darc 40

Decorative Lighting in Architecture #40 Mar / Apr 2021

Churchill Tree | Beem | Mayfair Townhouse Isrotel Kedma Hotel | Kaori Hikori | Flos - Oblique | Australasia Design Report | Drop Three Pendant

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Sarah Cullen • Acting Editor

Welcome to the Spring edition of darc.

With only a little over a week until the clocks go forward here in the UK, we are getting excited to lap up some extra, well-needed daylight as we move closer to an easing of lockdown restrictions and the summer ahead.

Following on with this brighter outlook, we chose the stunning front cover image by Andres Reisinger for Beem to bring a splash of yellow onto your laps! Not only does this image spark joy, but it also presents the beautiful Smile product by Beem, which we cover in more detail in our Materials feature over on p.26.

Elsewhere in the issue, we also delve into more detail on two more product releases; the Drop Three pendant by Original BTC is the gorgeous new addition to their drop collection, created in its signature bone china. You can read more on the manufacturing process and design inspiration on p.48.

We also cover the technologically enhanced task light from Flos; Oblique is deemed to be one of the smarted additions to your at-home workstation that enables you to keep your space clear from the clutter of charging wires. Find out more in our Design Focus on p.62.

At the beginning of the issue, we bring you a selection of projects from both here in the UK and across to Israel. Here on home turf, we find out more about the Churchill Tree restaurant renovation completed by Artin Light and Bridge Architects, who have seamlessly blended historic and contemporary features throughout. You will find this project on p.22.

The new Mayfair Townhouse Hotel in London is an extravagant and luxurious destination that exudes opulence inspired by Oscar Wilde. Interior design for this project was completed

by Goddard Littlefair, with lighting design by Kate & Sam Lighting Designs. Delve into this destination on p.14.

And last, but certainly not least, the Isrotel Kedma Hotel is a stunning escape in the Israeli desert that brings essences of wellbeing and calm into this sanctuary. Lighting design by Rama Mendelsohn and interior design by Ruth Arad, the pair successfully blended an outdoor/indoor influenced scheme and ensured lots of the decorative illumination was created using natural and raw materials. Read the full story on p.10.

We also travel down under to Australia and New Zealand as part of our Australasia Design Report where we got the chance to speak with Edward Linacre of Copper to find out more about his work as well as his home country’s design market. Plus, we feature case studies from Neoz, David Trubridge and Duncan Meerding. Check out the full report, starting on p.67.

Cover: Smile

Andres Reisinger, Beem

Welcome

Contents Regulars The Magazine 008 Focal Point | Truman's Social Club | London Managing Editor | Helen Ankers 026 Materials Feature | Beem | Smile & Curli

h.ankers@mondiale.co.uk +44 161 476 8372

080 Calendarc | International Design Events for 2021 Acting Editor | Sarah Cullen

082 In Focus | Very Good & Proper | Pigeon Light

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

Projects Media Sales Manager | Stephen Quiligotti s.quiligotti@mondiale.co.uk 010 Isrotel Kedma Hotel Located in the Sde Boker region of Negev, Israel, the Isrotel Kedma Hotel presents interior design by Ruth Arad and lighting by Rama Mendelsohn to provide visitors with an exceptional hospitality experience, embedded in the breath-taking deser t surrounds.

+44 7742 019213 Media Sales Executive | Adam Syme a.syme@mondiale.co.uk +44 161 476 9118

006 | INSIDE ISSUE 40

014 The Mayfair Townhouse The Mayfair Townhouse luxur y hotel receives a design overhaul from Goddard Littlefair and Kate & Sam Lighting Design, inspired by the flamboyant Oscar Wilde and his contemporaries.

022 Churchill Tree Restaurant Ar tin Light, along with Bridge Architects, create a moody and rich atmosphere for the Churchill Tree Restaurant. Using bespoke lighting pieces from Nor thern Lights, the team achieved an atmospheric destination for diners to sink in to.

Contributing Editor Matt Waring

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

Features

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

033 Bespoke Lighting darc takes a closer look at some of the stunning bespoke lighting solutions created for various projects around the world.

048 Product Focus | Drop Three Pendant Original BTC has launched the third in its bone china Drop series that follows the journey of a water droplet. The Drop Three pendant presents the splash stage as the water hits a surface.

053 Bar and Lounge Lighting Feature darc covers some key products suited for bar and lounge designs, as well as some international bar and lounge projects where decorative lighting was a key choice to the overall design scheme.

062 Design Focus | Flos | Oblique Oblique is the technological upgrade to a standard desk lamp that allows you to charge your smar tphone without the use of an extra power source. This allows the user to keep their workspace free from clutter, ensuring a cleaner workstation.

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

Corporate Chairman Mondiale Publishing | Damian Walsh Managing Director [d]arc media | Paul James p.james@mondiale.co.uk

064 Interview | Women in Lighting | Kaori Hikori We discover more about the Japanese lighting designer and WiL Ambassador, plus how she collected interviews with numerous female designers for the WiL platform, advocating their voices in the design industry.

067 Design Report | Australasia Taking a closer look at the southern regions of the world, our Australasia report looks at some of the latest lighting pieces to come out of Australia and New Zealand. Sarah Cullen also caught up with designer Edward Linacre of Copper to discuss the Australian lighting market and how it compares internationally.

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

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008 | FOCAL POINT

Focal Point Truman's Social Club London, UK Truman’s Social Club is designed by Hunter's Daughter Interior and Architectural Design to celebrate East London's rich history – of which Truman’s has been a part of for more than 350 years. Its inception is in response to social distancing measures, creating a space that accommodates a variety of seating areas that not only adhere to guidelines but provide seclusion from other parties whilst maintaining a feeling of community enjoyment. With this premise in mind the lighting design, by There's Light, set out a concept approach to bring in much required warmth, delivering a welcoming feeling to this generously proportioned space and intentionally sparsely occupied floor layout, whilst assisting in wayfinding.

"We wanted to evoke the feeling of being at a festival, creating varying moments whilst reinforcing the brand’s identity throughout the spaces," says Fabio A P Cristini, Principal Designer. A striking canopy of suspended pendants, visible throughout the space Plumen drophats paired with its iconic 002 LED bulbs - marks the main entrance exit to beer garden. www.thereslight.com Image: Colin Ross

009

010 | PROJECT | ISROTEL KEDM A HOTEL

Desert Delights Located in the Sde Boker region of Negev, Israel, the Isrotel Kedma Hotel has been designed by Interior Designer Ruth Arad to provide visitors with an exceptional hospitality experience, embedded into the breath-taking desert landscape. The lighting design scheme was completed by Rama Mendelsohn.

Images: Assaf Pinchuk

The hotel is comprised of seven Khan Nabati-style buildings, containing 163 guest rooms, shaded seating areas, a pool and a spa, accompanied by fruit trees and vegetation.

Lighting designer Rama Mendelsohn developed the lighting scheme for the hotel, getting involved after having a pre-existing relationship with the hotel’s project manager. “His vision was for a dimly lit hotel set in the desert,” Mendelsohn tells darc. “The environment would bring the visitor back to the days when people gathered around a campfire and roasted potatoes – back to nature, and to evoke the feeling of laying under the stars at night.”

The lighting scheme was therefore designed to mimic natural light; both the sunlight and moonlight hit the roof, creating varying textures and patterns, with the light and shadows dancing across the floor.

On the main exterior axes, the lighting highlights the vegetation and sandals in the aisle ceiling.

Being located in the desert, there was an incredibly strong and bright

natural light during the day. This therefore created some challenges for Mendelsohn in finding the right balance for the lighting to maintain the desired ambiance and ensure that the indoor spaces didn’t feel too dark in comparison to the bright outdoor areas during the day.

Mendelsohn continues: “We addressed this by illuminating the entrances of the hotel more than we normally would. Then, as guests move past the entrance, their eye is drawn to the decorative light fixtures, and the light they emit.

“The light dims a bit as one moves further into the hotel. This gives the eyes of the visitor a chance to adjust to the changes in lighting.”

After dark, the desert sky becomes blanketed with stars. Mendelsohn sought to brought this “wonderous view inside by lining the ceilings with wooden poles and adding small spots of light between the poles, making it seem as though you were looking up at the night sky through a thatched roof.”

To further complement and emphasise this desert backdrop,

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Mendelsohn utilised warm lighting, while decorative fixtures incorporate natural materials such as ropes and pottery. The colours used also serve to create a dominant contrast between the light and shadow.

“We sought to use as many raw and local materials as possible, such as straw, clay, glass made of sand, etc,” she explains. “Indoors, we pulled inspiration from candles, lanterns and torches – ancient lighting elements. These fixtures were specifically designed for this project; some of the materials we wanted to use were difficult to come by in Israel, therefore we used similar materials and used various techniques to create the look and feel we wanted to achieve.”

The use of raw materials extended to the exterior lighting scheme too, Mendelsohn continues: “Utilising various natural and raw materials, we were able to capture the movement of light and shadow. This evokes a sense of mystery as you turn the corners and walk down the alleyways located throughout the outdoor spaces.”

Inside, in the entryway, small nooks are illuminated by candlelight-like lighting and, when looking up, the star-like fixtures are affixed into the high ceilings to create the desired feeling of being under a starlit sky.

The addition of illuminated mashrab elements continues the play of textures, creating visual interest within the space.

In the guest rooms, the hanging light fixtures are made of natural bamboo, while the clay fixtures on the walls soften the light in the space. A macrame element above the bed is also illuminated, creating an impressive texture on the ceiling.

Complementing these rustic, raw materials, the architectural lighting has been designed to amplify the decorative lighting, ensuring that the interior spaces are lit appropriately, relative to the natural lighting in the environment.

Opened in August 2020, the Isrotel Kedma Hotel was completed in the middle of the global Covid-19 pandemic, and this naturally had some knock-on effects on the project itself, particularly when it came to

012 | PROJECT | ISROTEL KEDM A HOTEL

sourcing products and materials. However, this led to an increased connection to the local area, as Mendelsohn explains: “Covid-19 created many challenges, especially with regards to importing lighting fixtures. While this was initially viewed as a difficulty, in the end it allowed us to create new connections with local suppliers and craftsmen.”

And Mendelsohn concluded that, despite the challenges that the global pandemic presented, this project provided a sense of escape for her, that she was very grateful for. “This was a very large project, both in size and scope, with fascinating spaces to illuminate, each with their own story. On a personal level, this project was a very healing experience for me, as it provided me with a unique, weekly opportunity to decompress out in the beautiful, blooming Israeli desert.

“I’m so grateful to have had the opportunity to work on this project, as I loved everything about it. I wouldn’t have changed a thing.” ramamendelsohn.com

Design Details The Isrotel Kedma Hotel, Sde Boker, Israel Interior Design: Ruth Arad Lighting Design: Rama Mendelsohn Lighting Specified: Ariel Zukerman, Basic Store, dled Advanced Illumination Technologies, FineLab Store, Menoramica, Steinitz

Mendelsohn used an array of natural materials for her decorative lighting choices. Mixing in straw, clay and sand, she was able to draw the outdoors in as well as evoking an atmosphere of ancient light sources from candles, torches and lanterns.

Another key aspect of the lighting design was to create a night sky full of stars when evening sets in. Mendelsohn achieved this by using small spots of light amongst wooden poles, creating the effect of looking at the night sky through a thatched roof.

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014 | PROJECT | M AYFAIR TOWNHOUSE

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Dandy Decadence The Mayfair Townhouse luxury hotel receives a design overhaul from Goddard Littlefair and Kate & Sam Lighting Designs, inspired by the flamboyant Oscar Wilde and his contemporarites.

Opening at the end of last year, the latest design instalment from Goddard Littlefair is The Mayfair Townhouse, the fifth luxury hotel from London and Regional’s collection of Iconic Luxury Hotels and is located in the heart of Mayfair on Half Moon Street, near London’s Green Park.

