darc 38

Decorative Lighting in Architecture #38 Nov / Dec 2020

Asilia Sayari | UK Design Report | Raffles Hotel Cordless Lighting Guide | Studio d’Armes Product Focus | [d]arc room livestream Review | Kimbleford Collection

Featured lights: Tacoma Single

astrolighting.com

Sarah Cullen • Acting Editor With national lockdown part 2 imminently approaching us here in England at the time of writing this, and winter coat weather well and truly upon us, what better way to spend some free time than flicking through our next issue with a brew to bring a little light into these darker days…

Welcome to the Nov/Dec issue - I can’t believe we’re at the end of the year already! Now, before I delve into what’s filling this edition’s pages, I want to start off by saying a massive thank you to everyone who has been supporting darc magazine and our company as whole, [d]arc media, in these difficult times. Along with many of you continuing to sign up for subscriptions and designers and manufacturers supporting the magazine, we also had an amazing turn out for our first ever virtual event! We held [d]arc room livestream with Light Collective in lieu of our usual physical event at the Old Truman Brewery in London this September. Sadly, we were not able to catch up in person and enjoy the tangible side of an exhibition, but the lighting community certainly didn’t let that put a dampener on things and turned up by the 100s to our digital event instead, showing us volumes of support and encouragement – thank you! Read up on all that happened and how you can catch up on the event over on page 36.

Starting off this issue, we travel across the seas to Tanzania where we explore the new interior schemes for Asilia Sayari’s safari camp in the Serengeti. Designer Caline Williams-Wynn transformed the campsite with a rich, earthy palette and striking decorative lighting into a luxurious resort. Catch the full story on page 12.

Further afield, we also covered the stunning Raffles Singapore Hotel that has undergone a huge renovation to restore the iconic building’s heritage and bring a modern flair to the interior design, incorporating stunning bespoke chandeliers from Preciosa. Read about the full design journey on page 16.

Closing this issue, we have a mammoth country report from our home, the UK. I got the chance to sit down with prominent UK-based product designer Michael Anastassiades to chat about his experiences of working in the UK market, what trends he is seeing occurring in the lighting industry at the moment and what defines UK design in an international setting. I also caught up with British Institute of Interior Design’s President, Lester Bennett, to find out more about his career, his role in the BIID and how the institute works with and represents the British design community. Catch the full report starting on page 41.

With the Covid-19 pandemic cloud well and truly looming over the world still, it is important to keep each other safe and to support those around us as best we can. The lighting community may be a small one, but it is mighty at heart and fully embodies the power and significance of sharing light amongst those around it, even on the gloomiest of days. Take care everyone and I will catch you all again, fresh faced and bushy-tailed, in the new year.

Cover: Etat-des-Lieux

Studio d'Armes

Welcome

E L E VAT E Y O U R I N T E R I O R W I T H A N O T E OF QUIET LUXURY

Articolo designs superb lighting collections that have an enduring timeless aesthetic and an appreciation for subtle detailing and layered materiality.

Harmony in balance and proportion. Celebrating simplicity, form, soulful intuition and poetry in the lighting arena.

We invite you to explore the ‘Art of Light’.

A R T I C O LO L I G H T I N G. C O M

info@articololighting.com +61 (3) 8595 8011

Australian Residence by Conrad Architects. Photography by Sharyn Cairns.

Contents Regulars The Magazine 010 Focal Point | Equinox Hotel | New York

Managing Editor | Helen Ankers h.ankers@mondiale.co.uk

024 Case Study | Atelier Luxus | Edges

+44 161 476 8372

029 Materials Focus | Tekna | Kimbleford

Media Sales Manager | Stephen Quiligotti s.quiligotti@mondiale.co.uk +44 7742 019213 Media Sales Executive | Adam Syme

Projects

a.syme@mondiale.co.uk

008 | INSIDE ISSUE 38

+44 161 476 9118 012 Asilia Sayari Camp Asilia Africa opens newly redesigned Sayari Camp in Tanzania with interior design and lighting design by Caline Williams-Wynn.

Acting Editor | Sarah Cullen

016 Raffles Hotel The Raffles Singapore Hotel underwent an extensive refurbishment with new interiors from The Champalimaud Design and lighting by Tino Kwan Lighting Consultants, which bring a delicate layering of modernity, authenticity and refined

Contributing Editor

beauty to the historic site.

Design

s.cullen@mondiale.co.uk +44 161 476 9401

Matt Waring

Artwork | Dan Seaton d.seaton@mondiale.co.uk

Features

Editorial | Mel Capper m.capper@mondiale.co.uk

026 Product Focus | Studio d'Armes | Etat-des-Lieux The Etat-des-Lieux is an innovative new lighting fixture that allows users to play with var ying configurations to create unique lighting installations.

034 Cordless Lighting Focus darc covers a selection of intelligent and beautiful lighting approaches that complement new working spaces and environments.

Finance Finance Director | Amanda Giles a.giles@mondiale.co.uk Credit Control | Lynette Levi

041 Design Report | UK UK-based product designer Michael Anastassiades sits down with Acting Editor Sarah Cullen to discuss the world of lighting in the UK and current trends emerging in the region as well as BIID President Lester Bennett, who gives an insight into the role of the British institue.

l.levi@mondiale.co.uk

Corporate Chairman Mondiale Publishing | Damian Walsh Managing Director [d]arc media | Paul James p.james@mondiale.co.uk Marketing & Events | Moses Naeem m.naeem@mondiale.co.uk [d]arc media ltd | Strawberry Studios, Watson Square, Stockport SK1 3AZ, UK | Printed by Buxton Press, Palace Road, Buxton, UK | ISSN 2052-9406

Proudly Supporting

#readinginthedarc

News

L P Slim Box D esign by Louis Poulsen

Design to Shape Light louispoulsen.com

R17659_LP_DARC_236x333_SlimBox_AD01.indd 1

27-10-2020 13:50:13

010 | FOCAL POINT

Focal Point Equinox Hotel Hudson Yards, New York, USA The architecture and design studio Rockwell Group has unveiled its design for the first Equinox Hotel, in Hudson Yards, New York. Rockwell Group was brought on to help Equinox redefine the luxury hotel experience as a seamless extension of a highperformance lifestyle; Equinox Hotels is for the busy traveler who wants their travel to fit into their existing holistic healthy lifestyle without disruption.

Rockwell Group’s concept for the hotel was inspired by a seamless transition between travel, work, play, and a healthy lifestyle, built on the pillars of movement, nutrition, and regeneration. Figured metal walls on both sides of Electric Lemon, the hotel’s restaurant and bar, reflect the light sculpture, created

by Lasvit, suspended from the Sky Lobby, creating depth and an infinity-effect. This light sculpture is also present in the entrance lobby, playing with the transformative power of light while adding drama and depth to the spaces. www.rockwellgroup.com www.lasvit.com Image: Courtesy of Lasvit

011

012 | PROJECT | ASILI A SAYARI

Sayari Safari Asilia Africa opens newly redesigned Sayari Camp in Tanzania with interior design and lighting design by Caline Williams-Wynn.

Asilia Africa offer authentic East African safari experiences that leave positive impacts on Africa’s crucial wilderness areas. This summer it opened its redesigned Sayari Camp in Tanzania. The complete rebuild property was timely finished to coincide with the natural phenomenon of the wildebeest crossing of the Mara River. The reopening of Sayari compliments the Highlands in Ngorongoro and the newly redesigned Namiri Plains in the Eastern Serengeti, creating a portfolio of stylish properties by Asilia with a light footprint in the outstanding African destinations.

During the challenging period the world is enduring due to the Covid-19 pandemic, Asilia has managed to keep a circuit of camps open as a testament to its commitment to its employees, local community partners and conservation efforts. This idea of being a conscientious holiday destination is extremely important to Asilia,

which is known for pioneering safaris to remote locations where they can have the maximum positive impact. Furthermore, in order to ensure long-term conservation of northern Serengeti, Sayari was the first camp to put down permanent roots in 2009. Typically, an area plagued with bush meat poaching as a result of a lack of other means of livelihood for surrounding communities, the Sayari camp in turn provided employment opportunities for many. The camp is entirely Tanzanian run and of the 55 staff, 80% are from local communities, of which many were former poachers.

“Sayari and Asilia pioneered the tourism driven conservation of this magical region back in the mid-2000s. Through our heavy investment, we are committed and determined to do so again. The recovery of this region is critical for the country, the region and all those who benefit from that,” says Gordie Owles, Commercial Director.

013

Designer Caline Williams-Wynn, of Cape Town-based Artichoke, was responsible for completing the updated interior schemes for this project. She is the creative master behind other Asilia destinations including the award-winning Highlands in Ngorongoro, Jabali Risge in Ruaha National Park and the recently refurbished Namiri Plains in eastern Serengeti.

“I have been working with Asilia for the last five years, working on interior design and architecture for some of its most exciting properties,” says Williams-Wynn.

“The initial brief for the reimagining of Sayari Camp was to create different areas that the guests could experience. Increasing the size of the dining room, creating a bar area and to introduce a library and sitting room.”

The project, taking only nine months to complete, consists 15

spacious tents that all boast views of the surrounding rolling plains. Sayari is not a fenced camp, allowing wildlife to move freely throughout. Inside, the colour palettes are inspired by the patterns in the rocks that stud the grass landscape, with a rich copper being a key accent colour.

“Decorative lighting creates the atmosphere and is part of the design element,” explains Williams-Wynn. “Lighting is an art form in my design work and creates a talking piece. Subtle lighting is used over the library shelves, highlighting the stone walls. The decision behind the decorative lighting choices was to bring in all of the colours used in the design and to introducing texture, leather, wire, string and glass.

Copper was the metal used in the accent detail and this is visible in the bar lighting and torch lights,” she adds.

Known for sourcing only on the continent and using as much locally

014 | PROJECT | ASILI A SAYARI

produced furniture as possible, WilliamsWynne selected large Leather Urchin pendants for the living room from South African lighting studio Highthorn and Sienna copper wall lights and torch lights from Rebel Lighting. In the bar area, dark brown wicker Lambat hanging lights from Weylandts were used along with warm brown string pendants, also from Highthorn, in the dining room.

“We had a large volume to use above the ring beams, so oversized feature pendants created a spectacular installation of decorative lighting,” says Williams-Wynn.

“As with all Asilia projects, the design is rooted in the area in which the camp is situated. In the case of Sayari, I took inspiration from the colourful culture of the Kuria people who call the northern Serengeti their home.”

