoy.

The creation of Finnjävel also meant the birth of more than one hundred unique products to celebrate Finnish design and to ensure a truly special experience for its guests.

Among them is a contemporary table light; a product of the collaboration between Helsinki-based lighting manufacturer Saas Instruments and design house Ateljé Sotamaa.

The historical facilities that house Finnjävel, and the restrictions it involved, meant the light sources couldn’t be placed just anywhere. This being the starting point, the two companies started working towards a solution that would respect the historical space, while at the same time carrying out its functional purpose.

The Light Ware was the product they came up with - a battery driven light source integrated in the restaurant’s tables. The solution meant that, in addition to not interfering with the historical facility, more flexibility for the staff was achieved thanks to the lack of wires and the ability to freely move the tables around.

Because the Finnjävel experience is not about just drinking and eating; but also about embracing and appreciating the aesthetics, Saas and Sotamaa came up with a schedule for the Light Ware. When the guest arrives, there will be a small glass devil (Finnjävel literally means Finnish Devil in Swedish) sitting on the light source at the table, resembling candlelight.

When the waiter brings in the food, they would switch the devil to a 4mm brass stem with fiber optics. The effect of which would create a soft but focused light, highlighting the meal and wine, whilst leaving the surroundings outside the table dark. The batteries fasten under the table with a magnet, which would then be charged at a specially made charging station overnight. saas.fi

www.saas.fi

SAAS Instruments

Lights north of the 60th latitude made in helsinki

Reviving Tradition darcâ&#x20AC;&#x2122;s guide to some of the latest decorative bathroom lighting designs.

Thurso - Astro Lighting

096 | BATHROOM LIGHTING FOCUS

New from Astro Lighting, Thurso is a solid brass wall luminaire inspired by nautical design and suitable for bathroom spaces. Thurso is offered in either a round or oval form and is available in a natural brass or polished nickel finish to complement different interiors. www.astrolighting.com

Dryden - Elstead Lighting

Siren - Curiousa & Curiousa The new Siren wall lights from Curiousa & Curiousa can now be made to IP45 standards, meaning they are suitable for use in wet areas such as bathrooms (Zones 1&2) and are fully compliant with BSEN 60598-1. Each light piece is made to order with two layers of handblown glass and 23 colours available. It also features a specially designed enclosed LED G9 lamp. www.curiousa.co.uk

When it comes to lighting a bathroom, an often overlooked area is around the mirror.

The Dryden bathroom wall light is classically inspired, with subtle turned details and a stately silhouette. When installed with one either side of a mirror, they create an even light coverage, ideal for daily tasks like shaving and applying make-up. Perfect for older properties, the Dryden is available in three high quality polished finishes of brass, chrome and nickel to complement almost any colour scheme. It also comes with three other glass options, including white opal closed glass, to suit a variety of tastes. www.elsteadlighting.com

WB144/145 - Franklite The WB144 and WB145 cylindrical Art Deco bathroom wall lights from Franklite are available in two finishes, chrome and black or gold and matte black with a opal glass cylinder.

The fixtures are IP44 rated and suitable for use in every bathroom zone, except Zone 0. franklite.co.uk

Shallow Chain - Tigermoth Lighting

Brace - Bert Frank

The Shallow Chain chandelier features three tiers of delicate chain strands and handcrafted metalwork, available in bronze, gold or flat nickel metalwork and silver, black, copper or gold chains. Available in five sizes, IP44-rated, and suitable for use in bathrooms, the light fixture is made to order and delivered with LED light sources supplied free of charge. It is also available with UL listing for the US market. www.tigermothlighting.com 097

Thanks to the elegant, honed alabaster and its integral LEDs, the Brace casts a warm wash of light across the wall to create an ambient glow. Perfectly marrying contemporary design, traditional materials and British craftsmanship. The Brace is available in two sizes – 600 or 400mm tall. It is also IP44 rated, making it ideal for use in bathrooms. bertfrank.co.uk

