Darc 53

#53 B L AC K S WA N S T U D I O, C A N A DA LOBBY LIGHTI N G STUDIO SLØYD X NORTHERN P OP & FL A RE D COLLEC TION BY MU D

Innovation meets timeless design in our new collection of contemporary lighting concepts for hospitality, residential, and commercial spaces Lighting designed to stand the test of time follow @astrolighting | astrolighting.com

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WELCOME

Sarah Cullen • Editor Welcome to our first issue of 2024! Did January fly by for you too?

I hope everyone had a lovely start to the new year, and you didn’t put too much pressure on yourselves to stick to new resolutions or shortterm diets. Life’s too short to not eat the cake ‘n’ all that!

On that note of newness and cake, why don’t you click that kettle on, grab yourself a slice and delve into this latest issue of darc, where we bring you a wealth of inspiration from the world of decorative lighting.

We are covering projects from a tattoo studio in Canada, to a coliving space and an office in the UK, as well as a restaurant in the Netherlands.

Picking up on last issue’s coverage of London Design Festival’s Material Matters exhibition, I caught up with exhibitor Federico Fiermonte to discover how he creates his beautiful Spira lamp in our materials feature.

I also spoke with the design duo of Studio Sløyd to find out more about their competition win that resulted in a collaboration with Northen to create the Archive table lamp.

Our focus for this issue is lobby lighting. Nulty Lighting’s Creative Director Daniel Blaker opens the feature with a comment piece on a lighting designer’s approach to a lobby environment and what to consider when specifying a decorative lighting installation. This is followed by a curation of lobby lighting case studies from international decorative lighting brands.

In typical darc fashion, as this issue flies out hot off the press to your desks, we are working hard on the next, and it’s going to be a big one.

The Mar/Apr issue (#54) will include a round-up of our time at Light + Building, of which we are open for editorial submissions, be it a new product launch or designer comments on their thoughts from the fair. If you have something to say, let us know. Drop me an email at s.cullen@mondiale.co.uk to discuss opportunities.

Issue #54 will also be distributed at Archiproducts during Milan Design Week in May. The team is booked to spend the week in the city to check

COVER: BLACKSWAN STUDIO ESPACE 313

out all the latest offerings and catch up with clients and friends. Keep me up to date if you are hosting an event you would like darc to attend, or are launching a new product you want on our radar!

Ciao for now,

/darcmagazine |

@darc_mag

For specifiers and suppliers of global lighting projects

A series of events connecting the very best people creating exceptional lighting projects around the world. For more information contact Jason Pennington: j.pennington@mondiale.co.uk

The next session: 14-16 May, 2024 Tróia Design Hotel, Portugal www.darcsessions.com

Battersea Power Station Washtower Chandeliers,

winner of the 2022 Art: Bespoke [d]arc award

CALLING ALL DESIGNERS… VOTING IS OPEN! VOTING DEADLINE: 01 MARCH 2024

All independent lighting designers, artists, interior designers, architects and product designers are eligible to vote and receive an exclusive ticket to [d]arc night the awards party at fabric London on 27 March 2024.

Don’t miss the biggest party of the year as the lighting industry gets together to celebrate the best projects and products of the year. www.darcawards.com

STEP INTO THE…

The UK’s only dedicated lighting specification exhibition

Interested in Exhibiting?

Contact: John-Paul Etchells on jp.etchells@mondiale.co.uk

20 & 21 November 2024 Business Design Centre Islington • London

www.lightexpo.london

10/11 | CONTENTS

CONTENTS FE ATURE D

PROJECTS

INSPIR ATION

046

016

012

Interview: Studio Sløyd

BlackSwan Studio

Focal Point

The new Archive table lamp from Nor thern is the

Montreal-based interior design f irm Espace 313

Arsenal Femenino, Spain

result of a collaboration with designers Studio

has created a monochromatic and graphic studio,

Sløyd. darc’s editor chat s with the duo about their

enhanced with elegant lighting, for tat tooist s at

014

f irst venture into the world of designing light s and

BlackSwan.

Focal Point

how Nor thern’s Jonas Norheim helped them along

Cœur Tagesbar, Germany

the way.

020 Gitane

054

053

Studio Modijefsk y create a warm and inviting

Focal Point

Feature Comment: Introducing our Lobby Lighting

palet te for one of Amsterdam’s newest dining

La Mamounia, Morocco

feature is Nulty’s Creative Director Daniel Blaker. He

spot s.