Asilia has been carbon neutral since 2009 and strives to develop practical ways to further reduce its footprint. The new Sayari continues that tradition by introducing the first solar powered microbrewery in the bush in partnership with Scandinavian start-up, Wayout. The brewery uses solar power to create beer and soft drinks on site, as well as purifying water, which removes the need for plastic bottles and cans in the camp. This not only reduces waste, but reduces the transport footprint.

In anticipation of a desire to travel more consciously post-Covid-19, Asilia has been putting time and energy into slowing down the safari experience, encouraging guests to spend longer in each camp and fly less. This is a response to both the desire to slow down but also lower the traveller’s carbon footprint.

Jeroen Hardwerwijk, Co-Founder and Managing Director comments: "Fifteen years ago, when we were choosing a site for Sayari, there were no roads in the area and no airstrip. We slept in our car at the ranger post. Poaching was rife; you can still see the bullet holes in the walls of the ranger post today. Over the past couple of years, when I landed at Kogatende airstrip and saw the fleets of safari cars I was proud to know that we played a pivotal role in creating a conservation economy there. The presence of tourism helped drastically reduce the bush meat poaching, but it was only successful because we worked hand-in-hand with the local communities, creating benefits for them from the new tourism industry. We will continue working hand-in-hand with local communities during this difficult time to support them and I am delighted we are already welcoming our first guests back on safari in Tanzania and Kenya." www.asiliaafrica.com

Design Details Asilia Africa Sayari Camp, Tanzania, Africa Interior Design & Lighting Design: Caline WilliamsWynn Lighting Specified: Eleven Past, Highthorn, Rebel Lighting, Weylandts, 8 Degrees South

Interior Designer Caline Williams-Wynn is known for her beautiful, exotic wilderness escape designs with Asilia and the new Sayari Camp does not disappoint.

Using locally sourced decorative lighting fixutres, Williams-Wynn has established an elegant and rustic theme to the campsite that combines rich colours and textures inspired by the camp's location and cultural association with the local people of northern Serengetti, who have worked closely with Asilia to preserve the area of outstanding beauty.

Built of harmony The Secto Design lighting collection is designed by the award-winning architect Seppo Koho. The diligent handwork is carried out by highly talented craftsmen in Finland from top-quality local birch wood.

www.sectodesign.fi

016 | PROJECT | RAFFLES HOTEL

Iconic Heritage The Raffles Singapore Hotel re-opened last year after an extensive refurbishment. The Champalimaud Design interiors and Tino Kwan lighting scheme are a delicate layering of modernity, authenticity and refined beauty bringing the historic site to life.

In August 2019, the famous Raffles hotel in Singapore revealed its extensive renovation. With interiors completed by Champalimaud Design and a new lighting scheme by Tino Kwan, Acting Editor Sarah Cullen sits down with Partner and CEO Ed Bakos of Champalimaud and Lighting Designer Tino Kwan, of Tino Kwan Lighting Consultants, to find out more about the magnificent project.

Raffles Hotel Singapore first opened its doors to guests in 1887, the old bungalow-style building offered 10 rooms to tourists visiting the Far East. It quickly established itself as one of the most notable hotels in the region and the name expanded to opening international destinations in the ensuing years. In 1991, the hotel completed a full restoration that lasted two and a half years, which returned the building to its former glory replicating the elegance of its heydays in 1915.

Holding such national importance and international reputation, special attention was required to ensure the preservation of the original colonial architecture was maintained throughout in its latest refurbishment by Champalimaud Design.

The monumental renovation plans began back in 2013 when Katara Hospitality invited Champalimaud to participate in a design competition for the renovation. “They were looking for a design studio to help them update the iconic property with an elevated and contemporary point of view, while also remaining true to its historic roots,� explains Bakos.

Kwan and his team were introduced to the project in 2014 and worked closely with Ed Bakos and interior designer Jon Kastl, also of Champalimaud, throughout the project: “We were invited by Aedas Singapore to be part of the design team, as the team members of this

017

project required extensive experience in listed and historical buildings.

This project took five years to complete from August 2014 to August 2019,” says Kwan.

Throughout the hotel, space usage and flow were re-considered in the public areas to increase social engagement and create an ease of flow.

With a sensibility that is much more contemporary than its previous design iterations, there was an emphasis on maximising scale through the careful curation of custom furniture in sumptuous shapes, ornate screens, locally sourced heritage antiques, and impactful lighting. The reception area and lobby lounge were transformed into an elegant reception and now serves as a gateway to the hotel’s alluring dining spaces: The Tiffin Room, Writer’s Bar, La Dame de Pic, Long Bar and Butcher’s Block. The colours used throughout this area are composed of the original black and white contrasts juxtaposed with caramel,

shades of green, and creamy neutrals. Light floral references and gilded trimming along with a bejewelled chandelier from Preciosa add a layer of refinement to the overall vision.

“The client wanted to maintain its original colonial ambience, tranquil garden setting, classical architecture, and in addition, the new design was required to rejuvenate and inject new life to the hotel,” says Kwan.

“We needed to employ the latest lighting technology, equipment and careful consideration to the lighting installation details in order to minimise the impact to the existing structure in order to achieve our design intent.”

Bakos adds: “Decorative lighting was essential - as important as choosing the other design details like the colour palette or finishes.

Raffles is such a grand hotel, we knew we needed to use impactful lighting to mould each of the spaces we designed, create a sense

018 | PROJECT | RAFFLES HOTEL

of intimacy and to also invoke a feeling within the different spaces depending on what those rooms were used for.

“One of the best examples of how decorative lighting impacted the spaces at Raffles is within the lobby. Our goal with that particular space was to encourage more socialisation. In earlier iterations of Raffles Singapore, the hotel served as a social hub, a place where dignitaries, locals and celebrities would congregate for events, meetings, or to just hang out. We wanted to bring that kind of energy back to the hotel especially in that space,” he adds.

“In some of the most iconic hotels, chandeliers were the centrepiece of such social spaces - they weren’t just jewellery for the ceiling but a way to ground the guests and the location; they were key to creating a sense of place. This is one of the reasons why you’ll find a custom statement Preciosa chandelier in the lobby. We also wanted to create intimate moments within the open plan area. To do that, we used decorative lighting to shape and create additional ‘spaces’.”

Adding to the lobby’s lighting treatment, Kwan explains: “Decorative lights were selected to complement the interior and provide appropriate ambience to each space. The huge chandelier in the main lobby was the signature in the hotel. We worked very closely with the interior designer, manufacturer, and the constructor to ensure the colour temperature and lighting effect were according to our design intent and the motorised chain system for lifting [the chandelier] up

and down for maintenance and cleaning was technically sound.”

Concerning the design inspiration of the bespoke piece, Preciosa tells darc: “The main chandelier was inspired by the lotus flower and craftsmanship and technical ingenuity played a big role in ensuring the chandelier is a work of art. Instead of typical tulip-shaped trimmings, the team hand-blew crystal lotus-shaped flowers. There had never been a chandelier in the lobby before, so we had to ensure a relatively lightweight light due to the building’s structure and the fact there is a skylight above it.

“The nearly four-metre tall and almost five-metre wide chandelier features handblown crystal octagon and almond trimmings in clear and onyx. The vases are handblown crystal with a cut decoration.”

Decorative lighting was also used to full effect in the dining spaces of the hotel. Most notably, La Dame de Pic, the hotel’s signature restaurant, features another custom-designed Preciosa chandelier, featuring polished-brass discs. Surprisingly, the scheme for this restaurant was put together by the Champalimaud team at the 11th hour due to a shift in design direction. “[In] La Dame de Pic, we used lighting to help create a narrative - in this particular case around the chef Anne-Sophie Pic,” explains Bakos. “For the restaurant we designed a custom chandelier composed of polished brass discs of laser cut spades (La Dame de Pic is a play on ‘Queen of Spades’ in French). We also made complementary wall sconces of

020 | PROJECT | RAFFLES HOTEL

similar inspiration as well. Overall the lighting was used to create a soft articulation and to add a subtle drama to the room, complementing the sophistication and refinement of Anne-Sophie’s cuisine.”

Preciosa adds: “We also created two pieces for La Dame de Pic, a contemporary chic restaurant featuring pastel shades and natural decorative elements such as leather and wood. ‘Pic’ in French is a card game and the team took inspiration from the playing cards used to design a central chandelier and decorative wall.

“The chandelier comprises two pieces of satin brass-covered metal discs decorated in a leaf pattern and LED light strips. The wall features similar leaf décor. Six different metal cube designs were used to construct the wall as well as frosted and mirrored plate glass giving it a contemporary edge.”

Elsewhere in the hotel, a Lasvit chandelier is featured in the Writer’s Bar and In Motion architectural lighting was used to provide the functional aspects of the spaces.

“In general, all decorative lighting fixtures were selected to be part of the decorative elements to enhance the interior design concepts while all architectural lighting fixtures help to provide proper illumination to a space and to highlight focuses of interests; such as flower arrangements and art pieces etc.,” explains Kwan.

“It was neither possible nor desirable to install burial types of light fittings into the building, hence in many cases, custom housings were designed to conceal lighting fittings, which could be blended into its architecture as the building is over 100 years old.

“All architectural light fittings were chosen by our company based on their technical performance such as lighting outputs, colour temperatures, colour renderings, beam angles, and dimming capabilities, etc. Whereas the interior designer was responsible for choosing all decorative lighting fittings.

“Afterall, this is an existing and a heritage building where there are lots of limitations and constraints as to the installation method of light fittings on to the building externally or internally,” he adds.

“Most of the solutions were decided on-site as how the conduits were run and light fittings were installed without damaging the structure of the building.

“The standout lighting features perhaps are the burial uplights to highlight the details of the columns in the lobby, of which such lighting design approach was not possible 100 years ago.”

Overall, the end result of the Raffles’ refurbishment is a beautiful harmonious design that brightens and freshens the traditional building, whilst paying respect to its heritage and historic importance in Singapore and the international hotel community.

Reflecting on the project and the results of their design, Bakos adds: “We didn’t face too many challenges when it came to fulfilling the client's wants and desires. From beginning to end, we were all fairly aligned in our vision for the renovation of the hotel. Everything was designed to work harmoniously with one another.

"We were quite pleased - the project didn’t stray from our initial design concepts. The only thing that changed (and actually for the best) was

Ecosystem for Wireless Lighting Control Casambi is a full-featured yet easy-to-use wireless lighting control system suitable for all indoor applications. It’s a perfect fit for all projects – big, small and everything in between.

To learn more visit casambi.com

022 | PROJECT | RAFFELES HOTEL

the inclusion of the La Dame de Pic restaurant in our scope. The restaurant came fairly late in the design process - but it made for a really wonderful addition to the work we did for the client.