The boutique hotel comprises seven Georgian listed buildings within its structure of 15 townhouses, providing a unique hospitality experience for guests seeking a discreet London destination.

Notably, the townhouses lining Half Moon Street were once home to British historic figure Oscar Wilde and provided the setting of arguably his most famous play The Importance of Being Ernest. Known for his flamboyant influences, Wilde and his contemporaries spearheaded the Aesthetic Movement in England that celebrated beauty and design in reaction to the dominant, industrial revolution.

This rich history provided the foundations from which Goddard Littlefair drew direct inspiration from in order to create the indulgent design for The Townhouse. “They also led a rich and indulgent lifestyle,

being provocative in order to court controversy. The design we pursued for the Townhouse marries Old and New Mayfair, with a layer of 1920s extravagance,” explains Jo Littlefair, Co-Founder and Director of Goddard Littlefair.

“There are almost no identical rooms in the entire building,” adds Martin Goddard, Co-Founder and Director of Goddard Littlefair. “Added to that, previous incarnations of hotels had wiped away period details leaving us with few historic references for the interiors. We had to set up a design language that could relate to the architecture and be interpreted into each room through panelling, colouration and distinctive detailing. The result is a unity through the bedrooms but guests who stay multiple times will have a different experience on each occasion.”

Capturing this playful spirit, Goddard Littlefair delved into the personalities of the original inhabitants of the area. The flamboyant dressing, pursuit of beauty and eccentric quality of the time is successfully interwoven in the design and has transpired through

016 | PROJECT | M AYFAIR TOWNHOUSE

the fabrics, colours, intricate detailing and subtle layers throughout the hotel. Hints of extrovert personalities that lie beneath the building have been captured by Goddard Littlefair’s choice of colour palette and flashes of details, subtly capturing the adventurous mischief of the dandy.

“As the project evolved and understanding for the building and the aesthetic developed, the brief naturally shape-shifted to fit more uniquely with the bones of the buildings,” adds Littlefair.

“The main challenges of this project were working within the constraints of the existing building, which is made up of 15 Georgian Townhouses. There is no one space alike, and each with its own character. The public spaces are small and intimate, the ceilings are low, so we carefully designed the spaces creating a sense of space with the clever use of mirror and light. Although there were challenges with the spaces, they all add to the charm and character of the hotel, and these smaller spaces have helped us create a truly intimate and embracing experience.”

Upon entering the hotel, guests are greeted at the discreet reception desk, with warm glowing bespoke alabaster lamps and cut-crystal Contardi lanterns casting shadows on the ceiling, while a piece from Art et Floritude adorns the lift lobby.

“One of the challenges of the ground floor was the limited ceiling height not allowing for grand gestures overhead. Instead, we aspired to create a layered approach that would draw your eye down and into the space,”

describes Littlefair.

Adjacent to the reception area is the aptly named Dandy Bar. Located in the heart of the hotel on the ground floor, Goddard Littlefair’s design lures you in with a twinkling, dimly lit atmosphere pulling you away from the busy streets of Mayfair.

“Cantilevered shades spread their arms over the central seating area of the bar, while raffia wall lights [from Colonel Shop] mounted on lacquered wall panels hint at travels further afield and the glamour of a trip to far-flung places. The showcase in this area is the feature gantry [bespoke from Northern Lights] above the bar made from hand-cut feathers and the feature alabaster disc chandelier [from Contardi], which cascades over the staircase. Both of these provide drama and intrigue and draw you into the space to explore further,” details Littlefair.

“We looked at the flamboyance of feathers in flapper outfits and the traditional gentleman’s pocket watch to inspire the design of both of these pieces,” adds senior designer Gemma Prentice.

Moving below to the lower ground floor, guests will find the Club Room, which acts as a library space, a snug room nicknamed The Den and the restaurant.

“Having no natural daylight in the lower ground floor, we strove to ensure that light levels were good without being overbearing or obvious,” elaborates Littlefair. “A series of panels on the back wall mimic windows to give the illusion of daylight, these all provide a glow

017

of light to the back wall. A set of six built in shelving units on the other two walls, which are used to display objet d’art but which also form a part of the lighting scheme, highlighting a bashful raspberry colour in the recess that provides a highlight to the overall scheme. Again, challenges to ceiling heights entailed clever design of decorative lighting, notably cantilevered wall lights that project out into the space providing a general glow while directing light onto tables.

‘The same wall light was used within the small private snug area of the restaurant placed into the four corners of the room, helping create a cosy, intimate space. Flush alabaster ceiling lights were used here to allow for flexibility in seating arrangements and bespoke alabaster ceiling lights were used down the corridor, which leads you down towards the function room, WCs and gym,” she adds.

“Picture lights are used to highlight all the artwork, which is more sympathetic to the original Georgian Townhouse spirit.”

The lighting pieces referenced by Littlefair in this area of the hotel include bespoke cantilevered wall lights and corridor lights from Contardi, ceiling lights and picture lights from Visual Comfort and the private dining pendant from Moooi.

In addition to these spaces, also occupying the lower ground level is a multi-use function room. “As a multifunctional space, lower ground area, we wanted to ensure that there was still an emphasis on the decorative lighting but that it would also not overpower the space. A series of wall lights [with bespoke adaptations of standard

fabric shades from Servomuto] run around the perimeter on panels, which mimic windows, while a feature circular pendant [bespoke from Contardi] with tiered fringe panels in an ombre effect provides a dramatic centre piece,” continues Littlefair. “Artwork throughout the hotel has been carefully curated and here [Visual Comfort] picture lights highlight the hand-painted mural depicting scenes of Green Park, which is within striking distance of the hotel.”

Moving to the guestrooms above, nearly each room is unique from the other. The Garden suites gave Goddard Littlefair the opportunity to work with an indoor/outdoor scheme that took inspiration from British Fashion Photographer Cecil Beaton and his love of gardens. "The position of these suites on the ground floor of the property meant we could incorporate some of the exterior of the building into the rooms.

Inspired by Cecil Beaton’s love of gardens, we created a crittal framed conservatory with doors opening to a small, walled courtyard allowing the guest their own English garden in the heart of London,” says Littlefair.

Two additional suites on the fifth floor of the hotel had working titles of the Penthouse Suites during the design process. The design intent for these two spaces drew inspiration from the fictitious but contemporary Dandy muse. “What decadence would this person embrace and how would they wish to live in the 21st century Mayfair, were questions we posed to ourselves during the evolution of these designs,” says Goddard.

018 | PROJECT | M AYFAIR TOWNHOUSE

Littlefair adds: “We used a subtle yet rich colour scheme and wanted the lighting to bring another layer of materiality. Faux alabaster and antique brass fashioned in contemporary shapes that nodded to the past bring warmth to the rooms.” Northern Lights provided bespoke bedside lights in the Executive suites and bespoke fixtures from Contardi in the Deluxe Rooms included bedside lights, flood lamps and picture lights, and pendants from A Shade Above were featured in the garden rooms.

When working and designing this quirky space, it was important for the team to ensure an aesthetically pleasing balance of light throughout. Littlefair continues: “We wanted the architectural lighting to be minimal and for the decorative lighting to be the focus in this project. The architectural lights are well concealed and all integrated into the design elements so that they don’t create a focus but work together with the decorative lighting to create intimate spaces.” This led the team to work with Kate & Sam Lighting Designs to approach the architectural lighting design. “We feel having a lighting designer on a project is key,” explains Littlefair. “Lighting plays such an important role within interior design, and if the lighting output isn’t right then it can make or break a project. Kate & Sam helped to establish the architectural lighting design while being sympathetic to our decorative lighting. They ensured that we used fittings that would not dominate our design but sit discreetly within. All of the fittings were set onto dimming systems and scene settings were programmed to ensure

that the lighting levels were optimised throughout the day. This is all crucial for creating the right environment and intimate feel for the hotel. We normally work with a lighting designer on all of our hospitality projects.”

Kate Wilkins, of Kate and Sam Lighting Designs, adds: “Decorative lighting is always crucial for the aesthetic, the placement essential for the layering, and the lamps for dimming complementing and setting the moods”.

Working with the light settings and programmes, the duo ensured the lighting scenarios guaranteed a welcoming atmosphere for guests on arrival, focusing the eye where needed, and complementing the times of day and task lighting to flatter and provide an all-round feel-good energy for guests. “The basement was the trickiest area, as there is no natural light and needs to provide breakfast with a townhouse club feel,” explains Wilkins. “So, we introduced some different colour temperatures suggesting daylight in wall details. And, in the evenings, complementing the exclusive club mood. Scene setting was crucial to the spaces.”

Reflecting on the project after completion, both Goddard Littlefair and Kate & Sam were very pleased with the outcome.

“The lighting truly helps to create and emphasise that residential and intimate feel that we wanted. It creates a sense of warmth and invites you into the space. Standing on the street at the entrance of the hotel, it’s the lighting that catches your eye and draws you in, especially

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020 | PROJECT | M AYFAIR TOWNHOUSE

the feature lit gantry above the bar. The lighting works seamlessly with the design as a whole, it’s delicate balance of traditional and contemporary.

“We wanted each space to have its own design language and therefore each space has its own decorative lighting design. To emphasise the residential feel, there are multiple designs of lighting that also create a lovely, layered feel. It was about a richness of material to convey luxury and indulgence, using brass, alabaster, pleated silk and hand-crafted glass,” she adds.

“Almost all the lighting was bespoke, and we particularly enjoyed the process of creating the gantry bar light, which utilised a bespoke mould to create each glass element that were then finished by hand with an antique gold paint finish. Reaching the final finish and quality of the glass required really utilised all the knowledge and skills of the artisans involved.

“We were very pleased with how the design turned out. We were able to realise the majority of all of our initial plans and ideas.” concludes Littlefair.

Wilkins adds: “This was the first time [working with Goddard Littlefair], and we really enjoyed it. They were open to ideas, suggestions and comments. Hope they feel the same way! When things open up, we can’t wait to sit in front of the glowing bar and enjoy some cocktails.” www.goddardlittlefair.com www.kateandsam.co.uk

Design Details Mayfair Townhouse Hotel, London, UK Interior Design: Goddard Littlefair Lighting Consultant: Kate & Sam Lighting Designs Lighting Specified: Colonel Shop, Contardi, Moooi, Northern Lights, Servomuto, Visual Comfort.

The Mayfair Townhouse luxury hotel presents a new, dark and moody interior design that is filled with layers of decadent materials, colours and lighting tones that were heavily inspired by Oscar Wilde and his flamboyant style and personality.

Goddard Littlefair played a large role in creating bespoke lighting fixtures using lots of brass and alabaster to create a warm and sophisticated atmosphere.

Working with Kate and Sam Lighting Designs, the team was able to create a balanced scheme that allowed the decorative lighting pieces to stand out, whilst ensuring wayfinding and architectural lighting to sit comfortably in the background.

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022 | PROJECT | CHURCHILL TREE

Rich Dining Artin Light and Bridge Architects' designs for the Churchill Tree restaurant used bespoke lighting pieces from Northern Lights , creating an atmospheric destination for diners to sink in to.

The Churchill Tree restaurant, located on the grounds of Alderley Park in Macclesfield in the north of the UK, is the end product of the refurbished grade II listed Tenants Hall, which was completed at the end of last year.

Artin Light was appointed as the creative lighting design consultants, in collaboration with Bridge Architects, to develop the lighting scheme for both the internal and external aspects of the restaurant.

As lead designer, Bridge Architects undertook the architectural and interior design throughout, and also the new architectural intervention that included a contemporary restaurant, which sat in contrast to the existing Tenants Hall section of the property.

Together, the design teams worked on the lighting design, specifying both the decorative and architectural lighting, as well as the lighting

control system. darc sat down with Luke Artingstall of Artin Light to discuss the lighting in more detail. “Given the beautiful and historic nature of the existing architecture, and also the new contemporary elements of the scheme, the importance of lighting design was highlighted from the offset, ensuring the spaces were appropriately lit to complement the interior design throughout,” he explains.