039

shares wisdom on approaching a lobby environment as a lighting designer and the important considerations to

024

Comment: Sustainable Product Design

Winston & Strawn

As we move into 2024, Charlie Bowles, Director at

HLW completes the new of f ice for law f irm Winston

Original BTC, shares his thoughts about sustainability

056

& Strawn in London, UK . darc speaks with Samuel

being a continued trend in both product and lighting

Feature Case Studies: Lobby Lighting

Edmonds, A ssociate at HLW, about the scheme.

design. Plus, the continued drive to making home life

factor in before leaping into the project.

A round-up of some of the best decorative lighting

more comforting as we continue to spend more time

manufacturer projects showcasing lighting solutions in

032

a lobby space.

Wembley by Ark

there.

Introducing the boat in the sk y, the new addition

040

074

to the co-living sec tor in London, Wembley by

Materials

In Focus: Pop & Flare Collection

Ark . Interior Architec t s Holloway Li took on the

Federico Fiermonte

Mud Founder Shelley Simpson discusses the highlights

challenge of creating a new kind of communit y

The brand new, brutalist-st yle, sculptural light

of creating this new lighting collection, and what

living space, using inspiration from London’s

Spira was presented at 2023’s Material Mat ters

inspired her to work with porcelain.

homes from canal boat s to classic terraced houses.

exhibition as par t of London Design Festival.

THE M AGA ZINE

DESIGN

CORPOR ATE

Managing Editor | Helen Ankers

Artwork | Dan Seaton

Managing Director [d]arc media | Paul James

h.ankers@mondiale.co.uk

d.seaton@mondiale.co.uk

p.james@mondiale.co.uk

Editorial | Mel Capper

Marketing & Events [d]arc media | Moses Naeem

m.capper@mondiale.co.uk

m.naeem@mondiale.co.uk

+44 161 464 4750 Editor | Sarah Cullen s.cullen@mondiale.co.uk +44 161 464 4750

Chairman Mondiale Publishing | Damian Walsh

Contributing Editor | Matt Waring m.waring@mondiale.co.uk International Sales Manager | Tristan Blowers

FINANCE

t.blowers@mondiale.co.uk +44 7392 895771 Online Content Creator | Ellie Walton

Finance Director | Amanda Giles a.giles@mondiale.co.uk [d]arc media ltd | Strawberry Studios, Watson Square, Stockport

e.walton@mondiale.co.uk

Credit Control | Lynette Levi

SK1 3AZ, UK | Printed by Buxton Press, Palace Road, Buxton, UK

+44 161 464 4750

l.levi@mondiale.co.uk

ISSN 2052-9406

12/13 | FOCAL POINT | ARSENAL FEMENINO

FOCAL POINT

ARSENAL FEMENINO BARCELONA, SPAIN

As technology continues to radically alter our working practices and lifestyles, new ways of overlapping both are constantly emerging. Like this new typology, a combination of a co-working space and a restaurant, designed by the Ferruz Studio within the Arsenal Femenino.

The renowned club is a women-only sports, health and leisure facility located in the Sarrià-Sant Gervasi neighbourhood of Barcelona accommodated within a basement. Lighting was therefore the key to creating an efficient but characterful ambience, which is why the Plusminus system by Vibia was selected.

The existing space had to adapt to allow for solitary work and communal dining activities. A challenge that is addressed through the strategic placement of furniture and provision of artificial lighting.

Plusminus, designed by Diez Office, provides just the right presence and flexibility to adapt to any desired layout. The system is based on a fabric belt with builtin electrical conductivity, which supports a series of semi-spherical spotlights attached as required.

The suspended lights are either hung directly by the fabric belts from the ceiling, over individual tables, or draped around a rail positioned over the banquette seating that lines the perimeter of the restaurant.

The internal finishes are raw and somewhat stark, mimicking the brutalist architecture style exterior of this iconic building. The concrete structural columns are stripped back and exposed; walls are lined with concrete-effect panels; the golden amber polished floor tiles reflect the metallic suspended ceiling tiles above. www.vibia.com Image: David Querol

14/15 | FOCAL POINT | CŒUR TAGESBAR

FOCAL POINT

CŒUR TAG E S BA R MUNICH, GERMANY

The design for the Munich-based Cœur Tagesbar, by Martino Hutz Architecture (MHA), is based on a simple brief from the client: to optimise a small and intricate space. The design solution was discovered through chromated steel panels, mirrored surfaces, as well as circular and spherical shapes.

Drawing

inspiration

from

nature,

MHA

employed a biological phenomenon as a metaphor: differential growth. Supported by lighting designer Ingo Kalecinski, all custom fabrications and onsite installation were provided by lighting manufacturer Visual Signage, “Similar to corals or the human brain, we maximised the use of limited space,” explains Hutz. “This concept was incorporated into the hemispherical light installation positioned above the “open bar” as a centrepiece. Thanks to the reflective ceiling, the installation resembles a glowing sphere in an expansive space.”