“Overall the lighting adds a bit of magic and enchantment to the hotel. It gave each room shape and a character of its own.

“We’ve built a reputation for working within iconic and historic hospitality spaces - however with this hotel there was a huge emotional and historical relationship that Raffles has with the country of Singapore and its visitors. It’s a highly visible hotel. We were being trusted to care for and, in some ways, reshape the country’s most precious gem. That’s a huge responsibility! We were so honoured to be hired to do this job. This was a dream project for our team.”

Looking back on his experience working on this iconic project, Kwan reflects with similar sentiments to Bakos: “We are very pleased with the result of the lighting and this includes the client and the design team. The success of the lighting not only gives the hotel a complete fresh look but also brings back the historical nostalgic and its value. All the decorative lighting aspects were carefully selected together with the design team to ensure the lighting output, colour temperatures and effects would provide the ambience most appropriate to each space.

“We are very pleased with the overall result and the working relationships with the clients and design team and there is nothing we could think of to change it for the better.” www.champalimaud.design www.tinokwan.com

Design Details Raffles Hotel, Singapore Interior Design: Champalimaud Design Lighting Design: Tino Kwan Lighting Consultants Lighting Specified: Delightful, Fortuny, In Motion, Lasvit, Preciosa, Rich Brilliant Willing, To Bid,

The decorative lighting is fundamental to the overall concept of the Raffles Hotel in Singapore. It was important to the designers to use lighting to aid in creating a sense of space throughout as well as encourage places of gathering in public areas, for example under the large Preciosa chandelier in the main lobby. Elsewhere, the decorative lighting was used to create a narrative such as in the dining areas.

Champalimaud used bespoke striking fixtures to add impact and a modern flair to the historic building, tying in the whole interior design concept of creating an "elevated and contemporary point of view, while also remaining true to its historic roots".

studio_darmes darmes.ca

Etat-des-Lieux

Lighting system

024 | CASE STUDY | ATELIER LUXUS

Edges Atelier Luxus

Edges is the most recent collection of switches and sockets presented

by Atelier Luxus. Created by Naci Arel, Managing Director of Atelier Luxus, the collection reflects the studio’s passion for bringing highend, sophisticated products to the market.

Designer Arel has a Master’s degree in Management Sciences from the University of Liège and another Master’s in SME’s strategy and innovation from the University of Maastricht.

He started his career in the switch and socket field by launching Luxonov in 2009 in collaboration with commercial partners.

Atelier Luxus’ passion for beauty and excellence in the art of living gives life to its products. The studio’s drive is to create objects that are unique in design and exceptional in execution.

With its exquisite details, solid precious metals and shaping, the quality of Edges is expressed in both its aesthetic and feel, bringing an

element of luxury to the hand, combining extraordinary craftsmanship with pure design and rich tones.

For the past 25 years, Atelier Luxus has been conceiving designs for electrical devices for some of the most elegant interiors, with the determination to offer extraordinary, superlative and best solutions, and is constantly striving for the perfect balance of forms.

Each Atelier Luxus product is produced from a single sheet of thick, pure brass and offer almost unlimited possibilities of different patinas.

High-precision techniques and micro-machining are used to create the perfect result in assemblage, details in refinement and unicity.

Imagined for luxury hospitality and high-end properties, the Edges collection expresses the emotional and pure aesthetic of a lifestyle rather than the technology they provide. www.atelierluxus.com

026 | CASE STUDY | CASASMBI

Images: Renzo Mazzolini

Chivas Brothers Office Space Casambi

The newly designed office space for Chivas Brothers in Scotland, features a thought-out lighting scheme with controls from Casambi.

The workspace, situated in a historical Edwardian building at 2-4 Blythswood Square, Glasgow, features a high-quality interior design scheme by Graven and lighting design by Atelier Ten. The vision for the fit out was to reflect the style and ethos of the business, providing an exciting, first-rate working environment for staff and visitors, which looks after their health and wellbeing and mirrors the group’s business strategy for the future.

Careful consideration was given to the building’s construction and the Casambi controls components used had to be sympathetic to the original structure. The workspace is centred on delivering a leading facility, encompassing a healthy and inspiring environment while needing to remain flexible to meet future functional requirements.

Casambi became involved with the project after being introduced to

the design team by Atelier Ten with the desire to bring the client a level of lighting controls innovation that ensured the installation of the system was simple in the historic building, as well as guaranteeing ease of use of the lighting interfaces for the end-user. The range from Casambi allowed lighting interface devices to enable TW functionality in multiple light sources.

The luminaire selection was chosen based upon their form and function to assure adequate illuminance was provided to all areas as well as seamlessly enhancing the look and feel of each space, inkeeping with the interior and architectural strategies.

The final installation was well received by the Chivas Brothers and went on to win a British Council of Offices award in Scotland for best Fit Out of Workplace. casambi.com

ARTON PRESENTS KEMBLEFORD PENDANT

026 | PRODUCT 000 FOCUS | M ATERI | STUDIO ALS D'ARMES

Balancing Act The Etat-des-Lieux from Studio d'Armes is an innovative new lighting fixture that allows users to play with varying configurations to create unique lighting installations.

Designed by Alexandre Joncas and Gildas Le Bars in their Canadianbased Studio d’Armes, Etat-des-Lieux is a playful new product for interior architects and designers that allows them to create an infinite variety of configurations by playing with geometry and tension.

“The intentions behind État-des-Lieux is an unconventional and timeless product that can be used as a tool for designers and architects to convey their own personalised skills and solutions. It had to be a modular system that could be configured and modified to adapt to any space,” explains the design duo.

“Etat-des-Lieux is the only lighting system that we know of to feature a wide, flexible, conductive cable. Elegantly finished in matte black, the cable's flexibility enables the spatial designer to create an infinite variety of configurations by playing with geometry and tension.”

They continue: “The design process started around the idea of a strap that would serve as a conductor but also as the suspension system,

which presented in itself many challenges with the extrusion uniformity.

The solution laid by pushing the boundaries of process making and by finding just the right amount of tension for the size of the extrusion with our sight set on functionality and aesthetics.”

Each component has been designed and crafted in the studio, with the wide conductive strap at its core. “[The strap] supports the light modules while supplying them with power, but above all, it allows Etat-des-Lieux to be configured according to the demands of any space it inhabits.

“The glass globe, handblown in Québec into a hand-carved mould, is inspired by the scenic mountains and their reflections in nearby waters.”

The globes are available in clear or frosted finishes and in four colours: transparent, pink, grey and amber, and house the light module made of anodised aluminium and frosted glass.

“The light module is totally versatile: light direction, light temperature (from 2700K to 4000K), lumens and dim-to-warm can be configured.

027

The shape of the glass globe was conceived with geometry on a rotating axis following a pulse line, which gives an organic impression of mountains mirrored on a lake. It is with an automated process of working the scientific glass and working closely with local artisans that we found precision solutions. All the components have been designed and tailored to fit one another to create not only a harmonious device but also an efficient assembly line.

“Etat-des-Lieux can be repaired and adapted to another space by easily replacing or adding components as most of it is locally made with durable materials.”

The fixture, taking 20 months to complete its design journey, is an avantgarde and timeless product that, as described by Joncas and Le Bars, is a “polyvalent” light that brings “fascination and innovation” together. “État-des-Lieux really embodies the view we wanted to share by bringing quality of light and where components were individually developed with

versatility in mind. Thus, resulting in an almost organically organised assembly giving way to an efficient system allowing all contributors to express their craft throughout the delivery of the end result: a light emitting object fixed in space.”

Alexandre Joncas and Gildas Le Bars set up their design studio in Canada to create enigmatic and modern light structures with a singular poetic approach. Nestled in the lush landscape of Canada’s mountains, d’Armes boasts a tight-knit team of professionals, designers and craftspeople thoughtfully weaving in tandem refined, distinct and timeless designs. Extensive research, fine engineering and experimentation in materiality, tension, light and space deliver illuminated sculptural pieces featuring disparate elements that inspire unique emotional responses. www.darmes.ca

25 Years Of NEOZ CORDLESS LAMPS

5

Modern Twist Tekna's Kembleford collection has been expanded to create a full family of fixtures that bring a modern yet classic addition to the company's portfolio.

Belgium-based lighting manufacturer Tekna has expanded The Kembleford fixture, designed by Kevin De Koning, into a full family collection that includes a pendant, ceiling, wall fixture and table version that is due to come to the market soon. The Kembleford collection is a new, modern and more bold addition to Tekna’s lighting range but still holds true to the manufacturer's firmly held core values and materials seen in previous lines.

De Koning sat down with darc to discuss the design process and inspiration behind the collection. “The inspiration came partly from another of our fixtures, the Mercer. What inspired me was the way the light reflected from all the individual glass rods. I knew that I wanted to use this effect and started sketching until the Kembleford came to be. The design feels both new and familiar at the same time,” says the in-house designer.

Speaking of the concept behind the Kembleford collection, De Koning

adds how he likes the “contrast between heavy and light” and was keen to use this in the design. “The main body of the pendant is constructed from a special glass tube. On each end are two brass caps. Instead of using stamped sheet metal for these caps, we had solid brass blocks machined,” he says. “This, combined with the glass, gives everything a qualitative, sturdy but also heavy look and feel. This was exactly what I wanted. To contrast the visual weight, I used thin hoops of brass in the middle that look very delicate.”

In order to create a seamless design, one of the main challenges De Koning faced was finding a way to hide all of the securing elements, such as screws and bolts.

“Everything would be a thousand times easier if they were visible.

But not having any visible bolts makes the fixture look a million times better,” he says. “It’s this extra effort and attention to detail that I put in my designs that makes them impressive, both far away and close up.

029 | M ATERI ALS FOCUS | KIMBLEFORD

Kevin De Koning, Designer

030 | M ATERI ALS FOCUS | KIMBLEFORD

031

Traditional materials Kevin De Koning, in-house designer for Tekna, took inspiration from previous Tekna collections to create the new, modern, yet familiar Kimbleford collection. Using brass and glass materials was an important choice for De Koning as the pieces are designed to last and present a sophisticated finish.

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.

032 | M ATERI ALS FOCUS | KIMBLEFORD

“The materials used are mainly glass and brass. We work with skilled craftsmen and women that have been working with brass their whole lives. They have a passion that they put in their work and in many ways this passion can be felt in the finished piece. This is why I will always choose brass over any plastic.

“I would say the combination of glass and brass is a successful one.