“The Tenants Hall was an extremely tricky space to illuminate, given the architectural restrictions, so the design needed to be carefully considered, aiming to enhance the original architectural features, but not detract from their natural qualities. The lighting control system design was also fundamental to the success of the design, ensuring both functional and dramatic light was applied to the different

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operating scenarios throughout.”

It was important for the team to blend the old and new together yet highlight the contrasting architecture through the use of lighting, but it was also essential to ensure consistency across the scheme.

“Our initial brief was to bring drama into the historical interior of the building through the use of light,” explains Artingstall. “Our final impression of this was very close to the original concept and brief, and the dramatic lighting really helps to amplify the user experience within the historic interior. The selection of decorative luminaires created a balance between the historic elements and the new architectural interventions that were brought into the scheme.

“Architectural lighting was used across the scheme, providing both functional and accent lighting throughout the interior. The integration

of architectural lighting was minimal, as the main source of lighting throughout was delivered by the decorative lighting,” he adds.

“Within the Tenants Hall, architectural spotlighting was used to highlight the existing roof beams. Each beam was illuminated by two 10-degree beam spotlights, aimed to focus the light in a controlled manner onto the woodwork itself, whilst minimising the spill light onto the soffit. Soraa Brilliant lamps were selected for the architectural spotlighting due to their optical performance and quality of light.”

To accomplish the desired light programming, the team opted to use Mode Lighting controls in combination with architectural lighting from the aforementioned Soraa lamps, as well as SLV Lighting spotlights and downlights, and lamps from iGuzzini, alongside bespoke decorative lighting, which was provided by Northern Lights throughout.

024 | PROJECT | CHURCHILL TREE

Victoria Hilton, Director at Bridge Architects, explains the importance of decorative lighting and the part it played in the overall interior design of the building: “As the existing parts of the building were listed, this meant we were limited in terms of physical architectural interventions.

With this in mind, the lighting design became critical to developing the drama and atmosphere we sought to bring to the various spaces.”

Artingstall continues: “As with any decorative lighting scheme, the selection of luminaires was driven by the aesthetic qualities as well as the way they delivered both functional and textured light into the scheme. The decorative lighting across the full scheme was the main source of functional lighting, so we needed to ensure they provided a level of performance and function as well as delivering their aesthetic and ambient qualities to the space.

“Material selections for the decorative luminaires were considered in coordination with the interior designers and the overall material palette. The interior had a number of brass features within the scheme, so the selection of decorative lighting was very much focussed on brass-based materials.

“A combination of satin brushed brass and polished brass was used with the decorative lighting. The selection of decorative diffusers for each of the luminaires ranged from antique hand-blown glass

spheres to alabaster sheet diffusers, which extenuated the warmth of the lamps and provided light texture on the adjacent architectural surfaces.

“All of the decorative lighting across the scheme was integrated into the lighting control system, so in the evening scene set ups, the luminaires were dimmed to extremely low levels, thus creating the drama and highlight within.”

Hilton and her team worked closely with Northern Lights to create the bespoke light fittings that were used throughout. She says: “We worked closely with Northern Lights in the design of all the bespoke light fittings to ensure that scale and material choices were complementary to the spaces and other internal finishes.”

Working with the structural constraints of the listed building, the team had to work with a number of prefixed positions for the main sources of lighting in the Tenants Hall. The large chandeliers were installed in these existing positions that were defined by the pre-existing lighting fixtures and power supplies.

In addition to this challenge, the team were faced with a number of design obstacles throughout the design process. However, Artingstall reflects that “fundamentally, it was important the spaces were not over lit, but also provided the operator the control and flexibility they need

025

when transitioning from day to night, and into the late evening”.

“The control and zoning of the lighting installation gave us the opportunity to really refine the ambience in the space and create different scenes dependent on the time of day and functionality required.

“I believe it’s inevitable that on reflection of a complete project, you always have elements that you would like to change or amend in certain ways. On the Churchill Tree, I believe as a collaborative design with the interior designers, we managed to get the best out of the scheme given the brief and also the commercial factors associated with that. I don’t feel we need to draw attention to anything that we would do differently, as I believe the overall scheme was a huge success,” he concluded.

Hilton adds: “Working with Luke was fantastic, and he was quick to understand our design concept for creating a different ambience to each of the primary spaces. Developing the lighting design in parallel with the interior design proposals was beneficial, and Luke's attention to detail (whilst being mindful of budget constraints) was critical to the success of the final scheme.

“We are delighted with the end result, and the project has been extremely well received by our client and the operator.” www.artinlight.co.uk www.bridgearchitects.com

Design Details Churchill Tree Restaurant , Macclesfield, UK Lighting Design: Artin Lighting Architects: Bridge Architects Lighting Control: Mode Lighting Lighting Specified: Grok, iGuzzini, Northern Lights, SLV, Soraa

The Churchill Tree restaurant, located in the north of England, is a grade II listed building that was recently re-designed by Bridge Architects with lighting design from Artin Light.

An additional contemporary extension was added to the original Tenants Hall and was an important factor in designing an apporpriate lighting scheme that complemented the historic elements of the building and the new architecture.

Using bespoke decorative pieces from Northern Lights, warm tones of brass and alabaster tie together the rich colours and materials used throughout the design, creating an atmospheric destination to dine.

026 | M ATERI ALS FOCUS | SMILE / CURLI

Filament Finesse Beem's Curli and Smile flexible filament LEDs are unique responses to the typical light sources available.

Sarah Cullen sits down with designer Samuel Wilkinson to find out more about their creation.

Images: Andres Reisinger

Beem established itself in 2016 with the idea of bringing new LED technology to the decorative lighting world, with a playful brand name that relates to both a beam of light, and the word beaming used to describe a wide, happy smile.

Samuel Wilkinson met with Chris Stimson and Bujar Shkodra (Founders of Well-Lit) in a Shoreditch-based coffee shop to discover the new LED technology they were producing and quickly found common ground over the exciting possibilities that followed, creating something unique.

“Originally our initial discussions were centred around designing a new bulb for their existing brand but after the first presentation, we realised there were five to six strong ideas that each could easily be launched straight away,” says Wilkinson. “It made sense to create a standalone brand as clearly there was huge potential for an ongoing partnership.

So, that was the start of Beem.

“The partnership was very natural. I had been thinking about new ideas for light sources since working with Plumen and Chris/ Bujar were running the successful lighting company Well-lit; we complemented each other very well.”

The main drive behind creating Beem was to “provide an alternative to a saturated market of retro industrial styled bulbs, to offer a paired back design aesthetic that looks towards the future rather than the past,” he adds.

“Essentially, we want to create a positive contemporary lighting brand that centres around making innovative light sources with an accompanying ecosystem of complimentary fixtures that can work in a lot of different environments.”

The first port of call for the designers was to create a product that challenged the current conventions of E27 sources, while retaining an attractive and sustainable fixture.

“We realised that nearly all bulbs went downwards and appeared to flow out from the from the bulb holder. Our reaction was to then do the opposite, make forms that go upward and that visually separate rather than flow from the holder. A light becomes a sculpture in the air, so by designing the bulb holder to complement the light rather than become an ugly extension was important. The idea was to either hide it with the bulb, as with Curli, or make it a key part of the designs visual balance, as with Smile,” explains Wilkinson.

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All the light sources at Beem are handmade, and the team work hard to ensure as little plastic is used as possible. The Smile range comprises entirely handmade glass and industrial ceramic, and the Curli collection is a combination of ceramic and polycarbonate as the form is too complex to simply consist of glass.

“For all our bulbs we use flexible filament LED. Lightbulbs have always been controlled by technology and with the development of the flexible filament it makes it easier to move away from a centred source of illumination. Without this technology, we would not have been able to achieve the right quality of global illumination from such a small form.

“Chris and Bujar had already established a good relationship with the best manufacturer of flexible filament in the world, so when I got involved it was easier to challenge the norm and try to innovate. Having a willing supplier is half the battle to make challenging ideas become reality.

“At first, we were constantly in hacking mode, smashing and deconstructing light bulbs and then mocking up new ones with the aid of a 3D printer and soldering iron. The hardest part of all was getting the products up to the right quality for production. For example, getting the handmade glass bars for Smile was incredibly challenging. These bars

appear simple but getting the right combination of form, construction and price was not very easy.

“There are moments when you are pushed to compromise on a design, but I always find if you can stay true to the original design the product generally turns out to be much better.”

According to Wilkinson, the biggest challenge that the trio faced when designing their fixtures was working with the E27 socket. They worked on trying to make products that refine the standard tolerances between the components, light source and fixture. “This has been a constant challenge, as it needs to work with our holder and many different others.

“Understanding the limits of the E27 actually led to the input of our rotating mechanism hidden inside the ballast,” he explains.

“As the bulbs are directional, we wanted to have a system that made it easy for the designer/specifier/installer to have greater control to how they are presented. Without the mechanism, the only way to organise or line up this kind bulb was to try to reposition the fitting or cable after initial install. Now it can be placed without thought, screwed in and then repositioned to suit with backward turn of up to 100-degrees. This hopefully is a game changer.”

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Technical mechanisms Each LED flexible filament is hand fired and shaped to create the unique light products designed by Beem as unique responses to the typical light source.

"Understanding the limits of the E27 actually led to the input of our rotating mechanism hidden inside the ballast," Sam Wilkinson explains.

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Each of their “unique, efficient and optimistic” products, as described by Wilkinson, are designed with different characters so they have the flexibility to suit multiple applications and environments. The Curli is well-suited as a retro fit inside other shades or as a collection on its own. The Smile range is a great choice on its own or is very effective when clustered together to produce a graphic language. “Smile 03 in particular is hopefully perfect for architects/ interior designers to use in different ways to embellish their projects,” adds Wilkinson.

“Design with light is like ergonomics for the eyes, a great lamp is as satisfying as relaxing on a comfortable sofa.”

Looking to the future, this young brand is working steadily, making sure they don’t “run before walking”.

Last year, they launched a number of chandelier fixtures that complement their existing collections. In addition, they also introduced brass variants of their fixtures and extra accessories like a hood for the table lamp, for example.

“The aim is to build up the accessories and options alongside the bulbs to have a ubiquitous offer.

“On top of this we have a few new bulb designs in the pipeline as well as a rechargeable product, which is exciting,” concludes Wilkinson. www.beemlamps.com

Beem's collection of flexible LED light sources were created as a response to the typical E27 socket lights available. As a result, the team created a collection of creative light sculptures that are available as pendants. wall lights and table lamps.

Each version work well in clusters or as individuals and are available with shades for an alternative look.

A product designed by Cosentino®

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COSENTINO UK - CENTRAL OFFICES Unit 10 Bartley Point / Osborn WayHook Hampshire RG27 9GX / HQ: info.uk@cosentino.com The Silestone® LOFT series designs have been registered by Cosentino S.A.U. HybriQ+® and HybriQ Technology® are registered trademarks owned by Cosentino S.A.U. HybriQ and HybriQ+® incorporate patented or patent-pending technologies by Cosentino S.A.U.

Individual Interpretations Pearl J Adams & Co.

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J Adams & Co’s Birmingham factory specialises in precision metal working, finishing and assembly, and has a network of suppliers of other materials across the UK and Europe allowing it to work with glass, stone and wood.

Amongst its team it has a wealth of design and engineering experience in how to bring lighting concepts into reality.

Having direct access to its factory means it can be flexible and quickly try things, make custom parts efficiently, and easily modify existing designs. All the makers in the factory are experts in their fields, from the CNC programmers, those that work in soldering and brazing brass, the polishers and the assembly/wiring team.

Most of its standard products can be customised and have been designed with that in mind. For example, its Pearl pendant (pictured left) can be expanded with the different ‘blocks’ to different lengths and shapes.

Bespoke finishes on its existing products are the most common requests – whether it’s a solid painted colour, or a copper or nickel plate finish, or different coloured cables. It also provides bespoke multiple drop pendant groupings, ideal in stairwells for example.