The 28-metre-long CNC-cut fabric, mounted inside a recessed rail, traces the growth pattern. Eighteen light sources are carefully integrated into the pleated fabric to illuminate the sphere. Three electrical circuits control two RGB units and one LED unit, allowing for different atmospheres on the counter below.

Additionally, two custom-made, 3D-printed pendant lights, above nearby black tables, continue the theme of both the sphere and the growth pattern. www.martinohutz.de Image: Martino Hutz Architecture (MHA)

16/17 | PROJECT | BLACKSWAN STUDIO

PROJECT

B L AC K S WA N STUDIO Montreal-based interior design firm Espace 313 has created a monochromatic and graphic studio, enhanced with elegant lighting, for tattooists at BlackSwan.

Situated in the heart of Montreal, Canada BlackSwan tattoo studio is a hub for inked artists to congregate in the unassuming destination that presents a unique character.

BlackSwan is designed by Espace 313 as a bespoke environment imbued with unapologetic elegance.

“In an era of increasing tattoo democratisation since the beginning of the century, as well as a desire for personal affirmation and ownership of one’s own body, the tattoo salon offering has continued to grow, with a desire to differentiate itself from the sometimesintimidating appearance typically associated with these places,” says Gatline Artis, owner and lead designer at Espace 313. “It is in this perspective that the client approached us with the ambition to reinvent the traditional image of the tattoo salon, favouring a soft and refined aesthetic.”

Utilising the existing space, the team added contrasting conceptual interventions merged with a contemporary artistic spirit. Espace 313 wanted to showcase raw and distinctive materiality throughout.

Upon entering, the blend of materials and textures sets the tone for the studio. A plaster covered reception desks draws your attention before revealing an enigmatic metal sculpture that rises in front of a delicate white veil that filters soft light. Hanging above the reception desk is Michael Anastassiades’ Mobile Chandelier 9 fixture. The delicate pieces hang beautifully balanced in an arrangement of linear tubes, geometric lighting sources, reflective surfaces, and

18/19 | PROJECT | BLACKSWAN STUDIO

counterbalancing weights. They rotate freely, creating

light, but the centrepiece of the tattooing space is a

an ever-changing lighting configuration.

large sculptural light installation, which is “subtly

Taking inspiration from a tattoo on pale skin, the team

evoking the unfolding of a swan’s wings and echoing

aspired to integrate distinctive dark elements onto

the studio’s graphic identity”. The black Vega Minor

a bright canvas, and ultimately using the element of

fixtures used to create this installation, by Kuzco, are

contrast as a pillar of the design concept.

a diminutive square linear profile that envelops and

At the heart of the project is the welcoming lounge.

radiates a soft uniform light, and again adds to the

Furniture takes on curved forms and a splash of plum

monochromatic scheme of the space.

colour is woven into the space, which adds a touch of

Taking this minimalist approach in design goes against

“vivacity and contrasts with the vegetation already

the typical aesthetic of tattoo studios. The clean

BL ACKSWAN STUDIO Interior Design: Espace 313 Lighting Specified: &tradition, joy lighting, kuzco, michael anastassiades Images: Maxime Brouillet

present”. &Tradition’s Formakami pendants, by Jaime

lines and tones give an impression of sterility and

Simple yet sophisticated

Hayon, cluster above the seating area, reinforcing the

cleanliness, and a lack of decoration on the walls and

decorative lighting pieces hang

curvature forms of the furniture. The pendants are

non-customisation of workstations was a deliberate

as ar t works in the sleek tat too

a contemporary expression of the traditional Asian

choice by the owner. Instead of imposing an artist’s

lanterns, hand crafted with ivory white rice paper and

identity on the space, an emphasis is solely placed on

black stained oak accents.

the artwork created in the tattoo designs.

The lounge area is bathed in an abundance of natural

www.en.espace313.com

studio.

Complementar y colours, tones, and shapes enhance the overall aesthetic, creating a uniquely simple environment for visitors to acquire some new ink.

Commercial | Retail | Hospitality | Project Designs

Trapeze A comprehensive range of aged brass finish hoop shaped fittings with clear speckled glass spheres.

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Franklite-Jan-Feb_2024_Print.indd 1

05/01/2024 16:37

20/21 | PROJECT | GITANE

PROJECT

G I TA N E Studio Modijefsky create a warm and inviting palette for one of Amsterdam’s newest dining spots.