Both these materials work together nicely, they stand for quality and are made to last. Along the way, the design changed very little. Refinements were added but the fixture never strayed too much from the original sketch. Very often in cars the finished product only faintly resembles the original concept. Much of the magic gets lost when the concept has completed its journey to a production model – but not here. Design comes first; if a problem has to be solved, it is solved in a way that doesn’t affect the design. When it comes to technology, we have kept it simple. We design our lights to be timeless. By adding unnecessary technology, it would date this fixture enormously, think about how it would be 20 years from now? By keeping it simple we can ensure this fixture ages gracefully.”

Upon reflection, De Koning describes working with light as both “the single most difficult thing and the most rewarding thing I have ever done”.

“The Kembleford brings class, quality, elegance and of course a beautiful light to any room. It’s not out of place over a dining table, a desk or perhaps even a grand piano. But really the possibilities are limitless.

“Much of what makes this pendant light special is in the smallest of details you can only fully appreciate in real life.” tekna.be

The Kembleford collection is a new, modern and more bold addition to Tekna’s lighting range but still holds true to the brand's firmly held core values and materials seen in previous lines.

De Koning wanted to create a classic timeless piece that used traditional materials such as glass and brass that would ensure the fixtures would be built to last.

lt]ATELIER LUXUS

A NEW SUBTLE & SENSUAL FEEL

Edges of Luxus, the new line of switches and sockets, brings luxury and a palace-like experience to the user, combining Atelier Luxus’ trademark qualities of extraordinary craftsmanship with pure design and rich tones. Its exquisite details, solid precious metals and unrivalled shaping, the quality is expressed in both its aesthetic and feel.

More information at www.atelierluxus.com

Atelier Luxus • 9 Rue de la Baronnerie 4920 Harze, BELGIUM• Tel. +32 (0) 4 344 44 51 • info@atelierluxus.com www.atelierluxus.com

Portable Precision darc’s guide to some of the latest cordless decorative lighting products.

Panthella Portable Louis Poulsen

034 | CORDLESS LIGHTING FOCUS

The Panthella Portable is an exact downscaled acrylic version of the original Panthella lamp that is battery-powered and therefore easy to carry around, creating ambience with a Nordic twist.

The miniature Panthella provides any space with a harmonious and glare-free downward light, enabling you to enjoy Panton’s design out in the open too. It creates an overall more delicate light as the transparency of the opal shade and the reflection of the downward beam on the inner side of the shade provides a gentle glow and expression. Panthella Portable is available in opal acrylic (Ø160) charged using USB. www.louispoulsen.com

Tribeca USB - AlmaLight Luna Take Away In-es.artdesign Luna Take Away is a fun yet elegant product featuring a carry handle, available in different colours (white, silver, gold, bronze, magenta, blue, orange, red, and turquoise). This rechargeable battery-powered lamp may be carried around either indoors or outdoors and has three different brightness settings. Luna Take Away is made from a material called Nebulite by the designer, which is a mix of resin and fibers, created to resemble the moon and its infinite mysteries by reproducing its luminescent and irregular surface.

The lamp resembles a miniature moon (35cm diameter), and with its romantic allure means it is perfect for creating a poetic and romantic atmosphere. www.in-es.com

Alma Light presents Tribeca USB, an extension of the Tribeca collection, with its characteristic spherical alabaster lampshade but this time turning it into a portable autonomous luminaire, which allows for the touch of warmth and elegance that transmits the alabaster stone to any corner, either indoor or outdoor, thanks to its IP45 protection. This stone, which comes from national quarries and has a great tradition in Spain, gives each screen a unique identity, with white and grayish veins, sometimes with some fascinating earthy hue and a smooth translucency. Specially designed to enhance tables and terraces of stylish restaurants. almalight.com

Task - Faro Task is an outdoor portable light with LED technology. It has a fun design that is reminiscent of a mushroom and has a leather handle to facilitate its transportation. The light, which is projected indirectly, is warm and can be regulated in three intensities. As it is portable, it is recharged with a mini USB cable. faro.es

Hazel - J. Adams & Co. Originally in the form of a pendant, the Hazel floor lamp now comes as a portable LED light source. Inspired by a traditional candlelit lantern, the Hazel is made in brass by hand by a team of craftspeople at its factory based in Birmingham. It has a lithium ion battery, USB charging port, touch control, and warm white LED module. In combination with the traditional making techniques that the team use, they utilised their CNC milling machines to create the aluminium heatsink and housings for the light source and battery. As well as the clear glass version, a reeded glass and a frosted glass version are available. www.jadamsandco.com

Apex - Neoz

Last Order - Flos Last Order is Flos’ latest product - a small, rechargable, cordless table lamp designed by Michael Anastassiades. The indoor version is available with a satin copper or brass top, and the outdoor version comes with a polished stainless steel or green opal top. Last Order was originally designed

by Anastassiades for the tables in the Four Seasons restaurant in New York and is now part of Flos’ decorative collection. flos.com

035

The body of Apex is precision-milled solid brass or aluminium alloy and joined via a clear acrylic machined tube to an internal injection moulded form. It features Neoz’s tried and tested cordless lamp control unit with a commercial-ready recharging docking system. The lamps are fitted with custom-made slim profile disc LEDs to provide dimmable 2600K, 94+ CRI, 100 Lumens and illumination, and are designed to give a direct, glare-free downlight and soft glow on the internal metallic cone.

“The Apex cordless lamp has been designed to provide warm ambient task lighting for hospitality and home environments. Its compact size is important for restaurant tables where space is at a premium and the lamp is the central source of illumination,” explain designers Peter Ellis and Gabriel Tam. www.neoz.com.au

036 | ON SHOW | DARC ROOM

[d]arc room livestream Review

Held over three days from 16-18 September, this year’s [d]arc room looked very different to previous editions of the event. While we hoped to return to the Old Truman Brewery for the fourth edition of the conference, created by [d]arc media in collaboration with Light Collective, the continuing Covid-19 pandemic meant that this was sadly not possible.

However, as the old saying goes, “the show must go on” and although it was a huge shame to cancel the physical event in London, we were thrilled to be given the opportunity to bring the event online to everyone as [d]arc room livestream.

By moving the show to an online platform, it enabled us to open it out to all four corners of the globe and to include speakers from a much wider geographical range than ever before, creating a truly worldwide event. [d]arc room livestream featured 44 presentations across two streams over the three days, curated by Light Collective, alongside three stellar keynote presentations from Olympic Ceremony lighting designer Durham Marenghi, UNStudio’s Filippo Lodi, and light artist Aleksandra Stratimirovic. The conference programme covered a vast array of

topics, from project case studies, professional research and inspiring stories, to pressing socio-political concerns, industry predicitions, and even a guided group meditation session - all under the overarching theme of light.

Speakers that participated in the event included: Gabriel Chiave (Marcel Wanders Studio); Rikus De Kock (Illuminate Lighting Design); Aticha Padungruengkit (Seam Design); Kaoru Mende (LPA); Monica Luz Lobo (LDStudio); Carla Wilkins (Lichtvision); Dan Lister (Arup); Barbara Horton (HLB); Edward Bartholemew (Bartholemew Lighting Design); Claudia Paz; Victor Palacio (Ideas en Luz); Sophya Acosta; Sakina Dugawaller-Moeller (Light.Func); Yah Li Toh (Light Collab); Dr. Kit Cuttle; Regina Santos (Godwin Austen Johnson); Nathalie Rozot (Phoscope); Brett Andersen (Focus Lighting); Francesca Bastianini (Sighte Studio); Katia Kolovea (Archifos); Richard Taylor (Graphic Strategy); Ruth Kelly Waskett (Hoare Lea); Annukka Larsen (WSP Finland); Lisa Marchesi (mldlab); Akari-Lisa Ishii (I.C.O.N.); Martina Frattura (White Pure); Ta-Wei Lin (CMA); Martina Alagna (Nulty); Paola Jose (SOMBRA); and Asst. Prof. Dr. Karolina Zielinska-Dabkowska, among many others. Alongside the stacked speaker programme,

event, and the success of [d]arc room livestream has vindicated that decision.

“To our attendees... what can I say? Over 1,000 of you have supported us by actively participating in the conference, both by attending sessions and by using the platform to network. I am genuinely blown away by the attendance figures from the four corners of the globe and I want you to know that all of us at [d]arc media truly appreciate it. I love the lighting community!

“To our speakers, thank you so much for giving up your time to give us inspirational and educational content from all over the world. To our sponsors, without the forward-thinking attitude of you all, there would have been no event in the first place. To our supporters, to the BIID, IALD, ILP, SLL and Women in Lighting, and a special mention to Eve Gaut from Parrot PR and Marketing, thank you for spreading the word and for being so enthusiastic.

“To our collaborators, to Light Collective and Streeam, thanks so much for your effort behind the scenes (and in front of the camera) to make this event such a success. Let’s do it again sometime!”

All presentations are still available to view online. Visit the [d]arc room website for more information. www.darcroom.com

037

attendees could also view the latest products and innovations from our forward-thinking event sponsors. Divided into Gold, Silver and Bronze levels, sponsors included: RCL, LensVector, formalighting, kreon, ELR, Archilume, Feelux, Ligman, Applelec, ETI, Lumino, Orluna, LSE and Radiant Architectural Lighting. Alongside their Exhibitor spaces, RCL and LensVector also held a special workshop, showcasing the capabilities of their remote controlled technology (this workshop is now available to view on arc tv).

The speaker programme began at different times each day, to reflect the different regions of both the speakers and the audience. Day One was focused on the East, covering Australasia and the Middle East; Day Two was more Europe and UK-centric, while Day Three had an emphasis on speakers from Northern, Central and South America.

While the online event was accessible to viewers around the world, the [d]arc media team was amazed, honoured and humbled by the number of attendees that tuned in, with more than 1,000 people (1,086 to be exact) from around the world registering for the event.

Paul James, Managing Director of [d]arc media, said: “I would like to say a huge thank you to everyone that participated in [d]arc room livestream.

“We thought long and hard about whether we should organise a fully integrated virtual event following the cancellation of the physical

Sleep + Eat Preview 17-19 November, Virtual

038 | ON SHOW | SLEEP + EAT PREVIEW

In a virtual re-imagining of the show’s perennial favourite ‘Sleep and Eat Sets’, international hotel brands, architects and designers will collaborate to create Hotel 2035; a virtual concept hotel. Visitors are invited to immerse themselves in a 360° experience and explore the

interactive tour of Hotel 2035. With the show just weeks away, this year’s designers share a sneak peek at the innovative lighting solutions they’ve chosen for their future-gazing concept rooms. www.sleepandeatevent.com

1

2

3

4

1. Carronade Le Klint

2. Arena Panzeri

Sourced from Holloways of Ludlow, AD Associates and IHG will be using Le Klint’s stylish Carronade pendant in its futuristic guest room set. Manufactured in matte black painted steel, brass and solid American walnut, designer Markus Johansson based his inspiration for the model on 17th century ship canons. www.leklint.com

InsideOut, creating the Networking Lounge for Hotel 2035, will be incorporating Panzeri Arena to its design. Sourced from RO Services, the Panzeri Arena is a suspension lamp in extruded curved aluminium, with opal polycarbonate screen and adjustable spots.