Will Earl, Design Director, says: “The process as a whole varies from project to project but it’s important to kick things off with a meeting or call to get stuck into the requirements and spot any potential issues early on – that way we can make sure that the products are feasible from the start and there won’t be any surprises along the way. It’s always useful to get drawings of the site as well as the clients concept drawings at this stage. The next stage is to produce our own spec drawings, which call out all of the important details and overall look and construction of the lights – these can then be presented along with a detailed quote, and any material samples that are needed.

“We then go onto modelling everything up in CAD, producing part drawings and exploded assembly drawings. Depending on the project we’ll then either make a prototype to test or go into full production.

“Having the factory, (and it being in the UK) means we can be agile, flexible and make small batches easily.” jadamsandco.com

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Whistler Conference Centre, Canada Karice The picturesque city of Whistler has long been a destination for vacation and business travellers alike. Tourism Whistler set its sights on the Whistler Conference Centre to meet the growing demand for a state-of-the-art conference facility.

The Whistler Conference Centre revitalisation plan brought a 5-star wish list to its design team. The facility, as it was, lacked the flexibility for the conference centre to attract the events it was marketing to.

The A+D design team of Lynn Rines Interior Design worked with Tourism Whistler’s Mark Wrightson to bring together a tight, cohesive, professional discipline team to work closely with their construction team.

The original architecture features a West Coast feel of large structure wood beams and wood ceilings providing the natural warmth expressed in many Whistler structures. The light design concept began with a goal to open up the ceilings in the conference centre foyers and ballrooms. The conference centre was looking to attract conference clients requiring large gatherings, ballroom facilities, and specialty entertainment events.

The design team began very early to address the outdated lighting system. It was potentially holding back the multi-use concept design and the ability to fully appreciate the original architectural design.

The light element became the key ingredient to achieve the design goals. Lighting Consultant Margot Richards joined the design team to ensure light goals would be achieved with the new lighting equipment.

The design concepts along with technical lighting requirements were brought to the team at Karice.

Karice then began the work to engineer, design and build the lighting fixtures and ensure the lighting concepts became a reality. Extensive

testing went into achieving the impressive and flexible lighting levels that were required. The custom designed luminaires needed to light up the voluminous architectural space of the main hall and have the flexibility for more intimate functions. Karice utilised the very latest in LED technologies to achieve the design goals. Each chandelier delivers over 32,000lm of downlight, 16,000lm of uplight and eight spotlights delivering 1800 lumens each. A multi-channel Dali Dimming system was used to satisfy the design requirements of the electrical engineer – Integral Group.

The main ballroom is illuminated by large nine-foot round diameter, copper finished chandeliers. This aesthetic blended exceptionally with the beam structures of the main conference areas. Two identical large chandeliers flanking either side of the impressive stone fireplace make a striking presence in the grand foyer of the centre. In the ballroom, twenty large 6-foot-high wall sconces make their statement on the four perimeter walls. The lower level of the facility is completed with the same aesthetic, with 4ft diameter flush mounted custom fixtures.

In designing the ballroom space, further physical considerations for flexibility were required. The conference centre has received requests to host concert events, which brought the lighting elements into the equation. Working with the design team, Karice had to design the ability to have the chandeliers clearly show specific Audio-Visual Equipment. The solution, each chandelier was mounted on an electric hoisting system that enables the lights to be lifted up and down. This was a feat, considering that each light weigh in excess of 600 pounds each. Accomplishing this also allowed for floor level maintenance of the chandeliers. karicelighting.com

03 2021 ADV DARC-convertito.indd 1

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Le Meridien Dania Beach Hotel, USA Chelsom The Chelsom bespoke team is made up of specialists in all areas including design, logistics, operations, production and technical, symbiotically working alongside one another in order to achieve the best results. Chelsom has a 100% ‘partnership approach’ when working with clients where it can add extensive knowledge, expertise and skill whilst the customer creative design intent always remains at the core of the process.

Over the last year, the Chelsom design team has been exploring a number of different aspects of lighting design, which could serve to reduce the spread of viruses within the hospitality environment. As bespoke features, Chelsom has developed decorative ‘touchlessswitching’ solutions that will reduce the points of contact in a hotel guestroom; it also offers fabrics with antimicrobial qualities, as well as metal finishing options that will significantly reduce the spread of germs and bacteria. The Chelsom team are also exploring the use of UV light within a decorative application in a further attempt to wage war on viruses within the hospitality setting.

One recent example saw Chelsom create a huge chandelier for Le Meridien Dania Beach Hotel in Fort Lauderdale, Florida (pictured top). Chelsom worked with Dash Design in New York to create a lobby chandelier centrepiece designed to look like a constellation of stars and planets, suspended to create the illusion it was floating on air. A series of ‘planets’ attached to steel arms of varying lengths contain a small LED at the end to represent stars in the sky. Designed to be compatible with the hotel’s existing dimming system, real wow factor is achieved as the chandelier light effect adapts and transitions from a day through to night sequence.

The project was challenging and took two years to complete but Chelsom was able to interpret the original design through months of intense planning and development.

A huge level of CAD expertise went into evolving the design and miniature model versions of the chandelier were created along the way so that Chelsom could perfect the overall engineering of the product and master the perfect manufacturing technique.

One of the biggest challenges was how to make a huge statement chandelier, the size of a London Bus, appear weightless and fit perfectly into the six-metre domed ceiling of the hotel lobby. The light effect was also key, requiring a huge amount of technical knowledge to create the desired twinkle effect so that the chandelier correctly represented the constellation look that the client was after. Each aspect of this project was carried out in the Chelsom UK headquarters, including all project management meetings, the overall design and engineering, sampling and prototyping and then the overall manufacture. The huge structure was broken down into many sections at the Chelsom HQ and then delivered and installed by Chelsom in Florida. The final results speak for themselves and this is one of the most impressive light fittings that Chelsom has ever created. It was a technical and engineering marvel in its creation but also an aesthetic achievement to have remained so sympathetic to the original Dash Design brief.

Will Chelsom, Managing Director comments on this project by saying: “I am immensely proud that our teams have designed, engineered and manufactured such a unique bespoke piece for this project. I am delighted we have been able to carry off such a huge project, all whilst utilising home grown talent as manufactured at our base in the north west of England. Our bespoke capabilities continue to evolve and we look forward to many more challenges like this in the future”. www.chelsom.co.uk

a company of Quadrifoglio Group

karboxx.com

OLA MOVE design by Enrico Franzolini

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Tria Bover

Passionate about design and craftsmanship, Bover products are a tribute to the light and the lifestyle of the Mediterranean.

Bover believes that the right combination between design and technical development is crucial for a successful product.

Its organic and modular shape makes Tria a unique and original object. The Tria are one of Bover Barcelona’s most successful products and have received lots of positive responses from its catalogue. For this reason, Bover decided to push the design a little further, so has now included them within its gardens, terraces and open spaces, both public or private.

Their organic forms, like worn out river stones, make them a singular and original object.

As opposed to the Tria indoor, the outdoor

cannot be installed in a modular way due to its IP66 protection; they are individual luminaires.

They are available in two sizes and two finishes: graphite brown aluminum sheet and teak wood.

LeVen is one of the world’s most versatile and capable superyachts. Developed by YachtCreators and Lucas Silva, designed and engineered by Vripack, built in the Netherlands by Van der Valk, powered

by Voith Linear Jet. Vripack is a yacht design studio, made strong through its extensive naval architecture and engineering experience. This holistic approach combines ingenious naval architecture and engineering, with creative and beautiful design.

In this specific project, the LeVen team knew that they wanted to adapt the Tria lamp

to its very special needs. They needed a customisable metal wall lamp, to be able to choose special dimensions different from the standard that Bover offers in its catalogue, with a special colour, and finally with a special treatment for marine environment use.

Each piece has been cut at certain measures and studied to occupy the exact place chosen by the client to realise the desired lighting effect. Three panels, one on the ceiling and two next to the entrance, in which each position has been carefully studied.

Bover focused on adapting completely for this project, achieving the design of the lamps they had imagined. www.bover.es

Black Hole Extreme phenomenon

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Aurora Borealis Dernier & Hamlyn When Winch Design was selected to design the bespoke interiors for the 67-metre M/Y Aurora Borealis luxury yacht, its award-winning team took inspiration from the skies above and the surrounding beautiful natural world. Soft, organic textures were chosen to complement its flowing interior spaces illuminated by custom art deco inspired lighting produced by bespoke lighting designer and manufacturer Dernier & Hamlyn.

Greig Jolly, Associate at Winch Design and project manager, says: “We wanted to work with Dernier & Hamlyn because of its proven track record in creating bespoke lighting of the highest quality that perfectly complements our designs. Its technical ability is unrivalled and we only want to work with the best, to make our clients’ dreams come true.”

Requiring expert handling by specialist craftsmen and artisans, the lighting has been made using the most sumptuous materials including gold plated brass, shagreen leather, silk, alabaster and straw marquetry.

While the lighting for M/Y Aurora Borealis needed to be beautiful to look at, it raised huge engineering challenges for Dernier & Hamlyn to achieve the required lighting levels and to ensure it was sufficiently and robustly fixed for seaworthiness, without any of the fixings being visible.

In the main saloon, a pendant more than 2-metres in diameter features three concentric circles hand-formed in metal with anegre grey wood veneers and metal elements finished in almond gold. LED lighting is softly dissipated through opal glass diffusers. Dernier & Hamlyn’s team dedicated significant time to developing this statement light fitting so that it met the exacting, and sometimes competing, visual and technical requirements.

In the main dining room, a three-ring pendant that seamlessly integrates an 8-metre fixing framework hangs majestically above the table. The external faces of the rings feature straw marquetry elements crafted by Bill Cleyndert, who also made bespoke furniture for Aurora Borealis. While the inner faces have been hand finished in a custom gold shade specified by Winch Design. So that no shadowing was caused by the LEDs, each ring was also fitted with an internal acrylic ring.

The main entrance to this beautiful yacht demanded lighting that started to set the narrative for other spaces and Dernier & Hamlyn created a three ring pendant that again included straw marquetry from Bill Cleyndert, but this time was finished with 22 carat moon gold leaf that was hand torn to deliver a uniquely luxurious texture.

In the upper sky lounge there is a 1.1-metre diameter round, custom specified gold ceiling pendant that features 20 glass cylinders with internal ribbing detail to provide delicate refraction of the light. Dernier & Hamlyn crafted all metal elements and engineered invisible fixings and worked with a specialist glass supplier to develop this very unusual solution.

For the main saloon Dernier & Hamlyn also made four hand carved tapered alabaster table lamps atop, which sit individually milled goldplated solid brass sections. Handmade white silk shades complete the luxurious yet subtle additions to this beautiful space.

In the master bedroom there are two 1.7-metre floor lamps formed from gold plated brass wrapped in white Foglizzo shagreen leather to give a mottled visual effect and tactile texture with three custom made gold bands hand fixed to the lamps’ columns. dernier-hamlyn.com

FIN COLLECTION

SHOWROOMS IN LONDON | PARIS | NEW YORK | TAIWAN

ORIGINALBTC.COM/DARC/FIN

Unique Timeless Lighting, Handmade in England Authenticity, attention to detail and an interesting mix of materials are hallmarks of our lights. These are created by skilled craftspeople across our UK-based factories, using the best quality raw materials to ensure the longevity of every light.

Discover the complete collection at originalbtc.com

ORIGINAL BTC Darc Ad.indd 1

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Tattu, UK Light Corporation Working in collaboration with Tattu Restaurants and award-winning Edwin Interior Design, Light Corporation designed and manufactured the lighting for the eagerly anticipated Edinburgh restaurant.

“Permanently unique and exciting” – are the key adjectives Adam and Drew Jones use to describe Tattu and their customer experience – and this statement formed the cornerstone of the brief for this latest addition to the Tattu empire.