Amsterdam’s hottest young chef, Angelo Kremmydas,

sign spelling ‘BAR’, and custom wood furniture, which

opened his debut restaurant, Gitane, in the summer

set the tone for the restaurant. Tall custom lamps,

of 2023. Studio Modijefsky was tasked with translating

by the studio, hanging from the ceiling enhance the

Kremmydas’ culinary vision of refined food that reflects

double height of the room, while curved lamps in the

a mix of cultures and flavours, served without fuss.

same style, but with playful light spheres, grow from

The studio’s design reflected this in a casual but

the wall behind a long custom banquette.

elegant scheme that radiates a welcoming atmosphere.

Spherical ceiling fixtures from Jan Best Verlichting

The restaurant is divided into three areas, the ground

highlight the bar top, formed of a unique Corradi

floor, mezzanine, and bar. The restaurant is spread

terrazzo, which is flecked with earthy tones that help

across the ground floor and mezzanine, while the bar

tie the warm concept together. Nuuk Hubert table

is situated a couple of steps below the ground floor.

lamps in gold are featured on the back bar. A dark

The space transitions throughout the day; each area

brown, aged, mirrored ceiling reflects the light spheres

has a unique atmosphere to suit a different mood,

on the ceiling as well as patterns of the sculptural

activity, and time of day, alternating between dining

bar beneath and captures the contrast between

and evening drinks destinations.

weathered materials and the fresh lines of tiles and

Visitors are welcomed with warm hues, an orange neon

terrazzo.

22/23 | PROJECT | GITANE

The ceiling of the bar is supported by a column that is finished in rich textured lava tiles and small light accents. As the column rises up to the railing of the mezzanine staircase, it visually connects all three areas of Gitane.

On the opposite side of the restaurant are intimate small tables sat next to arched windows. The windows are defined by faded soft red outlines and enhanced by ceramic, conic Kiro wall lamps by Patrícia Lobo.

Moving upstairs to the mezzanine, small tables are highlighted with porcelain pendants by Granby Workshop. Textured materials are reiterated in these pendants that feature flecks of ground brick, and the warm glow produced enhances the homely feel of the space. Geometric patterns continue into the mezzanine, as well as beautiful natural light that comes through the large arched windows, which subtly bring the façade indoors and extending the visual lines from the street to the interior.

The patchwork of furniture, finishes, and textures that meander from the entrance, throughout the restaurant, past the bar and to the kitchen give the place a timeless feel that give the impression of revealing how the room was previously decorated. www.studiomodijefsky.nl

GITANE Interior Design: Studio Modijefsky Lighting Specified: Granby Workshop, Jan Best Verlichting, Nuuk, Patrícia Lobo Images: Maar ten Willemstein Decorative lighting in warm hues and textured finishes emphasise a welcoming, homely environment for Kremmydas’ new restaurant.

A casual space that complements a sophisticated menu.

EST. 1995

AT M OSPHER E CO L L ECT I O N F I Z Z P E N DA N T A single stem pendant finished in soft gold with clear glass featuring fused glass fragments. Other finishes available.

LONDON | DUBAI +44 (0)20 7351 0863 | sales@christopherhyde.com |

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Discover the complete collection at christopherhyde.com

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05/01/2024 10:05

24/25 | PROJECT | WINSTON & STRAWN

PROJECT

W I N S TO N & S T R AW N HLW completes the new office for law firm Winston & Strawn in London, UK. darc speaks with Samuel Edmonds, Associate at HLW, about the scheme.

International architecture and design firm HLW recently completed the interior design and fit-out of a private office located on the 33rd floor of 100 Bishopsgate in London for international law firm, Winston & Strawn.

A variety of work styles have been catered for in the 14,000sqft space, including two-person offices, open plan workstations, and versatile alternative workspaces. The design was driven by a desire to create a more egalitarian office environment, where senior partners could collaborate with and support junior staff.

Upon entering the north-facing lobby, visitors and employees are welcomed by an elegant light installation comprised of 36 pendants from Penta. The warm light and glass tones of the pendants beautifully complement the muted palette and warm colours of the furniture and finishes. The curved design of the light installation, connecting the reception and lounge area, was carefully considered to accentuate the reception desk and surrounding finishes.

A well-positioned breakout area close to the lobby features pops of colour through red, glossy brick tiles. A similar tile motif, this time in shades of green, is featured in the employee lounge area that offers double-facing views of East London. Hanging gracefully from the exposed ceilings, pendants from Vibia and Brokis add a touch of vibrancy to the space, maintaining a cohesive and colourful design scheme.

The employee library area, nestled in the core of the east wing, boasts a combination of ambient and task lighting. This includes playful Capsula pendants from Brokis, sconces from Marset, and a ceiling pendant from Orluna. Additionally, Mona pendants from Brokis elegantly illuminate the coffee bar booths.