Available in white, black, titanium, bronze and matte brass finishes. panzeri.it

3. Endless Straight – 3 Units Jason Miller

4. Revolve Bert Frank

Atellior, creating the Lounge Bar of Hotel 2035, will be featuring Jason Miller’s Endless Straight in its future-gazing concept space.

Now available from Roll & Hill, the Endless collection takes its inspiration from 1970s super-graphics. Cylindrical sections and corner units create an appearance of retro minimalist chic and timeless style. jasonmiller.us

AD Associates and IHG will also be incorporating Bert Frank’s Revolve Floor Lamp (in blue) to its Hotel 2035 guest room set. A sleek, minimalist design, the floor lamp comprises an overhanging matte-lacquered spun metal shade, combined with a handbrushed brass stand and solid brass base. bertfrank.co.uk

photo: Andrea Rinaldi

CARBON LIGHT I DESIGN ASOBI

I WWW.TOKIOTOKIO.COM

UK Design Report Taking a closer look at the design community from the United Kingdom (also home of darc magazine), we have an introductory comment from product designer Michael Anastassiades as well as a profile on the current President of the British Institute of Interior Design, Lester Bennett, followed by an assortment of lighting design case studies from across the region.

Skye Pendant

SCULPTURAL, EDGY DESIGNS WITH AN ORIGINAL POINT OF VIEW Available to the 220-240v market through Elstead Lighting

400+ stunning new products available in our Autumn launch Large stock for excellent service +44 (0)1420 82377 | enquiries@elsteadlighting.com | www.elsteadlighting.com

043

Light Artist Acting Editor Sarah Cullen sat down with UK-based product designer Michael Anastassiades for an insight into the UK lighting product design industry and how it has evolved during his career.

Starting his career in product design late in the game for a designer, Anastassiades has proven that all you need is determination and passion to be able to create a successful story for yourself. “I always wanted to do something creative ever since I was a kid, but if you were to ask me when I finished school, I always wanted to be an artist. But, unfortunately, my family didn’t support that idea because they thought the chances of being a failed artist are much higher than any other profession,” Anastassiades reflects.

“So, I needed to get a job and it was easier to get a job as an engineer than as an artist. I went to engineering school at Imperial College and when I finished my studies I decided that – okay – I got what I needed and now I want to try something else, and that was when I went to the Royal College to study a Master’s in Design; this changed everything for me. I still had a lot of work to do. I was feeling like the odd one out, everyone else on my course had at least four more years of design education.”

It was at this time Anastassiades established his studio in 2007, where

Image: Jackie Chan

he made the decision to pursue design for industry and explore its relationship further.

“Sometimes, when you need to prove something it makes you work harder rather than just simply getting exactly what you want all the time,” he tells darc. “There will be a point where things are so easy in your life that you don’t even have to work hard for them.”

It was also at this time that the UK lighting industry was shifting into a realm of new technology with the phasing out of incandescent lighting and the introduction of LED. “I felt it was a little bit unfair, the timing, having invested so much, it was a little bit too much of a radical sort of move that they discontinued the lamps before they even had any quality replacements. The quality of illumination of what was coming out was really bad and what was actually being killed was the whole poetry of light, in its temperature and its glow, everything about it was really beautiful,” he says. “Companies started becoming more proactive in trying to find a replacement of all these lost qualities. And later on, when I started working with Flos in 2011, I realised that working with

044 | DESIGN REPORT | UK

Image: Santi Caleca

a big manufacturer meant that the opportunities to actually produce your own lamp, in the sense of specifying your own LED, was possible to produce in larger quantities. So, I started becoming a little bit more hopeful as to how quickly things could improve.”

When considering styles or themes that may identify the UK design market, Anastassiades determines the fact the region is so multicultural and multi-influenced by a variety of designers from a range of backgrounds is what makes UK design what it is. “British design doesn’t really exist. The fact that there’s a lot of international designers that are based in the UK, makes it difficult to pin down what British design is. And, especially in lighting, I think the lighting industry, in terms of designers, is defined by the people that actually produce lighting.

“You could say in places like New York there was a strong lighting scene that existed, in the sense of style of lighting that they were producing. Designers like Lindsey Adelman, Jason Miller Bec Brittain, David Wicks etc. somehow all came out around the same time and were doing very similar things, influencing each other and coming up with a language. It was quite specific that you could label it as New York lighting design. But I don’t think anything similar exists in Britain.”

Looking at current trends in the UK, he identifies brass and spheres as typical recurring elements in designs. “I started using brass 15 years ago in a lot of my fixtures and I remember receiving very negative comments from people back then about why I was using brass - it’s an old-fashioned material. And I said, how can you call a material old fashioned? A material’s a material and there’s beauty in every material - whether it’s chrome, in a sense of its finish, or a brass or another finish, it’s all material. So, the idea of me using brass at the time was because it had this beautiful warmth and the colour was reflecting light in a very beautiful way. But now it seems that all of a sudden, the whole market is full of brass objects, it’s translated into absolutely every single field. It’s interesting how people get influenced and how they change their minds as well, which really surprised me.

Image: Jonathan Banks

Image: Frank Huelsboemer

“I don’t believe in things being phased out because my whole approach and philosophy in design is about timelessness. The idea of making a material out of fashion or out of trend is irrelevant to me. If you look at all those beautiful plastics and especially in Scandinavia where they use brass a lot and iron mongering, all this stuff is still relevant today and looks incredibly contemporary, even if they were designed or made 60 - 70 years ago.”

When looking at the future of design in the UK, much like most sectors internationally, the market has inevitably been impacted by the Covid-19 pandemic. “The future depends on so many different things. On the economy and the way the world is going – the whole Covid crisis – it’s something that you never could have predicted, so anything can change, but I really believe that people will always have a need for physical things.”

And, like the majority of us, Anastassiades also experienced the sudden jolt of lockown in the UK and had to make adjustments in his personal and professional life.

“It was challenging I guess, like for everybody. But at the same time, I think quite cathartic. I mean, we had to learn new ways of working, so it was very educational. We have to shed a few fixations that we held in the past about how things needed to be, and we all of a sudden became flexible and more receptive. But we have to adapt and learn new ways of working. As a creative, I always like to make things physically, so in the beginning I was suffering because being at home and not having the right tools or the space for things was very frustrating.

“But it did make me question a lot of things in terms of my role and the way I do things. I think it naturally raises questions - do we really need so much around us – constantly designing more and more? And I think it even made me feel stronger and more focused about my vision in a sense of the designer really raising those questions.” michaelanastassiades.com

046 | DESIGN REPORT | UK

Designer Profile Lester Bennett

and for several years as assessor and student mentor. His key objectives as President are to work closely with the BIID Council, committees, and other groups within the design community, nationally and internationally, and to continue to raise the profile of the BIID. When asked what the evolution of interior design looked like in the UK, Bennett comments: “From the long-term trend of minimalist and modernist interiors with their restrained colours and, at times, slightly sterile and formalised arrangements, the last few years have seen a movement to a more eclectic, layered and colourful approach. Although this is a trend in itself, it is without the direct or tightly channelled constraints of the former; any direction or approach can be followed, allowing a greater degree of expression for both the designer and the client.

“Quirky pieces, one-offs, retro and antique, are mixed with colourful and textured fabrics; this, along with contemporary paintings and sculpture creates a much more personal, relaxed but vibrant and interesting environment.

“Also, there is now much greater concern over sustainability with designers increasingly sourcing materials and craftspeople locally, which often leads to a heightened sense of place and a more eclectic result.”

Looking specifically at the role of lighting in the interiors industry, he comments: “The recent developments in LED in terms of lenses/reflectors, colour rendition, colour temperatures and control systems, have allowed greater flexibility and lower running costs. Architectural LED lighting can be utilised to enhance spaces in a much greater way than ever before for ambient, task and accent lighting, and as a result of the diminishing sizes of the fittings, the light sources are often discreetly hidden. This has led to opportunities for decorative lighting to be just that, decorative. As there is no longer a requirement for these wall or ceiling fixtures to provide ambient light, they can be created to twin with the more eclectic interior schemes to provide exciting statement pieces and light sculptures.”

The latest effort the BIID is working on comes as a result of the long overdue, global conversation about diversity and inclusion in society in 2020. The BIID is keen to engage with the interior design community and better understand the issue specifically in the interior design profession.

There is currently no research into diversity in the UK interior design sector, so the BIID has launched a new survey to gain a detailed picture of the current landscape and drive valuable new insights. The Institute is asking all professional interior designers, junior and senior, employees and practice owners, to complete the ‘Diversity in Interior Design’ survey to help the BIID understand more about the make-up of the profession.

The survey forms an important part of the BIID’s recently launched action plan into diversity and inclusion. The initial plan includes diversity and inclusion specific training content in the BIID Continuing Professional Development (CPD) calendar and the development of an Equality, Diversity and Inclusion (EDI) Strategy, which will lay out specific areas for long term action.

This will be included as part of the BIID 2021-2024 Strategic Plan that will be published in March 2021. These initiatives will be overseen by a new BIID Diversity and Inclusion Committee. biid.org.uk

047

UK’s Lester Bennett, President of the British Institute of Interior Design sits down with Acting Editor Sarah Cullen to discuss the evolution of interior design in the UK, current trends and his work with the BIID to promote UK design to the international community.

Established in 1965, the British Institute of Interior Design is the UK’s only professional institute for interior designers.

The Institute sets national professional standards, promotes learning and debate, and champions the value of interior design on the national and international stage.

The organisation was originally founded as the Interior Decorators and Designers Association (IDDA). In 2001, the IDDA was amalgamated with the globally recognised International Interior Design Association UK Chapter (IIDA), to form the British Interior Design Association (BIDA).

The Secretary of State recognised the BIDA as the pre-eminent body in the field in 2009 and granted Institute status, so it became the British Institute of Interior Design. In 2015, the BIID celebrated 50 years as an organisation dedicated to the interior design profession, making it the UK’s oldest professional body representing solely interior designers.

In the UK, the BIID is a full member of the Construction Industry Council and, as such, is part of Government consultations to advise on new policy and legislation. Internationally, the BIID is represented on the board of the International Federation of Interior Architects and Designers. darc’s Acting Editor, Sarah Cullen, sat down with current BIID President, Lester Bennett, to find out more about the history of the industry and current trends occurring in UK interiors.