Inside, guests are taken on a sensory journey fusing both East and West, traditional and modern - something that Light Corporation contributed extensively to with its approach to the lighting design and manufacturing of the light fittings, such as handmade traditional Chinese-style lanterns and a beautiful back-lit ceiling consisting of hand painted Chinese influenced artwork panels lit with line tuneable white LED technology.

The eye catching, captivating, bespoke decorative light and ceiling installations are front and centre in this scheme. Visually stimulating, aesthetically pleasing they command the interior. These effects

are complimented by a range of architectural task and accent light fittings discretely located within the space, blending into the stunning interior.

From delicate pink Sakura blossoms to opulent, dark crushed velvet fabrics and leather, colour plays an immensely important role within the restaurant interior. The colour rendering of the LED lighting used in this project ensures these colours reveal themselves to guests exactly as they are intended, rich, vibrant and lush.

Having worked on several Tattu restaurants previously, Light Corporation understood the owners brief and requirement, (as it is with all their restaurants), for the need for this one to be individual and to stand out.

From bespoke glass shades manufactured using traditional glass blowing techniques to DMX controlled colour changing projectors, everything installed in this restaurant has been specially, specifically designed and finessed to compliment the interior and the owner’s philosophy. lightcorporation.com

WE’RE LOOKING AT THINGS A LITTLE DIFFERENTLY

+44 (0)20 8760 0900

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

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Édition, France Atelier Alain Ellouz

Atelier Alain Ellouz opts for radical design, based on simple lines guided by the characteristics of alabaster. The exceptional creations its workshop produces are all handcrafted, and designed with the same standards of excellence and pure tradition as the leading French luxury brands, involving the meticulous skill of sculptors and fine stone craftsmen as well as cutting-edge technologies developed to control light and preserve the qualities of alabaster.

The workshop designs bespoke projects such as exceptional luminaires, unique bar and mural back-lit compositions and luxury furnishings. They decorate some of the most beautiful spaces in private homes, hotels, restaurants, luxury offices and retail stores around the world. Atelier Alain Ellouz boasts some very prestigious references, including royal palaces, luxury boutiques, prominent hotels and restaurants.

The Édition line is the most recent launched by Atelier Alain Ellouz. It launched this new line with a series of four extraordinary alabaster nomadic lamps that turn on and off just by the subtle touch of the hand and now, they’re launching a new series of pendant lights.

Twelve alabaster pendant lights from Atelier Alain Ellouz exude a warm, delicate character to add charm to your interior. With their sober, aerial, striking or sleek design, one element above your table offers graceful décor, or you can compose them to set the tone in kitchens, dining rooms or restaurant settings. These pieces give the alabaster stone a weightlessness due to their well-balanced and harmonious floating shapes, plus they share simple alabaster design and subtle geometrical contours. As direct light or diffused radiance, they adapt to any room thanks to their easy installation.

Handcrafted by the artisans at Atelier Alain Ellouz, these lighting elements express the stone’s vibrant richness.

Whether the stone is back-lit or natural, it diffuses a delicate yet resonant light ideal for contemplation. The light is set at the core of the stone and passes through its deeply-ingrained patterns. With Édition, Atelier Alain Ellouz offers the magic of alabaster to a wider audience. At the heart of Atelier Alain Ellouz design, alabaster stone is sculpted to reveal its vibrant richness. atelier-alain-ellouz.com

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

Skybell

by Estudi Manel Molina

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JW Marriott, USA willowlamp Requiring an impressive 26 cubic meters of space just to hang it, and weighing over a tonne, willowlamp’s new custom chandelier will certainly be a conversation-starter once it has made its way from Cape Town, South Africa across the Atlantic, to its final destination in North Carolina, USA. willowlamp was commissioned to create this unique statement piece for the new high-end Marriott Hotel currently being completed in Charlotte. Thanks to the chandelier’s girth alone, the one-off behemoth is set to be a talking point when this leading hospitality destination is completed.

The 21-storey, 381-room flagship hotel is expected to open in 2021.

The JW Marriott, which is being built on the corner of Stonewall and College streets, is Charlotte’s first Marriott hotel in this luxury tier. willowlamp’s award-winning founder and Creative Director Adam Hoets was commissioned by Fabiola Troncoso, an Associate at Chicago’s Simeone Deary Design Group, on behalf of Marriott International. The Simone Dreary Group has worked with willowlamp previously, and in 2014, commissioned willowlamp Flower of Life chandeliers for the Hotel Allegro in Chicago.

The firm contacted Hoets in 2018 to work on the JW Marriot project.

He then conceptualised and submitted two proposals. Speaking of the final direction that Simeone Deary Design Group selected, he states: “The piece is based on the original version of our very first Mandala design, which we did for Liwa Suites in the UAE, which was

commissioned by Jan Lewis of Design Union.”

However, the willowlamp for Charlotte’s JW Marriott has a number of challenging and impressive features that distinguish it. Like all willowlamps - including its forebear, the Mandala - it is composed of cascading tiers of metallic ball chain. But this piece is not circular like its Mandala predecessor. Instead, it is a long, narrow ellipse shape.

“Sort of a “squashed” Mandala!” Hoets quips.

The vertical flattening created an all-new design challenge for Hoets, making it far more tricky to model and prototype than the original Mandala. “It is not simply a matter of rotating the same shapes to form a circular pattern,” he says.

This makes the design far more complex and technical to achieve. For example, “the chain lengths cannot just be repeated shapes, they have to all be worked out to fit the stretched proportions, which is much more difficult.” To further complicate matters, the chandelier has upper and lower tiers of chain and was almost too big to manufacture on willowlamp’s premises.

What’s more, due to the extreme size and weight, a number of design innovations were needed to bring the Marriot design to life. Firstly, the extruded shapes made up of chain curtains had to be broken up into separate panels. Hoets was forced to approach the design in this manner because “it is the only way to install a piece such as this, because the combined weight is one tonne!”. willowlamp.com

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

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Delicate Simplicity Original BTC has launched the third in its bone china Drop series that follows the journey of a water droplet.

The Drop Three pendant presents the splash stage as the water hits a surface.

The Drop Three pendant from Original BTC is the final instalment of its bone china Drop collection, which takes its inspiration from the journey of a droplet of water as it falls through the air. Previous pieces in this collection include Drop Zero, One and Two, each showing a droplet’s shape from initial formation, falling in air and landing on a surface. Drop Three represents the stage of the droplet flattening after impact and remerging as it splashes upwards.

“We worked on the Drop Three back in 2001 when my father Peter first designed it, but we weren’t able to produce it to the standard we wanted,” explains Charlie Bowles, Director of Original BTC. “It was technically very challenging to manufacture. Then in 2002, we acquired

our Stoke-on-Trent bone china factory, Staffordshire Heritage. We spent the next two decades investing in the team and the factory’s production techniques and capabilities. As a result, we were able to forge ahead with the Drop Three, and we revisited the designs at the start of June last year. This time around, it took us six months to get the Drop Three absolutely perfect.”

The “sculptural, organic and elegant” Drop Three pendant comprises a handmade bone china shade with a satin brass cap and cord grip, grey cotton braided cable and a matching bone china ceiling rose.

When asked about the design process, Managing Director Peter Bowles, explains that the concept originated back in 2001. “Back in 2001, I

049

developed the concept by studying pictures and slow-motion, videos of falling water droplets – how they behave, what they look like as they take shape and fall. I sketched and drew, and then set about seeing if a series in bone china was a possibility.

“As Charlie says, we didn’t have our bone china factory at the time so there was some back-and-forth with the manufacturer we were using back then. With Drop One and Drop Two there was no problem…

But Drop Three was problematic. It was very fragile before it was biscuit-fired (that’s the first firing in the kiln) and had to be handled incredibly carefully,” explains Peter further. “With the production facilities available to us at the time, it proved to be too complex to take

forward. It often didn’t make it out of the kiln without collapsing. But, with the advances we’ve made in terms of having our own bone china factory and having the ability to really develop our techniques – that’s changed everything.

“Design-wise there’s very little difference between the original and this new launch. We’ve slightly tweaked the depth of the well around the inside of the shade - the foundation, essentially. And of course, there’s the prop and setter we’ve designed to achieve a consistently perfect sculptural form. The bulb is positioned higher up in the shade to illuminate the top of the Drop Three and creating a ring of ambient light through the curved lip.”

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Adding to these challenges, Charlie expands, adding that one of the first hurdles they had to overcome was fixing the stages using wet moulds. “The first challenge comes from pouring out the excess slip as it can get stuck in the curves. Next, was getting the shade to retain its shape after firing. Bone china is a very tricky material to work with and requires extreme care, effort and attention to detail. We use a two-part mould for the shade – so heavy it requires four hands to lift - but we’ve also designed other components to hold and retain the shape of the main mould. There’s a prop to hold the upward curve nicely in place, and a setter on which the shade sits to support the ring itself from underneath.”

The finished product is a beautiful pendant that emits a soft intimate glow. The team also decided to leave the product unglazed (unlike its predecessors that come in matte or gloss finishes), as they believe it “emphasises the natural purity of bone china”. Charlie notes it works particularly well over dining tables, providing a “flattering overhead illumination”.

“We’ve had interest from restaurants as well as for residential projects,” he adds. “Its organic, natural shape combined with its

390mm diameter make it an elegant statement piece. I think it’s especially impactful in numbers. It also works well over kitchen islands, and in living spaces where its soft light is ideal for creating a cosy atmosphere that makes you feel instantly comfortable and relaxed.”

Remarking on what sets it apart from other decorative lighting products, Charlies comments that its being handmade in the UK and their attention to detail allows them to stand out.

“We’re very particular about designing lights that are considered down to the finest detail. The ceiling rose, for example, also has the distinctive curved lip of the shade itself. We’ve done this with other lights in our collection – our ‘Fin’ has a ribbed shade that is echoed in its rose, as does the faceted Hatton collection. We’re able to design and trial as much as we want because of our production facilities – we’re not bound by someone else’s production schedule and can take our time to produce lights that are just as we want them, and that we are proud of.

“We’re so pleased with it, we’re considering if there could be a ‘next stage’!” www.originalbtc.com

THE VECTOR COLLECTION Made by hand in the UK www.jadamsandco.com | info@jadamsandco.com

053 | BAR AND LOUNGE LIGHTING

Ambient Apéritif Grand Hibernian Ireland

British lighting manufacturer Original BTC was commissioned to create the interior lighting for the Grand Hibernian, a luxury train traversing Ireland’s coastline. The Grand Hibernian is the most recent train in the portfolio of Belmond, owners of the iconic Orient Express and a range of luxury hotels and river cruises.

All the decorative lighting throughout the train, including the saloon bar, two restaurant cars and communal areas (as well as the passenger cabins) was designed and manufactured by Original BTC, combining the capabilities of its Stoke-on-Trent bone china factory, Birmingham glassworks and metalworks, and their Oxfordshire-based LED lighting arm Beadlight.

Over 230 lights were supplied, including wall, ceiling, table, reading and picture lights.

Original BTC’s bespoke solutions were designed specifically to withstand close proximity to passengers and the vibrations of the train. A major consideration was the fact that the train had an electrical load allowance of only 450W to 630W per carriage for the lighting.

Lining the bar, a bespoke variation on its classic Davey Lighting Pillar light in chrome with hand-cut extruded glass rods makes for a warmly lit, luxurious lounging experience.

In the restaurant cars, hand-blown opal glass shades with chrome arms give the dining areas soft illumination. All lights have integral LEDs designed and engineered by Beadlight.

The result is a mix of modern luxury and traditional design. www.originalbtc.com

054 | BAR AND LOUNGE LIGHTING

George Prime Steak House and Bar Munich, Germany

With lighting design by UK-based Inverse Lighting and interior design by Canadian JovenHuard, the George Prime Steak House and Bar is located in the vibrant city centre of Munich with design and textures to match the vibrancy.