The choice of decorative lighting, consistent throughout the office, extends into the conference rooms with the striking Elisabeth large pendants from Penta. These fixtures were selected not only for their aesthetic appeal but also for their ability to create a dramatic ambiance without sacrificing functionality.

Functional strip and linear lighting were implemented throughout

26/27

PROJECT | WINSTON & STRAWN

the offices and corridors to guide people through the

Edmonds expands further: “We wanted to make the

various areas. These provide a cohesive and inviting

key destination space extra special. Introducing

glow and ensures all spaces are well-connected and

decorative lighting into these areas helped to define

easy to navigate.

them and create a point of difference to the main

Speaking with darc about their involvement in the

working areas. There were considerations for these,

project, Samuel Edmonds, Associate at HLW, said:

as some were more of a ‘hero’ feature while others

“HLW had previously worked with Winston & Strawn

would complement the spaces as part of the overall

on the refurbishment of their New York office and was

aesthetic.

given the opportunity to tender for the fit out of their

“For the main reception space, we wanted to create

new office in London at 100 Bishopsgate, for which we

a big statement that is seen as soon as you step out

were appointed in August 2022. The initial brief was

the elevators into the lobby. The idea came about of

to create a working environment that promoted a

connecting the reception desk and the seating area

sense of community for their employees, along with a

with a string and cluster of varying sizes of pendant

welcoming and comfortable space for their client and

fixtures installed at varying heights. To make this

visitors. The project from start to finish took a little

work, 36 Glo pendants of varying sizes from Penta

over 10 months.

were chosen for their rich colour palette and reflective

“The biggest challenge was the programme, as there

nature, which worked in harmony with the aesthetics

was a move in date of mid-June 2023 that could not

of the reception. In the coffee bar area, the Lit pendant

be pushed. The briefing and design stages were

from Penta was also selected to complement and

condensed to maximise the build stages, so there was

connect the two areas. In two of the conference rooms,

a lot of work to be done in a short amount of time.”

a central feature pendant fixture - the Elisabeth from

Edmonds goes on to explain how Winston & Strawn

Penta - elevates the room and makes a point of

were “the perfect client”. “The briefing process was

difference from the others. Its Art Deco celestial forms

conducted over the end of the summer, and it provided

work together with the Glo pendants in reception, thus

a clear understanding of their wants and needs,

creating an elegant space.

enabling our team to produce a fixed layout very

“In the employee lounge, the exposed ceiling and

early on. For the overall look and feel, they wanted

services were painted out in a soft warm grey colour,

their front of house space to feel like a boutique hotel

with a suspended Jade green grid connected to the

lobby, but to be bright and airy to maximise the full

wall joinery to light the space. To complement the

height windows and views from the 33rd floor of the

ceiling feature, we looked for a simple white globe

building. They wanted the working and amenity spaces

pendant fixture. We opted for the Sfera sphere from

to connect with the front of house and provide people

Brokis and installed it in a random pattern within the

with a space they wanted to come to.”

ceiling grid. Additional track lighting was added with

The HLW team collaborated with Into Lighting on

angled spot lamps to enhance the ambient lighting.

the lighting design scheme, who aided in translating

Finally, above the large island, we used the Plusminus

the initial ideas and designs into workable solutions

Semisphere from Vibia in a Terracotta red to contrast

that produced the comprehensive design that was

the green of the joinery.

maintained through the tender process.

“In the employee library, a trio of Capsula pendants

With regards to the decorative lighting featured

by Brokis above one of the seating areas was installed

throughout,

considerations

to complement the surface mounted ceiling fixtures,

taken into account with placement and suitability.

with its sand blasted finish providing a muted light

there

were

certain

“The initial brief was to create a working environment that promoted a sense of community for employees, along with a welcoming and comfortable space for their client and visitors.”

28/29 | PROJECT | WINSTON & STRAWN

“For the main reception space, we wanted to create a big statement that is seen as soon as you step out of the elevators into the lobby.”

source. Wall lamps were introduced to work with the

become a key focal point. Within the main corridors,

artwork, specifically the Aura lamp from Marset with

LED strip lighting was introduced into a recess along

a white shade. Within the coffee bar area, to create

the edges that produced a subtle glow and highlighted

a feature, we installed three Mona medium sized

the textured plaster finish to the walls.

pendants from Brokis as its smoked glass and tan

“The decorative lighting elevates the key areas. The

leather straps complements the joinery and finishes

choices of fixtures are harmonious but also offer subtle

within the space.”