Bennett is an independent design consultant with 40 years of design experience. His career has included founding his own practice, working as a design director for a leading residential developer and as a founding partner of Folio Design LLP. Bennett specialises in residential interior architecture and design, whilst also having a wide range of experience in commercial and retail design, industrial, exhibition and product design, with a client list including Mobil, Alliance and Leicester, Celador Productions, Morgan du toi, Elstree Studios, Taylor Walker Breweries, and Handles and Fittings (HAF), with products still in production after nearly 30 years.

Prior to setting up Folio Design LLP, Bennett was Design Director at Westcity Wates/Westcity Developers, delivering prestigious and iconic London residential schemes such as West End Quay, The Phillimores (now Academy Gardens), Pavilion Apartments and Phillimore Square (now Thornwood Gardens). His concept work and his understanding of high end, and often cuttingedge, residential design earned these schemes national and international awards.

In addition to his work in contemporary design, Bennett has studied, and lectured on, the history of the English House and is well versed in period interiors, informing his work on many historic and listed buildings.

Bennett also has a thorough understanding of cabinet making and site construction techniques, materials and processes, and is a passionate flag waver for the art of hand drawing.

Other than the multifaceted aspects of art and design, his passions are his family, music (he is an accomplished jazz drummer) and the countryside.

Bennett previously served on the BIID Professional Practice Committee as Chair, a term on the Membership Committee

048 | DESIGN REPORT | UK

Image: Jenner Egberts

Tacoma Astro

Consistent with Astro’s creative ethos – that good design demands simplicity – the latest AW20 collection delivers a curated selection of captivating luminaires.

Using innovative materials to convey light seamlessly within a space, the new collection celebrates UK design and Astro’s craftsmanship, blending precise and delicate detailing with desirable metallic finishes in a collection that is carefully considered and perfectly proportioned.

Tacoma, the latest design to launch as part of AW20, leads the British name in a more decorative direction. Taking inspiration from gothic-style architecture Tacoma, marries ribbed glass globes and a statuesque metal stem to deliver a dramatic wash of light within both contemporary and traditional settings.

Senior Designer Riley Sanders discusses the inspiration behind the Tacoma and his design influences with darc.

“When approaching new designs, myself and James our Design Director, take influence from the world around us, creating products we truly admire and would have in our own homes. With Tacoma, it was an opportunity to explore the playful nature of light and how it

can create mood through the use of materials,” he says. “A balance of proportions, I focused heavily on the development of the glass, looking at caustics and the shadows each shade created to achieve equilibrium between decorative shadow and functional light. A hugely versatile design, Tacoma has a distinct mid-century influence characterised by its majestic metallic structure that stands proud within any space.”

Standard product development processes typically last around 12 months at Astro, from the preliminary brief to the concept stage to its final launch. Sanders’ explains further how the development evolved with Tacoma: “The process felt seamless. It was a design that organically came together in just three months and one that felt instantly established.

“However, often the simplest of designs can be the most difficult to achieve, so having a good understanding of the manufacturing and engineering processes is key in knowing if, and how a design can be achieved. With Tacoma, it was working with our talented glassblowers, having a solid understanding of the technique, and

049

working closely with them to achieve the perfect aesthetics of the ribbed glass. It was a process of refinement, which could have impacted the timing of the product’s production, but we wanted to achieve well-defined scalloping of the glass while ensuring it created the perfect light pattern across the wall.

“At Astro, there is thoughtful design within every detail, and this is certainly reflected in the Tacoma. Soft edges and a crisp, well-defined corner radius give the range its unique aluminium die-cast body, a characteristic that can only be achieved through quality diecasting.”

The IP44 rated Tacoma is available on a variety of finishes including matt black, antique brass, and polished chrome. There is also an assortment of mouthblown glass finishes to choose from, including plain white, clear, ribbed, and smoked glass, to give the product modernity and versatility.

A conscious choice was made to use replaceable G9 LEDs to ensure the product has longevity. Should the light source fail, there is the option to replace the LED light source so the product lasts for many more years.

Sanders’ adds: “For me, Tacoma encapsulates visual elegance and modern engineering in a beautiful and certainly timeless design.

“Replaceable LED lamps continue to improve greatly in efficiency since they first arrived on the market and as a business, we have a particular focus on refining the electrical components used within all products, so they have a more efficient and extended lifetime,” says Sanders.

“We initially created Tacoma for hospitality and high-end residential bathrooms. However, throughout the development process, we quickly realised that the magic of Tacoma is its ability to sit comfortably within a variety of settings. Whether adorning a hotel guest room, reception area, dining space, or powder room, its combination of finishes and majestic stature make it a complementary icon within any space.

“When I consider the core elements of Tacoma’s design, the idea of a textured glass globe isn’t new, but Tacoma is a unique interpretation of a decorative wall light that elevates a classic design for the modernday. Its presence has a timeless simplicity, retaining Astro’s distinctive charm and quality engineering in a beautiful and enduring design.” www.astrolighting.com

050 | DESIGN REPORT | UK

The Elder Dernier & Hamlyn

Bespoke lighting manufacturer Dernier & Hamlyn worked with interior architecture and design firm Fettle in illuminating The Elder, a new restaurant in Bath that has a focus on authentic, honest and timeless British food.

Housed in what was previously four Georgian townhouses, one of the main pillars of The Elder’s design narrative is the building’s history. As such, Fettle specified lighting made by Dernier & Hamlyn to reflect this. Fittings handcrafted in the manufacturer’s factory included period-appropriate references such as clear globe glass shades for the chandeliers, ribbed glass for the bar lights and metalwork columns and frames finished by hand in antique brass. Dernier & Hamlyn made a variety of lighting fixtures throughout The Elder, including seven chandeliers, as well as screen and bar lights.

Andy Goodwin, co-founder of Fettle, tells darc: “We have worked with Dernier & Hamlyn on projects before and have always been impressed by the quality of the products the team manufactures.

“The lighting for The Elder met our high expectations and the client is delighted with how the products have turned out and how the design of these provides a playful nod to the building’s history.” www.dernier-hamlyn.com

WE’RE LOOKING AT THINGS A LITTLE DIFFERENTLY

+44 (0)20 8760 0900

info@dernier-hamlyn.com​ www.dernier-hamlyn.com

052 | DESIGN REPORT | UK

Image: Tommaso Sartori

Coordinates Flos

A dramatic lighting collection originally designed by Michael Anastassiades for New York’s legendary Four Seasons restaurant, Coordinates features a series of interlocking linear LED luminaires that take their formal inspiration from the mathematical precision of the Cartesian grid, illuminated and expanded to three brilliant dimensions.

Coordinates comes in a broad array of set configurations, including four suspended chandeliers of different sizes and three ceilingmounted luminaires, available in two lengths to suit both standard and high ceilings. The collection also features a repeatable module that can be suspended or ceiling-mounted, ideally suited to impressive, large-scale installations as often featured in contract projects.

The range is completed by a vertical floor lamp model featuring a simple round base and two lighting bars, which can be set at the preferred beam angle during assembly.

Coordinates is made from extruded aluminium with a sophisticated anodised champagne finish, and an opal-white platinic silicone diffuser. Exact, elegant, and easily adaptable, this collection offers a flexible yet formally rigorous solution for a diverse range of indoor environments, providing maximum impact with a minimal touch.

“Coordinates is a lighting system consisting of horizontal and

vertical strip lights that form illuminated grid-like structures of various complexities. The system can be easily adapted for different environments of varying scale,” says Michael Anastassiades.

“This design evolved from a commission for the feature lighting of the main dining area at New York City’s historic Four Seasons restaurant, which relocated and reopened in 2018 with the interiors designed by São Paolo-based architect Isay Weinfeld.

“In addition to the bespoke solutions, the Coordinates standard collection includes a series of pared down configurations of chandeliers that can be used in any setting.

“Something I like to explore in a lot of my Flos products, which started with String Lights, is that sense of the gesture of handing creativity back to the user. In the Coordinates, it’s this idea that you can actually create all these compositions by combining different elements and creating larger units that suit your own needs. This is what people like; the opportunity to personalise something to make it theirs.” flos.com

Coordinates

design Michael Anastassiades for Flos Photo: Tommaso Sartori A dramatic lighting collection originally designed by Michael Anastassiades for New York’s legendary Four Seasons restaurant, Coordinates features a series of interlocking linear LED luminaires of various complexities that take their formal inspiration from the mathematical precision of the Cartesian grid, illuminated and expanded to three brilliant dimensions.

Coordinates comes in a broad array of set configurations of different sizes that can be used in any setting, including four suspended chandeliers, three ceiling-mounted luminaires, available in two lengths to suit both standard and high ceilings, and a vertical floor lamp model, featuring a simple round base and two lighting bars which can be set at the preferred beam angle. The range is completed by a repeatable module, ideally suited to impressive, large-scale installations and contract projects.

For more information Atrium Ltd 020 7681 9933 | sales@atrium.ltd.uk

Darc Magazine.indd 2

27/10/20 12:31

054 | DESIGN REPORT | UK

Kuulas Cameron Design House

Exploring a fusion of sculpture and light, the Kuulas chandelier is the latest addition to London-based bespoke lighting company Cameron Design House’s collection of designs.

The piece was born from a vision by Creative Director Ian Cameron, who wanted to celebrate a union of glass, brass and light. “I have always enjoyed mixing materials together to create something truly special,” Cameron tells darc. “The Kuulas is a sculptural showcase of glass, metal and light working in synergy together.”

Cameron’s focus was to create a statement piece inspired by sculpture. He wanted the piece to look beautiful and dramatic whether on or off.

“The striking nature of this design draws attention in any space,” he continues. “We always say to our clients how important it is to consider the space first before choosing a piece. The Kuulas chandelier lends itself well to spaces with high ceilings, whether it be installed as a centrepiece in a beautiful entrance hall, or hung above a bar in an entertaining area, the Kuulas is bound to make a statement.”

The majority of Cameron Design House’s designs are made at its St John’s Wood studio, however the glass pearls are handblown by a team of artisans in the Czech Republic. Once the glass arrives in the Cameron Design House workshop, Cameron and his team of craftspeople work together to bring each piece to life.

Cameron Design House originally launched the piece around a year ago during London Design Festival in one configuration. However, the studio has now evolved the design into three different size variations; the Kuulas is now available with 25, 55 or 125 glass pearls.