Hampton - Davey Lighting Davey Lighting’s Hampton wall light is inspired by lights found in first class cabins and saloons on the great cruise ships of the 1920s. With a sophisticated Art Deco flavour, opal glass and bone china soften the heritage marine lighting manufacturer’s industrial aesthetic while maintaining its timeless, utilitarian style. Davey’s simple elegance and attention to detail is captured by the Hampton’s weathered brass swan arm and glass shade with bone china fitting. Part of the Original BTC Group of British manufacturing brands, each element is handmade in-house at the Group’s Stoke bone china factory and Birmingham metalworks and glassworks. www.originalbtc.com

BDNY Product Review 10-11 November 2019, New York, USA

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ON SHOW | BDNY REVIEW

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1. Morris Adesso Home

2. Cano Cerno

3. Hopper Corbett Lighting

The Morris Adesso wireless charging desk lamp combines Scandinavian style with high-tech features. A thick natural wood base encases a hidden Qi wireless charging pad.

Just place your phone onto the wood base and charge right up. A USB port is located on the base as well. Antique brass and painted white metals complete this soft, modern look. www.adessohome.com

Designing with LEDs often lends itself to hiding, or using a low profile light source.

The new Cano pendant from Cerno does the opposite; with the lamp an integral part of the design. The solid hardwood faceted body can be enhanced further when paired with a spherical glowing lamp. cernogroup.com

Named after actor, artist, and art collector Dennis Hopper, this lighting piece has a beautiful synergy between the two sides of its brass leaves. The side supporting the white glass diffusers has a handsome, dark vintage brass finish, while the reverse has been soaked until a beautiful, smooth natural black. corbettlighting.hvlgroup.com

4. Bud Innermost

5. Trinity Jamie Young

6. Vesta Kuzco

Bud is a versatile, portable rechargeable, splashproof lamp that will grace your table, bedside, terrace and any place you can think to put it. There are three settings all activated and switched by pressing the ‘Bud’. The lamp comes with 15+ hours of life on each charge and is recharged by any USB port. www.innermost.net

The Trinity wall sconce from Jamie Young makes use of three unique slices of natural agate stone, which are individually arranged to create extraordinary pieces of art. Embrace this wall sconce's individuality and you will have a truly one-of-a-kind piece on your wall. jamieyoung.com

Timeless simplicity with versatile purpose is offered with Vesta. Measuring 72ins in length it can be mounted horizontally or vertically from a matching square affixed in the middle of the rectangular beam. The LEDs illuminate the mounting plane creating a pool of light on the wall. Vesta is dimmable and available in three finishes. kuzcolighting.com

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1. Brooklyn Aura LUX LED Lighting

2. Mini Art Deco cordless lamp Modern Lantern

3. UFO Lights CP Lighting

The sleek yet understated LUX Brooklyn Aura task lamp joins modern design and seamless functionality to create a versatile and efficient light. The Aura features a wireless Qi-certified fast-phone-charging pad, two USB ports and three touch-controlled brightness settings.

The Aura is available in brushed aluminum and black slate finishes. luxledlights.com

This compact, yet powerful, rechargeable lamp is great for restaurant tables. Powered by a li-ion battery that charges in around two hours and provides warm ambient lighting from 18 to 40 hours, depending on the dimmer switch setting. The lamp comes in a warm antique brass finish with an alabaster look to its glass dome shade. www.modernlantern.com

Nothing says beam me up Scotty quite like the new UFO Lights from CP Lighting. These colourful little flying saucers are powered by 12V LED engines with dimmable 110/220V transformers included. The fixture is 10ins x 5ins, with a 5ins diameter disc that can be specified in a variety of custom colours. www.cplighting.com

4. Loma Barn Light

5. Constellation Chelsom

6. Mooon!

Fermob

With the latest in contemporary styling, the Loma pendant features an oversized dome shade, which serves as a dynamic focal point to establish a roomâ&#x20AC;&#x2122;s overall look and feel. Easy to customise with a range of finish colours and cord styles, the Loma makes a statement in any space. www.barnlight.com

An organic design giving a random pattern of arms and satin opal glass globes creates a striking selection of statement centrepiece ceiling fittings emitting warm white light for an ambient effect. Glasses have threaded inserts, which screw onto brushed brass metal frames for a durable fixing ensuring perfect alignment. www.chelsom.co.uk

Designer Tristan Lohner drew inspiration from 19th Century street lamps to design Mooon! A stylish, contemporary lamp, perched on an aluminum frame, the tall version can be used indoors and outside.