changes as you move between spaces. Moving all the

When it came to balancing the decorative fixtures with

architectural lighting into a central ceiling trough in the

the functional architectural lighting, it was important

corridors and offices streamlined the design and made

for Edmonds that the architectural lighting blended

a feature of the ceiling without any decorative lighting.”

into the background. “Within the reception, white linear

Edmonds’ final impression of the project is an

features were incorporated in the bespoke acoustic

overwhelmingly positive one. “The design came

ceiling. This produced a uniform background light level

together harmoniously,” he says. “I was initially worried

to allow the Glo pendants to shine.

that the quantity of Glo pendants in reception might be

“In all conference rooms, offices and the connecting

overpowering, but the result worked better than I could

corridors, all architectural lighting, as well as the other

imagine. The impact they have on the space is amazing

services, were incorporated in a black ceiling trough.

and they take on a life of their own from different

Creating this central element connected the spaces

perspectives across reception.

and created a uniform look across the whole floor,

“From the beginning we had complete trust from the

allowing the areas with decorative lighting to pop and

client in the ideas and designs that we put forward.

CHELSOM.CO.UK

Darc full page Jan 24.indd 1

18/12/2023 09:12:19

30/31 | PROJECT | WINSTON & STRAWN

They wanted a space that was impactful and was

Duncan Hamilton, Director of Into, adds: “This was the

something they had not seen before. From the early

first time we worked with HLW, and it was a positive

stages, I wanted to make the ceiling and the lighting

collaboration in terms of scheme designs, detailing,

the standout feature as we were competing with 360°

and product specification.

views across London from the floor to ceiling window

“We didn’t specify any of the feature lighting but input

with amazing natural daylight. By using a restrained

our advice and helped with incorporating it into the

palette of finishes and carefully considered application,

design. The decorative lighting definitely complements

the space feels connected but also varied as to the

the architectural lighting design as it gives interesting

different activities.

focal points through the scheme in areas that need

“The project completed in mid-June, so I only really saw

softening, such as the breakout, canteen, and library.

the space illuminated during daylight. It was not until

Areas to improve would be the implementation of some

I visited one evening in September, when the impact

of the lighting details by the contractor, which could

of the lighting really hit me, and I witnessed how the

have been better. Nevertheless, the scheme works well

space changed in the early evening light. This was also

as contemporary workspace with nice design touches

visible from the outside of the building, which glowed.

and finishes.”

“When it all came together, there was nothing I would

www.hlw.design

beautiful environments, but also

have changed. Every aspect met the client’s needs and

www.into.co.uk

aid in the transition and

all the finishing details worked as I had hoped.”

WINSTON & STR AWN Interior Design: HLW Lighting Design: Into Lighting Lighting Specified: Brokis, Penta, Vibia Images: Huf ton + Crow Versatile decorative lighting fixtures were chosen to create

definition of spaces throughout Winston & Strawn’s of fice.

32/33 | PROJECT | WEMBLEY BY ARK

PROJECT

W E M B L E Y BY A R K Introducing the boat in the sky, the latest addition to the co-living sector in London, Wembley by Ark. Interior Architects Holloway Li took on the challenge of creating a new kind of community living space, using inspiration from London’s homes such as canal boats to classic terraced houses.

Award winning interior architects Holloway Li unveiled

lifestyle driven hospitality approach to the project,”

its ambitious nautical design for co-living brand Ark

says the studio’s Managing Director, Na Li. After 18

in Wembley in September 2023. The London studio

months the project was complete with a design that

transformed the former hotel, while still taking cues

works for the flexible lifestyles that have come in the

from the hospitality setting, and created a rejuvenating

aftermath of the pandemic but, in a way that makes

retreat around community-centric values.

working from home both comfortable and enjoyable.

When imagining an enhanced approach to community-

Li further expressed that configuring the former hotel

focused living Hollaway Li said it drew inspiration from

space into the client’s brief and accounting for the

the hospitality environments. “The client was aware of

various co-living spaces was one of biggest challenges

our work with Locke Hotels and wanted to bring that

the designers faced. The project encompasses 300 residential spaces with ample shared facilities such as a resident’s lounge, co-working space, a gym, multimedia room, meeting rooms, and a rooftop pavilion and terrace. The latter was added as a brandnew architectural feature, a new challenge for the Holloway Li designers, with full panoramic views of Central London. The terrace’s design acts almost as a ship’s hull where people can relax and picture themselves soaring through the sky as if mid-voyage.