The glass pearls are available in a curated selection of 14 colour finishes, including slate, cashmere, powder green, electric blue and plum, among others. Each glass pearl is individually handblown by artisans to the required size in the client’s chosen finish. Due to the handmade nature of manufacturing used to make these glass pearls, the colour varies depending on the sizing and illumination. www.camerondesignhouse.com

KUULAS

Bespoke Sculptural Lighting Handmade In London | Delivering Worldwide www.camerondesignhouse.com

056 | DESIGN REPORT | UK

Pillar Light Original BTC

The Pillar Light is one of the lighting world’s most elegant silhouettes, and has been part of heritage British manufacturer Davey Lighting’s repertoire for nearly 100 years. Acquired by The Original BTC Group in 2010 in order to safeguard its heritage, Davey Lighting has produced Pillar lights since the 1920s. “Originally intended as a ship’s saloon light, the Pillar’s of-the-moment aesthetic belies its age and place in lighting design history,” says Original BTC Director Charlie Bowles.

Today, Davey Lighting’s bathroom and outdoor-safe Pillar lights are manufactured using materials and processing techniques unchanged for a century. Individual extruded glass rods of the finest clarity and brilliance are hand-cut to various lengths at English Antique Glass, The Original BTC Group’s Birmingham glassworks, are then set within a choice of weathered brass, polished brass, or chrome plated casings, mounted on matching backplates and housed with an integral

LED bulb.

Sensitive updates include the Pillar Offset Wall light, introduced to further showcase Davey’s finest quality metalwork.

The lights can be found in hotels, bars and restaurants across the globe, from the Firmdale Group hotels in the UK and US to The Hoxton, Paris.

“While reeded or fluted glass is having a moment in the design world, its popularity dates back to the Art Deco period when our marine lighting brand, Davey, originally launched its Pillar lights,” says Charlie Bowles.

“We’re always delighted when our products coincide with trends of the moment,” adds Original BTC founder Peter Bowles. “But our focus remains on Best of British craftsmanship, producing authentic, timeless classics from the finest raw materials.” www.originalbtc.com

ORIGINAL BTC Specialists in the design & manufacture of unique, timeless lighting.

THE FIN COLLECTION | ORIGINALBTC.COM

SHOWROOMS IN LONDON | NEW YORK | PARIS | TAIWAN

058 | DESIGN REPORT | UK

Revolve Bert Frank

Bert Frank has expanded on its timeless Revolve collection with a new colourway, Oxblood. Initially launched in 2013 as a pendant and table lamp, the family has gradually expanded with the introduction of the rise and fall, wall light and floor lamp, alongside a new style of floor lamp, the Revolve Stem.

“Revolve was an original when it was launched and remains so today, the best part of a decade later. A Bert Frank classic for sure,” Robbie Llewellyn, Company Director of Bert Frank, tells darc. “What I think keeps it looking so fresh is its slim silhouette and sleek, minimal, midcentury aesthetic.”

Already one of Bert Frank’s most extensive collections, with varying colour finishes on the shade, the new Oxblood collection is an ideal addition to the palette. “A rich, cherry red, I was inspired by the aged leather seats of vintage sport cars,” Llewellyn continues. “That colour feels very timeless, very British and very Bert Frank.

“It took a few months to get the shade just right, we knew what we were looking for, we knew we wanted it to be red, but we had to test quite a number of samples to make sure the shade reacted with the light in a way that provided the deep, rich intensity of colour that we were after.”

Llewellyn explained further the testing process that Bert Frank had to go through, not just for the new Oxblood collection, but the Revolve Stem also. “Sampling the colour is always tricky. Sometimes the way you envision something isn’t the reality, so it takes a lot of work to get it to a place you’re 100% happy with, and will work across varying interiors and light settings.

“With regards to the design of the new Revolve Stem, it uses most of

the same components as the rest of the range, so whilst it didn’t take us too long to prototype and engineer, the key was making sure that the proportions worked. The original Revolve Floor Lamp was, and still is, very popular, but it was specifically designed to be used as a reading lamp next to a chair, which is why it has an overhanging style.

We wanted to introduce a stem model, which allows designers more flexibility to use the light within interiors.”

Each piece within the Revolve collection features a circular spun metal shade with an opal diffuser, which casts a soft, warm downward glow from the dimmable LED light source. Brass is the signature material of Bert Frank, and the Revolve features a brass reflector, which illuminates upwards, and solid brass bases and stems. The whole Revolve family is also now available in two brass finishes – the original satin brass finish, and a new polished brass.

With a strong versatility, the Revolve pendant, rise and fall and table lamps have already featured in a lot of bar and restaurant interiors around the world, from Chicago to Johannesburg, while the floor lamps lend themselves to boutique hotels and residential interiors.

“With every Bert Frank light, there is a deep respect for the heritage of British engineering. We strive to create high-end products that will stand the test of time and fly in the face of throwaway consumerism,” concluded Llewellyn. “It’s a fusion between the integrity of a smallscale workshop, with timeless aesthetics reimagined for today that makes us stand apart from our competitors. Adam [Yeats, co-founder] and I work closely together from concept to end product. As a result, every design is honed to perfection, every detail carefully considered.” bertfrank.co.uk

Showroom: 67 Farringdon Rd. London EC1M 3JB. www.bertfrank.co.uk

060 | DESIGN REPORT | UK

Edition 27 Chelsom

More than two years of in-house design led by Robert and Will Chelsom has resulted in the launch of Chelsom’s brand new collection, Edition 27.

Edition 27 is an eclectic lighting collection that harnesses and refines the latest trends in finishes and materials. Striking brass tones, textured Venetian glass and cutting-edge LED pieces are just some of the elements that dominate this new collection, offering designers creative lighting solutions for any interior space from guestrooms, to corridors, through to restaurants and other public spaces.

Amongst many things, Edition 27 offers the widest collection of LED reading lights in the company’s history, including the LED Eye range, which moves on the aesthetics of a standard bedside reading light, while maintaining all the successful features of function and light output.

The new collection is intended to reflect Chelsom’s brand image, showcasing a range of beautifully designed lighting products, specifically created for the global hospitality and marine interior design marketplaces. More than 40% of the collection is completely new, and all pieces are available with LED light sources to accommodate the latest developments in technology and energy efficiency.

Will Chelsom, Managing Director, tells darc: “I believe that our clients will appreciate the refinements we have made to our product collection in terms of even sharper product designs, higher quality levels and a strong focus on value engineering.”

Robert Chelsom, Chairman, adds: “In all my years working within the industry, never has there been a more challenging yet exciting time to be designing lighting products. Triggered by fashion cycles, interior trends are moving increasingly faster and in doing so constantly stimulate new design directions when it comes to finishes and materials, which is something we have given careful consideration to.

“Edition 27 has been a fantastic collection to produce. Will and I are proud to be able to say that all products have been designed in-house to create this diverse lighting collection that truly caters for all levels of the hospitality and marine sectors.” www.chelsom.co.uk

VETRO by CHELSOM EDITION 27 NOW AVAILABLE

44825 Chelsom DARC VETRO_236x333_AW.indd 1

chelsom.co.uk

20/10/2020 12:55

062 | DESIGN REPORT | UK

Aragon, Nova & Vector J. Adams & Co.

For Autumn/Winter 2020, J. Adams & Co. has launched three new lighting families, designed to carry forward the aesthetic of ‘engineered elegance’ – British craftsmanship expressed through warm, luxurious detailing and materials.

The three new collections – Nova, Vector and Aragon, are launching from October 2020 through to January 2021, and each play on simple geometry to create distinctive and strong silhouettes, combined with texture and detailing to enhance them beyond the ordinary.

“Connecting with your interior is more important and relevant than ever, and these designs have a real, expressive tactility,” Robbie Llewellyn, Co-Founder, tells darc.

“The Vector collection has been in development for over a year, coFounder Adam Yeats (of Bert Frank) and I had been pushing lots of ideas around using a larger version of the solid reed brass tubing from the Flume range. I really liked the idea of an angled cut revealing the interior surface of the brass and giving an elliptical shaped edge, but it took a lot of prototyping to get the proportions and format just right.

“The Nova range grew out of a sketch design I’d had in my back pocket for quite a while, but the development happened during lockdown.

Thankfully I have a 3D printer in my home studio, so I was able to continue exploring its shape and design with prototyping starting as soon as we could get back in the factory in June.

“Similarly the Aragon collection started as a table light idea I’d had in my sketchbook since 2019, but once we started prototyping the design earlier this year, it completely changed, and it turned into a pendant and floor lamp.”

With the country going into lockdown halfway through the development process, it meant that J. Adams & Co had to be more

patient and considered in putting these collections together. However, as Llewellyn explains: “This time did allow us to reflect on designs and the engineering and refine what we wanted to launch, how and when.

“Aragon for example, took quite a few iterations to get the balance just right – until you build the first prototype and light it up, you are never going to truly know what its effect will be and what needs to change.”

The base material across all of the three new collections is solid brass – the signature material of the manufacturer. This is combined with the softness of sand-blasted opal glass and translucent alabaster stone. “I really like the contrast between the textures of these materials and the hard edges of machined brass. I think it’s important that our products convey how solid they are, but don’t look overly heavy – that’s an important balance to hit,” Llewellyn continues.

Although J. Adams & Co has traditionally seen its products specified in a lot of domestic environments, Llewellyn feels that the new collections “really lend themselves to more commercial projects”, such as high end bars, restaurants and boutique hotels.

Describing the new collection as “striking, textural and elegant”, Llewellyn concludes that what makes these new collections stand out is J. Adams & Co’s attention to detail, build quality and unique designs, all designed and built in the UK. “I would also say that as a brand our bespoke possibilities really make us stand out. Having our own metalworking factory means that we can adapt the sizing and finishing on existing designs, and also work with architects and interior designers to completely custom make lighting specific to their needs.” www.jadamsandco.com

www.jadamsandco.com | info@jadamsandco.com

064 | DESIGN REPORT | UK

Private Residence Jonathan Coles Studio & Nick Mailer Lighting

Jonathan Coles Studio and Nick Mailer Lighting collaborated to complete a bespoke lighting installation in a London-based private residence.

Having worked together previously on projects, the working relationship is strong between Coles and Mailer. “We both believe in developing a close and complete understanding of our clients’ needs to create designs that are unique and original,” says Mailer.

For this project, the two designers created a large-scale chandelier for the Georgian house’s refurbishment in North London. The client was familiar with the designers’ previous works and was eager to incorporate a similar piece created for an earlier project that used glass and metal in a fragile elegance, and thus the two created the Oil Drop chandelier.

“Aesthetically the design is minimal with a glass core interspersed with light elements and decorative droplets all skinned in a liquid-like layer of glass,” says Coles.