It is a rechargeable lamp with two light settings and comes with a charging base and Bluetooth to use with your smartphone. www.fermob.com

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ON SHOW | BDNY REVIEW

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1. Big Blue Century Industries

2. Mini Globe Original BTC

3. Solna Collection Livex Lighting

The Big Blue, created by Century Industries, is a unique fixture handspun from aircraft grade aluminum. Light is diffused through an antique Italian Murano interior glass held by an Art Deco casted brass finial. The custom dome is powder coated a deep sky blue and lacquered for a nautical finish. www.centuryamadeus.com

Original BTC showcased its manufacturing capabilities at BDNY with a selection of its bone china, glass and metal collections.

Lights on show included the classic Globe, School, Walter and Fin collections, handmade by skilled craftsmen at the Stoke-onTrent ceramics factory and Birmingham metalworks and glassworks. www.originalbtc.com

Less is more with this sleek minimalist styled chandelier from Livex Lighting’s Solna Collection.

With the stainless steel square tubular arms, this ten-light chandelier is perfect for adding modern pizzazz to an understated decor. www.livexlighting.com

4. Dipping Light Marset

5. Balboa Troy Lighting

6. Verdi Hammerton

The new suspension Dipping Light gets rid of everything to keep only the essential, with colour taking centre stage. When using several lamps to make a composition, the visual effect is mesmerising. This new version comes in three sizes, with 12.5, 20 and 30cm diameters. www.marset.com

Comprised of three layers — inner candelabra body, middle fabric shade, and outer woven form— Balboa, from Troy Lighting, uses sustainably harvested rattan in a wave pattern, infusing any space with alluring natural textures and decorative motifs. troylighting.hvlgroup.com

The new Verdi linear chandelier explores two design aesthetics, organic and geometric, and marries both into a bold lighting sculpture. Polished steel is adorned with delicate LED-lit artisan glass buds, offered in three distinctive shapes. Measuring 76ins wide and illuminated with 3,000K LED, choose from over 20 finishes. www.hammerton.com

Downtown Design Product Review 12-15 November 2019, Dubai, UAE

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ON SHOW | DOWNTOWN DESIGN

1. Geometric Brokis

2. Totems Over Time Klove Studio

3. OMG Collection Light4

Geometric is defined by basic geometric shapes that characterise the overall contours of the lights and instil them with a singular graphic element, achieving a striking contrast with the animate, almost sculptural makeup of the glass. The aesthetics allow the lights to be arranged in a number of shapes either as solitary lights or as jigsaw puzzle. www.brokis.cz

Totems Over Time features four installations in glass and metal, including gold. Enthralling and ‘God-like’ in stature, their construction is an ode to the Laws of Divine Geometry.

Their inherent balance and symmetry is an expression of how time keeps everything in Harmonious Order. www.klovestudio.com

The OMG collection, acronym of Oh My Glass!, is a tribute to the beauty of moulded glass. A variety of shapes, sizes and finishes create a 'symphony' of suspension and ceiling fixtures. The colour variations in the glass, the finishes in the frame and the forms make various combinations possible. The glass is available transparent or white. light4.it

4. To.Be Pedrali

5. Opera Sans Souci

6. Voa Collection Serip

A suspension light, ironically named to reflect its shape - a tube suspended in the air. An essential lamp, with a narrow cylinder in polycarbonate, white powder coated inside, available in a wide palette of colours outside, with a hole in the upper part of the diffuser that allows light to shine out and illuminate the ceiling. www.pedrali.it

This dynamic lighting piece is programmed according to your luminous preference or for a special occasion. Handblown crystal components with soda effects are lit by builtin LED RGB technology programmed into various lighting effects such as colour blower, rays or slings. ss-gd.com