Li describes the project as “drawing influence from spatial design of nautical living, from London canal boats to luxury cruise vessels, while paying homage to classic terraced housing, on a grand scale” - while also making a playful nod to the building’s name, Ark. Each resident’s studio takes inspiration from canal boat design; utilising joinery elements like textured

34/35 |

and translucent screens, as well as partitioned seating areas, the rooms achieve a harmonious blend of flexibility, modularity, and spatial efficiency. The studios are distinguished from one another through three subtle colour palettes – sage, sand, and taro – maintaining a neutral back drop that allows residents to infuse their own character and personal touch to a space so it can feel feel like home.

Li says: “We researched the traditional design vernacular of canal boats in depth, borrowing spatial elements to create studios that felt spacious with pockets of intimacy.” The selection of decorative lighting played a crucial role in enhancing this spatial quality. The inclusion of Moooi’s Random Light II and &Traditions’ Formakami lights, were pivotal features in elevating the overall airy ambience and domestic charm of the space. Opting for various paper shade lights, these emit a soft, gentle glow that disperse a warmth in all directions, enveloping the surroundings and creating a cosy, inviting atmosphere within one’s personal space.

The main entrance lounge and co-working area are situated on the ground floor, the space takes cues from the spatial planning of London terraced houses on a grand scale, while finishes are reminiscent of a hotel lobby or luxury sailing vessel.

Furnished with four, 16-seater co-working tables, booth seating, a grab-and-go breakfast island, and private meeting booths, the space allows for casual gatherings

PROJECT | WEMBLEY BY ARK

“We researched the design venacular of canal boats in depth, using spatial elements to create studios that felt spacious with pockets of intimacy.”

36/37 | PROJECT | WEMBLEY BY ARK

“We used soft and warm light throughout to ensure the space felt inviting and comfortable while also maximising the natural light where possible.”

and quiet zones for concentration - meeting the

partitions within the expansive open-plan layout,

varying needs of post-pandemic lifestyles.

effectively defining distinct zones to create a more

The shared areas are also adorned with furnishings

intimate and inviting ambiance,” says Li.

such as floor and table lamps, richly patterned

Ark’s rental concept is on a mission to change the

cushions, large oversized pendant lamps, and rattan

way people stay and experience London through its

chairs, the design immediately sets the tone and

flexible community-centric rental concept. Holloway Li

evokes the sense of ‘home’. The use of lighting through

has a similar mission in its own work, as Li puts it, “we

the design not only functioned to embellish the space

enjoyed the challenge of working on a new typology

&tradition

but kept cohesion between the design narrative and

- we’re interested in reshaping modes of living and

Images: Ed Reeves, Nicolas

the brief’s expectations.

this project did exactly that.” Holloway Li successfully

“We used soft, warm lighting throughout to ensure the

layed out the blueprint for the interior of this new

space felt inviting and comfortable while maximising

generation of residential life, using ample amounts of

the natural light available where possible” says Li. “In

creativity and flair without sacrificing the practicality

co-living concept by Ark in

the co-working space for example, it was crucial the

and certainly not comfort. “We were really proud of

Wembly, London. Utilising

lighting nurtured productivity and comfort in equal

the project - the co-living sector is ever-evolving, and

measure, with options for adjustable lighting to cater

we hope with what we have created with Ark will offer

to residents’ live-work needs. We strategically placed

a new and nourishing mode of living for those who

the pendant lights at eye level - serving as focal points

reside within” concludes Li.

within the space, while the floor lamps act as natural

www.hollowayli.com

WEMBLE Y BY ARK Interior Design: Holloway Li Lighting Specified: Moooi,

Worley, Sophie Percival. Cecilia De Paolo Interior Architects create a nautical design for new

decorative and natural light that can create a spatial atmosphere as well as enhancing productivit y and the sense of being “at home”.

DESIGN BROUGHT TO LIGHT To see many new products, request or download the Quintiesse and Elstead Catalogues. +44 (0)1420 82377 | enquiries@elsteadlighting.com | www.elsteadlighting.com

DARC Full Page Jan-Feb Edition.indd 1

04/01/2024 17:24:27

COMMENT | CHARLIE BOWLES | 38/39

COMMENT

CHARLIE BOWLES As we move into 2024, Charlie Bowles, Director at Original BTC, shares his thoughts about sustainability being a continued trend in both product and lighting design. He also comments on the continued drive to making home life more comforting as we continue to spend more time there.