The focal piece of decorative lighting used above the bar is a striking, chic brass fixture - the result of a collaboration between JovenHuard and VISO. “This custom light fixture was designed to complement the vast length and heaviness of the 25ft marble bar. The composition was intended to feel light within the space, to appear floating among the delicately lit bottle displays behind the bar,” says Sally Pollock, Designer at JovenHuard.

“The fixture strategically uses indirect lighting to convey a

moodiness around the bar area that works well from the transition from day to night.”

Senior Lighting Designer on the project, Anna Zanni of Inverse Lighting, adds: “The lighting was mainly selected for visual effect. We have spotlights in the ceiling to highlight the bar itself, so we could balance the decorative and functional/ mood lighting.

“The fixture itself is a main dimmable 2700K CRI90 pendant.

We also have concealed lighting into the bar counter and especially on the ice basket/sink for champagne and caviar display to create some sparkle.” www.inverselighting.co.uk visoinc.com

056 | BAR AND LOUNGE LIGHTING

The Bull Run Johannesburg, South Africa Bert Frank lighting is designed to make a statement without overwhelming a space and this is why its designs are well suited to commercial interiors. Much loved designs such as Riddle, Massina and Revolve are frequently being specified for cocktail bars, lounges and restaurants across the globe for their timeless mid-century appeal.

Casting a soft, warm upward and downward illumination, these lights create just the right amount of ambience.

The Bull Run, Johannesburg is located at the base of Protea Hotel by Marriot Johannesburg Balalaika Sandton. The Bull Run is an American grill house with an interior inspired by the New York Stock Exchange of the 60s. Designed by Tristan du Plessis of Studio A, the interior is effortlessly

elegant. Traditional bistro tables, red leather banquettes and wood panelling are juxtaposed by the clean metal framework of the open atrium and contemporary décor and detailing. Our Massina pendants adorn the classic cocktail bar where a tiled portrait of Benjamin Franklin casts an ever-watchful eye over patrons. Illuminating the glassware that hangs across the length of the bar space, the Massina’s ambient glow creates a dazzling display that is sure to make you want to stay for just one drink more. For those lucky enough to get a booth table, its Revolve Table Lights in matte black cast a warm, intimate light. bertfrank.co.uk Images: Andrew Beasley

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Lucide Restaurant Lucerne, Switzerland

A gently billowing sea of willowlamps, clustered from the ceiling, adorns the newly renovated Lucide restaurant, which is the culinary jewel of the landmark cultural building KKL Luzern.

Centrally located and built on the shores of the Vierwaldstättersee also know as Lake Lucerne, the KKL Luzern is in close proximity to the historic heart of the Swiss city. This architecturally renowned building is also famous for an acoustically superior concert hall, high-profile music concerts, its conferencing and upmarket events.

Baden/Switzerland-based Atelier West Architects were commissioned to renew the restaurant’s interior, situated as it is, within the architectural foundations laid by Nouvel.

One of Nouvel’s visions for the building was that the waters of the lake would be able to enter the building, creating a flow between interior and exterior. The restaurant offers incredible views of the lake, which lies directly beyond its glass windows.

Atelier West has enlivened the interior with a concept that is inspired by Lake Lucerne itself. The captivating new interior scheme pays homage to the aquatic world that lies beneath the surface of the lake, and

this concept is evident in details employed throughout.

The open kitchen is a dominant feature and boasts a large chef’s table. This allows guests to experience the dynamic workings of Lucide’s Head Chef Michèle Meier, who has been awarded 16 out of a possible 20 Gault Millau points (an international scoring system that is similar to the Michelin star system) for her French-style cuisine.

Other design details include exclusive stoneware created especially for Lucide and bespoke staff apparel.

A stand-out focal point of the restaurant is the veritable sea of willowlamps that washes gentle light throughout the venue.

Atelier West commissioned Cape Townbased lighting design company willowlamp to create a multitude of chandeliers for Lucide. These appear to float, jellyfish-like, from the ceiling and softly illuminate the space, helping to create the relaxed yet sophisticated atmosphere. willowlamp’s Creative Director Adam Hoets says: “We are honoured that Atelier West commissioned chandeliers from us for this prestigious project and it is incredible to see how their lake-led vision has come to life.

They have used the willowlamps in such an authentic way that is so true to how these pieces were inspired in the first place – by nature!”

A variety of gently cascading willowlamp’s such as the Faraway Tree, Flower of Life, Fuschia and Ngoma Drum were commissioned for the project.

The Faraway Tree is an organic treeshaped chandelier inspired by graphic representations of trees on architectural drawings. It is illuminated by a concealed light source within a suspended up-lighter dish.

Flower of Life, willowlamp’s iconic awardwinning design, is based on the sacred geometry of the same name. This elegant and intricate multi-level chandelier is evocative of a classic 1920s style.

The Fuschia’s design is based on the form of dangling Fuschia flowers with the metal `petals` bowing under the weight of the chain. It is illuminated by a suspended spiralling arrangement of pyrex glass balls.

The Ngoma Drum is a cylindrical, drumshaped chandelier with a support frame inspired by Venetian wrought-iron design. willowlamp.com

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060 | BAR AND LOUNGE LIGHTING

Avalon CTO Lighting Ornamental Minimalism at its best; Avalon, the latest collection from CTO Lighting, is inspired by the legendary island, from where mystical stories of light and shadows have enchanted the world for centuries.

The Avalon collection evokes the legend with its enchanting and mesmerising lights. The majestic qualities of the Avalon chandeliers reflect the mythical island, showcasing cascades of light emanating from a precious ring of alabaster, encapsulated in brass or bronze, creating an exquisite illumination.

The Avalon collection of striking chandeliers features a continuous ring of alabaster columns, which seemingly float, creating the mystical illusion of its namesake. Each column is illuminated, highlighting the unique striations of every piece of alabaster.

The brass ring frames the natural stone, creating a powerful contrast, showcasing the translucent quality of the alabaster.

The Avalon chandeliers can be used solo, creating an elegant centrepiece, or arranged in multiples of varying sizes, producing a decorative statement.

The Halo chandelier is an elevated level of luxury, with its tiered height creating a dramatic feature.

The various formats and sizes within the collection allow for scalability, for use in residential and commercial settings.

The chandeliers are lit by a fully dimmable, integrated LED, producing a sophisticated ambience, cascading the light throughout the room. ctolighting.co.uk

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Photography © Jan Dallas

TABLE - LIGHT - STOOL

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062 | DESIGN FOCUS

Tidy desk, tidy mind Oblique is the technological upgrade to a standard desk lamp that allows you to charge your smartphone without the use of an extra power source. This allows the user to keep their workspace free from clutter, ensuring a cleaner workstation.

Oblique rethinks the archetype of the traditional office lamp through an iconic design that offers superb functionality with a few simple elements.

This design by Vincent Van Duysen for Flos coherently follows the same approach that led his Infra-Structure collection to great success.

The starting point for the Oblique table lamp was a revolutionary technology developed by Flos - an combination of LEDs and lenses that require only the most slender of spaces to produce an extremely

bright and directional beam of light that shines at an angle onto the table or desk surface.

Imagined as a revolutionary table lamp, Oblique is a natural successor to the swing-arm lamp. With its robust, compact structure, timeless design and patented asymmetric light beam, Oblique is perfect for work areas and working surfaces.

Available in two models and six contemporary colours, The QI version offers an integrated wireless charging system that allows users to

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charge their smartphones, thus freeing desks from cable clutter. A USB-C port – available in both models – is integrated into the base to charge additional devices.

The rounded, flat head hides an ultra-flat lens with a high efficiency of 97%, the stem can rotate 355-degrees around its axis and with a UGR of <10, the Oblique represents excellent comfort, exceptional anti-glare, homogenous light distribution and a high lux performance.

The heart of this lamp is the result of an innovative technological

challenge. The LEDs and lenses generate an extremely powerful and controlled light beam from a space that’s only 5mm deep.

The collection is available in different finishes, from classic white, black and anthracite, to the most sophisticated pastel shades, specifically created to customise the working environment. flos.com www.atrium.ltd.uk

064 | WOMEN IN LIGHTING | KAORI HIROKI

Championing Female Design Kaori Hiroki is a Japanese lighting designer and Women in Lighting Ambassador for her country.

We discover more about how her background, plus how she collected interviews with numerous female designers for the WiL platform, advocating their voices in the design industry.

architectural lighting design. However, she has worked on designing bespoke lighting for various projects. “I have designed custom-made fixtures such as lantern lamps, bracket lamps, and streetlamps for several projects. By adopting the lighting design styles and materials that match the theme of interior and architecture, I can create a sense of unity and originality for the entire facility, including the lighting fixtures.

This kind of custom production is relatively common.

“Speaking of decorations, illumination events are popular in winter, and lighting designers often get involved in them. I myself have experience working on Illuminations. I designed not only the installation of illuminations but also original objects. I could see the visitors' positive reactions firsthand, and that's one of the best parts of the job.”

Hiroki’s involvement in Women in Lighting began in 2019. She first met WiL’s Co-Founders Sharon Stammers and Martin Lupton of Light Collective when she was in Denmark attending a seminar. Upon returning to Japan, she continued contact with the pair, and when the time came, she put herself forward to be the ambassador for Japan.

“What I first did as an ambassador was to collect stories of women in Japan's lighting industry for the feature article "Your Interview" on [WiL’s] website. I'd known there were many females involved in lighting design in the country. I invited those who wanted to be on the page and conducted interviews in Japanese,” she explains. “Then I posted the English version of them on it. The English translation was mainly done by my sister, Akane, who volunteered her time and effort. I gathered voices from diverse backgrounds, including lighting designers, engineers, and electricians. Currently, 11 interviews have been posted, and several more are in progress. I will keep empowering women in the lighting industry step by step.”

As is the case with so many internationally, Japan too was greatly affected by the global pandemic of Covid-19 and the construction industry in particular took a big hit.

“It has been an uncertain situation for a long time due to the Covid-19 pandemic, and the entire construction industry has been greatly affected. For example, many construction projects have been cancelled or postponed, and material deliveries have been delayed. “Accordingly, the lighting market has also been greatly affected. I experienced the cancellation and postponement of several projects too. We are still struggling with various restrictions like refraining from going out, but I believe there are things we can see only in this situation. All of us are trying to find what we can and do the best in this difficult time,” she reflects.

Looking to the future and what developments she is witnessing in lighting in Japan, Hiroki observes the recent trend for lighting manufacturers and developers in Japan is the development of their “unique services that combine LED and IoT for control, such as wireless dimming systems and complex colour control systems”.

“I see this trend continuing, and the research on how to combine technology with lighting will develop more.

“At the same time, it seems that users' awareness has not yet caught up with the technology or mastered it, so I think it will be a challenge for lighting manufacturers and designers to bridge this gap.” www.lyshus.com womeninlighting.com Image: Keiko Ishiyama

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Based in Tokyo, Kaori Hiroki is a Japanese lighting designer and Women in Lighting Ambassador for Japan. Currently working under the name Lyshus, Hiroki began her lighting career after discovering the wonders of light at university and then pursuing her first job at Uchihara Creative Lighting Design, an award-winning practice.

“While in the company, I got involved in more than 100 different projects, a wide range from large-scale to small, such as international airports, redevelopment projects, residential buildings, illumination events, etc.

After 10 years of working, I left the company for my next step. I studied in Denmark, then started to work independently back in Tokyo in 2018. I have been working as a lighting designer for 14 years in total,” she tells darc.

Starting her career in 2007, Hiroki, much like many in the lighting industry, notes the most significant evolution in lighting in Japan was the introduction of LED. “Before, it was important to combine various light sources such as metal halide, fluorescent, and halogen in a well-balanced way,” she explains.

“However, after the Great East Japan Earthquake in 2011, energy-saving got more attention than before in the country. Around the same time, the performance of LED light sources had evolved dramatically. Those two factors accelerated the shift to LED light sources. At first, designers, manufacturers, and users were confused by the emergence of the new light sources, but they gradually accepted it. I believe that the change to LED as the main light source greatly impacted lighting design. It enabled the downsizing of fixtures and also widened the design style for many designers.”