Available in four sizes and shapes, these handmade glass swallows can exist alone, with or without light and can be applied on a wall or ceiling. If you don’t want to make a composition by yourself, you can choose one of the standard models, which includes two options of wall lamps and three options of suspension lamps serip.com.pt

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

INDEX • RIYADH , SAUDI ARABIA 3 - 5 February 2020 (www.index-saudi.com)

STOCKHOLM FURNITURE FAIR • STOCKHOLM, SWEDEN 4 – 8 February 2020 (wwwstockholmfurniturelightfair.se))

SURFACE DESIGN SHOW • LONDON, UK

114 | CALENDARC

11 - 13 February 2020 (www.surfacedesignshow.com)

DESIGN SHANGHAI • SHANGHAI, CHINA

LONDON DESIGN FESTIVAL • LONDON, UK

12 - 15 March 2020 (www.designshanghai.com)

12 - 20 September 2020 (www.londondesignfestival.com)

LIGHT + BUILDING • FRANKFURT, GERMANY

INDEX • DUBAI, UAE

8 - 13 March 2020 (www.lightbuilding.de)

14 - 16 September 2020 (www.indexexhibition.com)

RETAIL DESIGN EXPO •

[D]ARC ROOM @ LONDON DESIGN FAIR •

LONDON, UK

29 – 30 April 2020 (www.retaildesignexpo.com)

17 – 19 September 2020 (www.darcroom.com)

HD EXPO •

LONDON DESIGN FAIR • LONDON, UK

LAS VEGAS, USA

5 - 7 May 2020 (www.hdexpo.com)

17 - 20 September 2020 (www.londondesignfair.co.uk)

ICFF • NEW YORK, USA

DECOREX •

17 – 20 May 2020 (www.icff.com)

11 - 14 October 2020 (www.decorex.com)

WANTED DESIGN • NEW YORK, USA

INDEX • DOHA, QATAR

14 - 18 May 2020 (www.wanteddesignnyc.com)

13 - 15 October 2020 (www.index-qatar.com)

CLERKENWELL DESIGN WEEK •

LONDON, UK

LONDON, UK

LONDON, UK

HONG KONG LIGHT FAIR •

19 - 21 May 2020 (www.clerkenwelldesignweek.com)

27 - 30 October (event.hktdc.com)

MAISON & OBJET • PARIS, FRANCE

BDNY •

4 – 8 September 2020 (www.maison-objet.com)

8 - 9 November 2020 (bdny.com)

HONG KONG

NEW YORK, USA

AD INDEX ACE................................................................................ 65

CTO Lighting................................................ Gallery 81

Karice............................................................................ 17

Ambiance Lumiere..................................................... 73

Curiousa & Curiousa................................................. 79

Light + Building .. ........................................................ 83

ANDlight.. ..................................................................... 35

CVL Luminaires.......................................................... 71

Linea Light Group...................................................... 27

Archilume..................................................................... 31

David Trubridge . . ......................................... Gallery 81

Louis Poulsen................................................................. 5

Architect@Work . . ....................................................... 44

Design Shanghai Show. . ............................................ 60

Metal Lux . . .................................................................... 77

Arpel Lighting. . ............................................. Gallery 81

Designheure................................................................ 69

Original BTC. . .............................................................. 23

Artemide. . ................................................................. OBC

Ebb & Flow. . ................................................................. 91

SAAS Instruments...................................................... 95

Astro Lighting........................................................... IFC

Edison & Mansfield. . ................................... Gallery 81

Surface Design Show.. ............................................... 89

Atrium........................................................................... 13

Elstead Lighting. . ........................................................ 55

Tigermoth Lighting.................................................... 83

Barrisol......................................................................... 67

Franklite....................................................................... 47

Tom Kirk Lighting....................................................... 57 Weplight....................................................................... 43

Bert Frank.................................................................... 51

Inpput............................................................. Gallery 81

Christopher Hyde Lighting. . .................................... 74

Innermost. . ................................................................. IBC

CP Lighting.................................................................. 41

Karboxx. . ....................................................................... 25

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DISCOVERY SPACE Ernesto Gismondi

DARC.indd 2

15/01/20 19:03