“The design drops over four stories with three stems and is engineered to allow movement with integral silicone joints within its spine, giving robustness In a family home environment.

“As the main light source in the stairwell, the chandelier bathed the floors with warm light from integral light droplets.

Each of the 14 droplets contain a custom PCB with three Cree warm white ra95 chips powered and dimmed on constant current. The light is then controlled by a specially designed lens to create the desired pattern and glare control. Remote eldoLED constant current drivers allow dim to dark where low light levels are programmed for overnight safety lighting,” he adds.

“The light stems culminate with a solid glass droplet, which creates stunning light striation effects on the floor.”

The studio followed a process of design that involves initial sketch concepts, followed by more detailed 3D models and even full-size cardboard models, where needed, to ensure the final scale works with the space.

“There is little point in commissioning a bespoke chandelier unless it jigsaws entirely with the room and the rest of the lighting scheme,” concludes Coles. www.jonathancoles.co.uk www.nickmailerlighting.co.uk

066 | DESIGN REPORT | UK

Reed Tom Kirk

Inspired by the delicate, vertical structure of reeds and rushes found in wetlands and marshes, Tom Kirk Lighting has introduced a new family of luminaires entitled Reed.

Originally conceived as a modular fixture that would work in double height or vertical spaces such as staircases and entrance lobbies, this grew into a wider family of luminaires, which also includes smaller, stand-alone pendants and table lights.

The concept was born out of a desire by Tom Kirk Lighting to produce a modular fixture that would utilise current linear LED technology in a new and interesting way, creating atmosphere and offering flexibility that the manufacturer believes is sometimes lacking in overhead lighting.

The design and development process for the new range took over a year from start to finish. “A lot of this time was spent adjusting 3D prints and models until the profiles were resolved and we had achieved the desired result,” Tom Kirk tells darc.

“For the last few months, we have been modifying the light source itself and refining the detailing.”

Using delicate, natural forms, Reed combines flexibility with a slender, refined aesthetic, designed to provide atmospheric accents to sophisticated interiors. Used individually or clustered together in small groups, they can be used as tools to create an alternative environment.

Each fixture uses a mixture of metals – brass, aluminium and steel – combined with a moulded lens. Each material is selected for its technical properties, durability or suitability for the finishing process. “Weight also plays a part, along with heat dissipation for the LEDs,” Kirk adds. “A mixture of all these elements informed the final material selections and production methods.”

Each Reed module uses a replaceable LED board, rated at 60,000 hours, with longevity being a key parameter for the design studio, especially when designing products for high or inaccessible spaces. Meanwhile a frosted diffuser emits a soft, warm light, controllable via an in-line dimmer switch in table light models.

Available in various sizes and a selection of polished or powder coated finishes, the Reed range was originally conceived for residential projects, but as Kirk concludes, “the flexibility and scalability also lends itself to commercial applications, with the range of finishing options particularly suited to contemporary interiors.” tomkirk.com

NEW Collection Reed Table Light - Large sales@tomkirk.com +44 (0)20 8766 6715

tomkirk.com

068 | DESIGN REPORT | UK

Image: Tom Crookes

Strip Tyson .Studio Lighting

Taking inspiration from the idea of a paired down fluorescent tube lamp holder, Strip is a modern reinterpretation of a traditional strip light, using the latest LED technology and a refined graphic aesthetic, with an emphasis on the beauty of the material and the skill of the maker.

Tyson Studio is a decorative lighting brand from Tyson Lighting. Born out of its passion for quality, well designed light fittings, Tyson draws upon its 60-year experience making lighting for projects to inject the same care and attention to a stand-alone range of fittings.

The design for Strip was a collaboration between Tyson Studio and D_E_D – twin Sheffield designers Nik and Jon Daughtry, inspired by their father’s profession as an electrician and the childhood memory of him pouring over drawings, working late by fluorescent lighting. That endearing memory and bond with light tubes was the drive to recreate something, combining this with their skills as graphic designers.

The product first went into development in late 2017, with a completion date of mid-2018, in line with final filming on location for the TV show Grand Designs. Since then, Tyson Studio has been refining the manufacturing process and introducing product lines. As a result of this, the end of 2020 will see the introduction of the table and floor versions of Strip – adding to the existing line up of two pendant versions (vertical and horizontal), and a flush wall or ceiling option.

Although the Strip appears simple, the handmade nature of all Tyson Studio products means that there is no room for error, and nowhere to hide a fault or blemish. “The beauty of the product comes from its clean lines and finished detail, there is no unnecessary wastage of overdesigned appendages. This puts material and design clarity to the forefront,” Tom Crookes of Tyson Studio tells darc.

Available in satin brass or blackened steel as standard – although this can be adapted to suit on a project thanks to Tyson’s in-house manufacturing and finishing capabilities – Strip utilises S14 LED lamps, which are mains-dimmable, meaning there is no need to hide drivers.

The product has so far been used on commercial projects for bars, hotels, restaurants and offices, but also extensively in residential projects. The nature of Strip being modular also lends it to bespoke creations, such as products created for Bang and Olufsen Wilmslow and Peru Perdu Manchester this year.

“Handmade by our skilled craftspeople using proper, oily machines with materials sourced locally, our product is sustainable and intended to last. We want our products to be passed down to the next generation,” Crookes concludes. www.tysonlighting.com www.tyson.studio

Luminescence + Form

www.tysonlighting.com www.tyson.studio 01254 266 000 sales@tysonlighting.com

070 | DESIGN REPORT | UK

Four Seasons Astir Palace Zico Lighting Images: Gavriil Papadiotis

The Four Seasons Astir Palace is an iconic destination within the city of Athens, Greece. Known and loved by both locals and tourists, the resort first opened its doors in 1958, and has welcomed many famous dignitaries over the years, from Jackie Kennedy and Liza Minnelli, to President Nixon and Nelson Mandela.

Last year, the property underwent a complete overhaul, with its buildings completely renovated, preserving only structural elements and some of the exterior walls.

London’s Lighting Design International (LDI) was chosen to create and implement the new lighting design for the Avra Lounge and Astir Palace as a whole, featured in darc issue 34. The brief for the Avra Lounge and bar was “to design a sophisticated lighting scheme with a distinctive residential feel, a glitzy yet homey lounge where the guests could relax and unwind after a day of beach or touristic pursuits.”

Overlooking the waterfront, Avra Lounge is an all-day venue – relaxing in the day, and with a buzzing vibe in the evening. For a spot like this, it was essential that the lighting complemented the changes in daylight, and adapted to create a welcoming, intimate atmosphere throughout the day.

The breath-taking setting of Avra Lounge, carefully created by Martin Brudnizki Design Studio (MBDS), boasts bespoke feature pendants that provide a remarkable first impression on entering the space. The ribbed glass globes are lit with 2200K lamps, providing warm light to the whole area, while discreet accent lighting illuminates the tables and décor below. A Lutron lighting control system was used to allow

the lit canvas to be set seamlessly, using adjustable scene settings.

LDI chose a selection of Zico Lighting’s 1-100% dimmable, flicker-free candle, GLS and golfball 2000-2200K lamps for this project.

Sandra Brookes, Senior Designer at LDI, tells darc: “We used Zico lamps everywhere in the project for their great dimmability and fantastic compatibility with Lutron system. The lamps were mainly used for the decorative light fittings, and they helped solve the dimmability issues we always had in the past, where the decorative fittings presented different lamps that did not dim appropriately, had flicker, or their visual appearance was not right, both in terms of lighting and the look of the lamp.

“Zico lamps look their best within the pendants of Avra Lounge, producing a lovely, golden glow.”

Following the refurbishment, Avra Lounge has instantly been recognised by designers and media, recently claiming top spot in the Lighting category of the Restaurant and Bar Design Awards.

James Miller, Managing Director for Zico Lighting, adds: “It is always exciting to be involved in a project with LDI and MBDS. Their fantastic lighting designs never fail to impress and I am delighted that Zico lamps’ excellent quality is being recognised and preferred by those extremely talented professionals.” www.zico.lighting www.lightingdesigninternational.com mbds.com

SHINING A LIGHT ON THE WORLD'S MOST BEAUTIFUL INTERIORS Exceptional quality LED filament lamps, relied on by the world’s finest interior and lighting professionals.

• CRI 95 • Ultra dimmable • Energy efficient

+44 (0) 207 223 3087

www.zico.lighting Zico Lighting, 3rd Floor, 207 Regent Street, London, W1B 3HH

AD INDEX Archilume....................................................................................................... 40

Karboxx. . ......................................................................................................... 19

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

Karice........................................................................................................... 4 5

Articolo......................................................................................................... 6 7

Lightovation.. ................................................................................................. 73

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

Louis Poulsen...................................................................................................9

Atrium............................................................................................................. 53

Neoz.. ............................................................................................................... 28

Bert Frank...................................................................................................... 59

Original BTC. . ................................................................................................ 57

Cameron Design House.. ............................................................................ 55

Oxen Luce.. ................................................................................................... IBC

Chelsom. . ........................................................................................................ 61

Secto Design.. ................................................................................................ 15

Christopher Hyde........................................................................................ 45

Studio d'Armes. . ............................................................................................ 21

Dernier & Hamlyn........................................................................................ 51

Tekna............................................................................................................... 23

Design Shanghai........................................................................................... 74

Tokio................................................................................................................ 39

Atelier Luxus................................................................................................. 33

Tom Kirk Lighting......................................................................................... 67

Elstead Lighting. . .......................................................................................... 42

Tyson Lighting............................................................................................... 69

In-es.artdesign. . ............................................................................................ 72

Weplight......................................................................................................... 25

J Adams & Co................................................................................................ 64

Zico Lighting . . ................................................................................................ 71

Jonanthan Coles. . ......................................................................................... 65

PAGEONE L I G H T I N G

Lightovation brings the best and the brightest in residential lighting together under one roof. Discover the latest trends, innovations and products in every lighting category including outdoor, ceiling fans, lighting controls and smart lighting systems.

DALLAS IS YOUR DESTINATION FOR ILLUMINATION.

JANUARY 7- 10, 2021

ASIA’S LEADING INTERNATIONAL DESIGN EVENT

26–29 Nov. 2020

FOLLOW US ON WECHAT!

Shanghai World Expo

GET THE LATEST UPDATES AND

Exhibition & Convention Centre

INDUSTRY NEWS!

camer at abl e Nex oL uce|I t al y

ox enl uce. com cont act @nex ol uce. com

artemide.com

#GreenActionArtemide

DISCOVERY SPACE Ernesto Gismondi

DARC.indd 2

15/01/20 19:03