When asked about the Japanese lighting market and what makes it stand out internationally, Hiroki refers to “Shadow” as one of the Japanese design themes. “I think many lighting designers are sharply conscious of it. With Japanese traditional architectural styles, people in the past had developed a sensitivity to finding beauty in the shadows in our daily lives,” she says.

“However, we began to lose such shadows due to the change of lifestyle.

Today, Japanese people seem to be a little insensitive to brightness tones in general, and many of us spend our nights with very bright lighting. I think lighting designers are trying to bring back the delicate senses for shadows that lie dormant in people by presenting various forms of night.”

She also highlights that there are a number of lighting design practices in Japan that are leaders in the market. “The quality of their design is high, and many of them have won prestigious international lighting design awards. Although, it's not easy to get into such renowned lighting design companies, I guess this ensures their quality because, once designers get in, they can gain quality experience in the field and learn a lot from various specialists directly. The market in Japan still has a lot of room to grow. Many experienced young designers, including myself, are trying to become independent and create new approaches.”

In reference to lighting design in interior spaces, we asked whether there were any particular interior design trends emerging in Japan at the moment and what impact this has on lighting. She observes: “People seem to prefer a minimal and simple interior design with authentic materials. Regardless of the size or function of the space, natural materials such as wood are actively preferred. I feel that decorative designs tend to be perceived as a bit deliberate.”

In terms of decorative lighting, Hiroki’s background is more linked with

ARTON PRESENTS KEMBLEFORD PENDANT

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Australasia Design Report Australasia’s lighting design industry is full of unique artists and manufacturers that design with strong influences from their natural surroundings and materials, ensuring that their designs are environmentally-friendly, sustainable and beautiful.

068 | DESIGN REPORT | AUSTRAL ASI A

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Natural Inspirations Acting Editor Sarah Cullen sits down with product designer Edward Linacre of Copper to find out more about his lighting practice, the design market in Australia and the current challenges it faces.

Edward Linacre is the Co-Founder of Melbourne-based Copper, a product design studio that specialises in illuminated artworks, contemporary luminaires, limited edition lighting fixtures and installations, both large and small-scale.

“I am an Industrial Designer and Artist who trained and worked in Australia and Germany before starting my own studio, Copper, in 2013, with Industrial Designer Viktor Legin,” he tells darc. “Initially we were operating as a product design consultancy across various industries, including Medical Device design where we authored international patents. However, our focus was drawn to our artform-based side project, creating sculptural lighting. The art of illumination to me was the amalgamation of technical lighting engineering and my passion for sculpture. My works were born through no commercial aspiration, but for visual and emotional pleasure.”

Since working within lighting, Linacre has observed some changes within Australia’s lighting industry, noting in particular the move “towards site specific lighting solutions, in harmony with their environments, and a movement away from the traditional approach of specifying stock lighting products for interiors”. As a result of this, at Copper they have since designed their ranges based on their ability to be customised and personalised to the requirements of the client and the space.

When asked about what makes Australia’s market stand out from the rest, Linacre highlights the geographical impacts that being an isolated continent can have. “We are isolated from the global design community, so we are not as influenced by global trends. As we have far fewer industry lighting and furniture manufacturers than Europe or the US, a boom of small-scale designer maker studios

070 | DESIGN REPORT | AUSTRAL ASI A

has been underway for the past 10 years,” he says. “We all strive to have our own identity and aim to be distinctive, but overall, we are environmentally sensitive due to our Australian environmental conditions. The design and architecture community in Australia is leading the charge in environmentally focused initiatives, like zero carbon operations, and re-use / recycling of waste product. As the design community is small in the scope of Australia, we are very supportive of each other, and regularly exhibit without peers and competitors. I believe we feel together we are stronger.”

As we will see in the following case studies from Australasiabased designers and manufacturers, the use of natural materials in lighting products is a driving focus in this region. “Natural materials are a strong theme across my industry. Metals, timbers, stones; exploring the beauty of organic materials is a fascination of many.

“We also experiment and explore through design and there are some very influential young designers working to encourage researchbased outcomes, innovation, and exploration of social, cultural and environmental factors of their work. Through our design education, we are taught to understand the obligations of a product designer to consider all implications of the product we are bringing into the world.”

Aside from this materials-based commonality within the region, Linacre doesn’t believe there are any specific trends occurring within both the product and interior design industry. However, he notes that the lighting designer / maker scene, more specifically in Melbourne, is booming these days. “We are the new New York. We keep each other striving for individualism and experimentation, and support and encourage each other to succeed and push the limits of our artform,” he explains. “We help each other with parts, with providing advice to

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the younger studios - it is really a beautiful community.

“We don’t focus on trends, but I can tell you our glass work (the Flask System) is doing very well, primarily I believe due to its ability to be personalised and customised to suit the requirements of the client or space.”

Some of the most note-worthy designers in Australia at the moment, according to Linacre, include Christopher Boots, Coco Flip, Volker Haug, Ross Gardam, Articolo, Nightworks, Adesignstudio, BTD, and Porcelain Bear, all because “they are bloody brilliant”.

One of the biggest problems the Australian design market is facing currently is one many will find relatable – counterfeit products. Linacre adds further: “As with any market, we face the imports of cheap replicas, counterfeit products and rip offs, even of our own Australian products. But the public is learning the faults of fast furniture and

lighting, and we see a resurgence of local manufacturing in Australia, and a growth of my industry in the past 10 years.”

Looking ahead, Linacre believes Australia will continue driving forward the site specific lighting outcomes and encouraging less mass production of single items that may not have the effect required by the environment. “We also are involved in a biodegradable material revolution of sorts in Australia. Our contribution is Mycelium, [a multidisciplinary creative studio and co-working hub that seeks to develop community and improve our environment through design thinking and the creative process]. We have created seating, lighting shades, and various other 100% biodegradable products, and it’s only the beginning.” www.copperdesign.com.au

072 | DESIGN REPORT | AUSTRAL ASI A

Apex neoz

Industrial design and lighting manufacturing company Neoz, has announced the launch of its latest cordless lamp, the Apex. Neoz is one of the pioneers in cordless lighting with the introduction of the Magill cordless table lamp in 1995. To celebrate its 25-year anniversary, their team designed the Apex, a high-quality sustainable lamp that pays tribute to the original Magill.

Combining high-quality and compact, cordless technology that is easy to handle and recharge was a must when the design team recognised the need to support its global hospitality clients’ return to business post Covid-19. Jon Hemming CEO at Neoz says: “Our clients have a strong requirement to renew their venues with a fresh and noticeable point of difference in an affordable way. Cordless lighting can transform a venue quickly and bring an entirely new dining, bar or luxury resort experience to life.”

And while the design of the Apex lamp commenced pre-2019, the finishing of the lamp during the Covid shutdown confirmed the design

team’s conviction around creating a cordless lamp that could be used in an outdoor setting. The Covid restrictions worldwide meant Neoz’s hospitality clients had to quickly change their venues to support both indoor and outdoor settings. Outdoor dining was a significant change for many restaurant owners and the manufacturer’s colour options meant venue owners could choose a colour that provided a noticeable lift for their unique customer experience. The Apex Lamp is available in the following colours: anodised silver, mocha, shadow grey, barrier reef, forest green, fire red, real brass.

In addition, the design challenge for the Apex was to create a high quality, compact cordless lamp that is easy to handle and recharge, and also improve light output and efficiency. Sustainability has always been a big part of Neoz’s design ethos that is incorporated in every part of the product development process, from manufacture, assembly, and disassembly of the lamp.

The result is a lamp body that is precision-milled from solid brass or

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aluminium alloy and mechanically joined via a clear acrylic machined tube to an internal injection-moulded form. Its robust construction ensures the Apex can tolerate everyday handling for many years. The lamp has only mechanical fixings and is therefore simple to repair, upgrade, or recycle. In the event a part replacement is required, the lamp can be easily disassembled without any tools by the user to ensure product longevity.

Its compact size is especially important in a restaurant set-up where table space is at a premium and when the table lamp is the central source of illumination. Compact and robust, the Apex is easy to hold and handle – a simple but essential feature to ensure the product can withstand the day-to-day handling in a busy hospitality environment.

In a home, the versatility of the lamp allows for functional illumination during outdoor alfresco dining, for bedside lighting, or as discreet mood lighting for study or living areas.

The Apex features Neoz’s time-tested cordless lamp control unit with

a commercial ready recharging docking system that can cater to up to 48 lamps. The lamp is fitted with a custom-made slim-profile disc LED to provide dimmable 2600K, 94+ CRI, 100 lumens+ illuminations.

The design achieves a direct glare-free downlight and a soft glow on the internal metallic cone, resulting in a warm ambient task light for hospitality and residential environments.

Peter Elis, founder of Neoz, says: “Neoz is one of the pioneers in cordless lighting with the introduction of the Magill cordless table lamp in 1995. To celebrate its 25-year anniversary, our team designed the Apex, a high-quality sustainable lamp that pays tribute to the original Magill. We kept its pure geometric quality but also created a compact and exceptionally robust product that is tactile to handle, is simple to recharge, and provides a useful glare-free downlight for tablescapes.” neoz.com.au

074 | DESIGN REPORT | AUSTRAL ASI A

Cloud, Ebb and Navicula david trubridge

At the beginning of the New Zealand Covid lock down in March 2020, the David Trubridge Lighting studio quietly released some new works.

They were Cloud and Ebb, which previously had been put to bed; discontinued in 2018 due to plastic content. The new, reincarnated works nod to the old designs but offer so much more in both aesthetic, function and environmental impact. They are all kitset now, made predominantly from plywood and packaged in low impact cardboard packaging.

One year on from this release, the designs are now out-selling their former iterations and are finding their way further from home. What was once a 150kg wooden crate with a 5kg light inside is now a 30kg, 50mm thin sleeve manageable by hand. The Ebb lights have had even greater success and are shipped in tiny cardboard boxes. Freight is now affordable and in many cases offered free around the world.

Trubridge talks about the benefits of the redesign: “Making good decisions for the environment can ultimately result in a better product that people like more, is cheaper and is more profitable. One of our first sales for our Cloud lights came from an online purchase through our website. The customer fell in love, bought them and assembled them too.”

The company has grown stronger during New Zealand’s enviable handling of the pandemic and positioned itself to respond to the

growing international demand for wellness products. As countries emerge from the shadows of lockdowns and stabilise, international modelling is showing a bolstered increase in consumer spending and restarting of the interior and architecture market. New Zealand is experiencing rapid growth and a building boom. “We’re excited to be a part of that, many customers are selecting our lights as keystones for the home’s design,” adds Trubridge.

A design doing just that is Navicula; an undulating, twisting light form inspired by underwater Diatoms. Since the release of Navicula in 2016, it has been welcomed into many new homes by clients interested in not only its form but its design inspiration.

Trubridge and his team were fascinated by the different forms of Diatoms and amazed that they produce up to half the oxygen in the atmosphere, more than all the tropical rain forests. “We wanted to express that story and that sense of complex beauty in our design work, so we all started a design project to retell that story” says Trubridge. “We were passionate about this aspect of the design and chose to give $50 from each sale to Sustainable Coastlines NZ to help the oceans; one main source of Diatom habitat.”

Looking across the entire David Trubridge offering, we see a myriad of various shapes, all woven together in seemingly endless possibilities.

The forms are simple and obviously connected with nature, yet upon

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inspection must require complex geometries to realise.

Trubridge speaks about his early work in his studio versus now in a digital era: “I studied Naval architecture and was always interested in building boats, so there was an underlying subconscious predilection to design skin-like ribbed forms reminiscent of boats. But when I came to Aotearoa (New Zealand), I was exposed to early Maori woven traps and baskets and they intrigued me. My early furniture works built here in New Zealand were raft-like recliners that used a lot of boat building methods, but to the extreme.”

Trubridge’s success would come later as his oeuvre developed into lighting. “I was driven by an overwhelming desire to omit all superfluous material and tradition from my work, especially my lighting sculptures” he says. “Coral came about from an exercise while running a design school workshop in Perth, Australia. I gave myself a challenge; design something that was large but built from as little material as possible, yet still was fundamentally interesting and beautiful”.

Coral was born and then followed a fascinating exploration into this new way of making forms. Trubridge speaks about humans needing beauty: “We are always looking at nature’s beauty and then seeking that out in our own human production through art and design. When things are beautiful we look after them, they nurture our lives and make us better people”.

His success meant the studio could expand, creating jobs for around 10 people at that time, but he wasn’t satisfied. Trubridge didn’t want his success to harm the very environment that he drew inspiration from, so he commissioned a life cycle assessment of his range. The findings were similar to what he had anticipated, and that freight volume (the size of the boxes going out) was possibly the most harmful thing of all. This confirmation led to the re-design of all assembled lights and gradually the company became a kitset only operation. “Our orders now are the same size (often smaller) than a box of shoes and our large export orders of over 50 lights fit in the old boxes that we would send one light in! It’s extremely exciting and we still get a buzz when we see each order going out” he says.

“Our customers tell us (both domestic and commercial) that their David Trubridge light(s) are their most commented on feature. They tell us that they make their lives better and they wouldn’t ever leave these lights in their home should they move out.

“I am a very happy designer, with a great team around me helping me realise my ideas. For every single light that goes out I’m thankful, not only of their purchase and support, but that there is something in the world that is loved and not harmful like a lot of the things we encounter.” davidtrubridge.com

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Image: Jenner Egberts

the trunk light duncan meerding

These lights were initially created as a site-specific response for the Hobart College’s theatre re-development and had to speak to the theatre’s connection with storytelling, but also the surrounding nature of the Mt Nelson environment in Tasmania, Australia. At night, this dramatic light source evokes a sense of mysticism and storytelling often found in the creative narrative of performing arts.

“In 2019, I applied through a tender process to the Hobart College Theatre Foyer Arts Site Scheme commission,” explains designer Duncan Meerding. “This scheme is a unique one allowing for artists and designers from multiple disciplines within Tasmania to create works for public spaces when they are being redeveloped. This was one of the first Arts Site scheme commissions, which was lighting specific and, given the natural environment that the college is surrounded by, I was very excited to apply.

“Later that year I was awarded the commission, and by April 2020 the

final four human-sized lights were installed in the theatre foyer. This was all the more special as I am alumnus from a number of years ago now.”

The Trunk Lights can be customised for different heights with its unique stacking system, creating a light system suitable to transform any space.

The Cracked Log concept, and now its latest iteration the Trunk Light, is an original and timeless design that creates a light vessel that is both captivating and whimsical.

“These Trunk lights specifically are made utilising Tasmanian Eucalyptus. This timber was chosen as it is indigenous to the surrounding bush of the college campus and the clients wanted to use something that complemented the surrounding nature. These trees were salvaged by a local timber salvager and supplier Dovetail Timbers,” he adds.

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“We utilised a range of lighting components in the manufacturing of these lights. The aim was to create a uniform light pattern with warmth and also have a dimmable system. We used 7.5 watt a metre, dot free, warm white LEDs from Blue Moon and we created a custom multidirectional light fixture on the inside with a custom diffuser and heat sync system. The leading edge dimming system we used was from ADM, which allowed for dimming directly through the mains power switch.

“This design has taken a fatal design flaw, the cracks in a log, and made them a feature. The light bursting from the inside represents a unique aesthetic, inspired by my alternative sensory world in which I design, with less than 5% vision concentrated around the peripheral fields,” Meerding explains.

“Furthermore, the strong form and unexpected warmth of the cracks bounce light around the room like nature’s disco ball, evoking

memories of walking through the dappled light of a forest, reminding us of our intrinsic connection with the natural environment.”

The Trunk Lights have been designed specifically for this project, however have since been commissioned at a smaller size for a reastaurant in the Middle East.

“The Trunk Light installation here was a site specific work, but we can create custom Trunk Lights for clients on request and, as the lights are quite specific to each tree trunk, each light vessel is quite different. We have been experimenting with a number of techniques to expand some of the possibilities for different Trunk-like light vessels,” he concludes. www.duncanmeerding.com.au Images: Chris Crerar

Women in Lighting Awards Announced during the project's virtual event Global Gathering, hosted on International Women's Day and as part of its second anniversary celebrations, the Women in Lighting Awards aim to highlight and celebrate women in our industry that have exceeded in their careers, and those that have supported them along the way.

The project team explain more below...

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2020 was a year like no other. We had to deal with issues that had never come our way before. We worked from home, we home schooled, we were unable to see our friends and our family. We were unable to travel or take holidays. We dealt with illness and the pandemic from our homes. We tried to keep our jobs and our loved ones afloat and also ensure that our mental health didn't suffer. Some of us are still dealing with the same things in 2021.

But still we rose…

The Women In Lighting project continues to challenge but we also want to celebrate. The WIL Awards are specifically to highlight the achievements of the WIL community and its supporters. We want to seek out and celebrate the things you achieved in 2020. They may be large or small but we still want to know and share them with the world.

We want you to nominate people that you think did something special in 2020 under the categories of Achievement, Initiatives and Supporters.

Nominees and nominators can be from any gender identity - as long as it fits the ideology of the WIL project. Let's get these special people some recognition and together, acknowledge their achievements.

Achievement is the category where you can nominate someone who you think has achieved something amazing in 2020. This can be a big achievement: Have they started their own company? Have they won an award for their work or contribution? Have they achieved excellence in the field of lighting? Have they reached the highest level in their career so far? Have they spread the word of lighting to new places? Or it can

be small - have they achieved something seemingly less important but still significant in their lighting journey? Nominate someone to let them know that you choose to celebrate their achievements.The Initiative category allows us to highlight new ideas and initiatives that sit alongside the lighting industry. This is where you can celebrate ideas that push the profession forward or use light to help in the wider community. Nominate a project or an idea that you feel is beneficial to our community as a whole and fits the WIL ideology.

This is where it gets personal. The Supporter category is to enable you to give a shout out to those who have helped you in your lives. The person who shares your load to enable you to keep moving forward.

Nominate a person that has supported you, their colleagues and friends or someone who gave you a seat at the table, mentored you or a person who really supports the 50/50 ideal in the workplace.

Some of our ambassadors have agreed to create a panel to pick out some high achievers, top supporters and favourite initiatives that we can honour in more detail.

Remember, although we will choose some nominations to honour further, everyone nominated is a winner. If you are nominated, you have made a difference in someones life and we celebrate you.

Tell us who rose above the challenges of 2020 and did something unique. Submit your nomination online from March 8th. womeninlighting.com/projects/awards

ct re g r co in re rint a p es at e of d l Al t tim a

On Show

080 | CALENDARC

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

[D]ARC AWARDS • LONDON, UK

LIGHT MIDDLE EAST • DUBAI, UAE

29 April 2021 (www.darcawards.com)

28 – 30 September 2021 (www.lightme.net)

INTERIOR DESIGN SHOW • TORONTO, CANADA

[D]ARC SESSIONS • MYKONOS, GREECE

10 – 13 May 2021 (toronto.interiordesignshow.com)

5 - 8 October 2021 (www.darcsessions.com)

INDEX • DUBAI, UAE

DECOREX • LONDON, UK

31 May – 2 June 2021 (www.indexexhibition.com)

10 – 13 October 2021 (www.decorex.com)

HOSPITALITY DESIGN FAIR •

HONG KONG LIGHTING FAIR • HONG KONG, CHINA

SYDNEY, AUSTRALIA

1 – 2 June 2021 (hospitalitydesignfair.com.au)

27 – 30 October 2021 (www.hktdc.com)

EUROLUCE • MILAN, ITALY

DOWNTOWN DESIGN • DUBAI, UAE

5 – 10 September 2021 (www.salonemilano.it)

8 - 12 November 2021 (www.downtowndesign.com)

INDEX • RIYADH , SAUDI ARABIA

BDNY • NEW YORK, USA

7 – 9 September 2021 (www.index-saudi.com)

14 – 15 November 2021 (www.bdny.com)

MAISON ET OBJET • PARIS, FRANCE

ICFF • NEW YORK, USA

9 – 13 Sepember 2021 (www.maison-objet.com)

14 – 15 November 2021 (icff.com)

LONDON DESIGN FESTIVAL • LONDON, UK

WANTED DESIGN • NEW YORK, USA

18 – 26 September 2021 (www.londondesignfestival.com)

14 – 15 November 2021 (www.wanteddesignmanhattan.com)

[D]ARC ROOM • LONDON, UK

HIX • LONDON, UK

22 – 25 September 2021 (www.darcroom.com)

18 – 19 November 2021 (hixevent.com)

DESIGN LONDON• LONDON, UK

CRUISE SHIP INTERIORS EXPO • LONDON, UK

22 – 25 September 2021 (www.designlondon.co.uk)

1 – 2 December 2021 (cruiseshipinteriors-expo.com)

AD INDEX Archilume....................................................................................................... 78

Huda Lighting. . .......................................................................................... OBC

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

ICEX - Spanish Commercial Office. . ........................................................ 32

Atelier Alain Ellouz...................................................................................... 57

Intra Lighting. . ............................................................................................... 39

Atrium............................................................................................................. 21

J Adams & Co................................................................................................ 51

Barrisol........................................................................................................... 31

Karboxx. . ......................................................................................................... 37

Bert Frank...................................................................................................... 47

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

Bover............................................................................................................... 45

Light Corporation........................................................................................ 59

Catellani & Smith......................................................................................... 35

Lightovation.. ................................................................................................. 52

Chelsom. . ........................................................................................................ 13

Louis Poulsen...................................................................................................7

CTO Lighting................................................................................................. 55

Original BTC. . ................................................................................................ 41

David Trubridge . . ........................................................................................ IBC

Tekna............................................................................................................... 66

Dernier & Hamlyn........................................................................................ 43

Well-Lit........................................................................................................... 19

Duncan Meerding Studio........................................................................... 61

In Focus Pigeon Light by Ed Carpenter Very Good & Proper What is the concept behind the Pigeon Light? The Pigeon Light was intended as an alternative souvenir for London; a reaction to the poor-quality products on offer in most tourist shops and also a celebration of the wildlife of London.

How long have you been working on the product for? We’ve been working on the reissue on and off for about a year.

082 | IN FOCUS

What was the most challenging aspect? The most challenging aspect of this product was deciding how far to stray from the original. In the end we decided everything except the shape of the shell was up for grabs.

Can you describe the design process? The original Pigeon Light mould was sculpted and shaped in clay and the whole making process after that was very hands-on. The original shells were made from acrylic (which I initially vacuum-formed myself), and an off the shelf clothes peg - it was great fun, but these materials and processes had obvious limitations in terms of strength and scalability.

When the time came to look at this again after 20 years, the industrial designer in me wanted to improve things – so we now mould the shell from a high-quality polycarbonate, which enables us to

clip and snap things together without the material sheering. I also decided to drop the original clothes peg (which was somewhat controversial in the design studio) as I felt it could be improved as part of the new production process. The final thing we did was introduce a turned beech wood base, which means the light can sit on a table more easily than before.

What technologies does the product use? We digitally scanned the original shell to insure 100% accuracy – it’s still an unashamedly analogue product in spirit.

What makes this light different to other lighting products available? It’s a bit of fun executed in a paired down, simple way that we hope still appeals to a wide audience.

What kind of environments / clients is the Pigeon suitable for? The Pigeon Light has consistently had a very wide appeal, which I’ve always enjoyed. A bit like a real pigeon, it feels at home in most places!

Describe the Pigeon Light in three words? Original, Urban, Souvenir. www.verygoodandproper.co.uk

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