In the ever-evolving world of lighting design,

becomes even more pronounced when we consider

2023 brought forth a notable shift towards

the rising prominence of soft, earthy colours in lighting

sustainability, with a particular emphasis

design. This trend can be attributed to the desire for

on the use of natural materials and a reduced reliance

a more playful and organic vibe in living spaces, with

on plastics. This ever-emerging trend, which is sure

muted, nature-inspired hues such as sage green and

to continue to gain momentum into 2024, marks a

warm beige taking centre stage. The use of these

significant stride towards eco-conscious practices

colours complements natural light and also creates a

within the design industry.

serene and inviting atmosphere, transforming the way

This increased incorporation of natural materials,

we experience our surroundings.

replacing the use of plastics in lighting fixtures, has

Simultaneously, the continued integration of natural

become more popular recently. This not only aligns

fabrics in lighting design is expected to play a pivotal

with environmental concerns but also introduces a

role. Materials such as ceramic, known for its tactile

refreshing aesthetic into living spaces.

appeal, add a touch of sophistication and enhance

The move towards sustainability is further underscored

the diffusion of light. This choice aligns seamlessly

by the sustained popularity of portable rechargeable

with the broader eco-conscious movement, offering

lights. Beyond the environmental benefits of not

environmentally-conscious

using as much energy and lowering carbon emissions,

aesthetically pleasing and sustainable option. It is

these portable lights offer newfound flexibility and

a testament to the growing awareness within the

convenience, allowing users to adapt their lighting

design community of the interconnectedness between

solutions to different spaces and occasions and

aesthetic choices and environmental impact.

thereby offers practical solutions for modern living.

Furthermore, as the pursuit of wellness and comfort

These lights provide a mobile and versatile lighting

takes centre stage in home design, the demand for

solution that adapts to various settings, reducing the

lighting that sets a soft, relaxed mood is on the rise.

need for fixed, energy-consuming fixtures.

Adjustable and dimmable lighting options are becoming

The integration of technology and sustainability

increasingly prevalent, allowing homeowners to tailor

will also continue to be a notable aspect of lighting

the intensity and colour temperature of their lighting

design in 2024. The choice to focus on sustainability in

sources to suit their preferences. This personalised

lighting design isn’t merely a passing fad; it represents

approach enhances the ambiance of living spaces and

a conscientious effort to address environmental

profoundly contributes to a sense of well-being. As

challenges and reduce the ecological footprint of

the population increasingly spends more time in their

design practices. By utilising natural materials,

homes, they are taking a more intentional approach to

designers contribute to the reduction of material

design, keeping in mind how they want to feel in the

waste, a critical concern in a world grappling with

space. As such, investing in their furniture and lighting

environmental degradation. This shift is not just about

has become increasingly important to create a true

aesthetics; it’s about making a tangible and lasting

sanctuary within the home.

impact on the planet.

In conclusion, the lighting design trends of 2023

As we move into 2024, the anticipation is that the

lay a promising foundation for a sustainable and

focus on sustainability will persist, with an optimistic

aesthetically pleasing future. From the embrace of

outlook towards products designed for longevity. A

natural materials to the continued popularity of

commitment to crafting designs that stand the test

portable rechargeable lights and the anticipated rise of

of time is crucial for fostering a more eco-friendly

soft, earthy colours and natural fabrics, the trajectory

future. Rather than succumbing to fleeting trends, the

of lighting design in 2024 holds exciting possibilities.

emphasis is placed on creating timeless pieces that

The choices we make in lighting design not only shape

contribute to sustainability and bring enduring joy to

our living spaces but also contribute to a brighter,

consumers for years to come.

more sustainable future for all.

The intersection of sustainability and aesthetic appeal

www.originalbtc.com

homeowners

an

40/41 | MATERIALS | FIERMONTE

MATERIALS

FEDERICO FIERMONTE SPIRA

T h e b r a n d n e w, b r u t a l i s t- s t y l e , s c u l p t u r a l l i g h t S p i r a w a s p r e s e n t e d a t 2 0 2 3’s M a t e r i a l M a t t e r s e x h i b i t i o n a s pa r t o f L o n d o n D e sig n Fe s tiva l.

Spira’s creator, Italian Federico Fiermonte is based

structures throughout architectural history, ranging

in Helsinki, Finland and has only been designing and

from the iconic Pantheon dome in Rome where I

creating objects, experimenting with materials, and

come from, to complex constructions such as the

developing skills since 2021.

Ganter bridge in the Swiss Alps. Within the context

It is a spiral-shaped lamp, described by Fiermonte

of architecture, I have always been captivated by

as “elegant, dynamic and delicate”. “It plays on the

the potential inherent in concrete. Spira draws great

contrasts between a light and dynamic shape derived

inspiration from the elegant spiral staircases of high-

from nature, with an artificial, heavy, and robust

end buildings across the world with particular care of

material such as concrete, all with an added decorative

those part of the modernist style.

touch given by the internal light that runs along the

“For me, the key to achieving a harmonious and cohesive

slender shape”, he adds.

environment depends on the intrinsic relationship

The spiral shape is a common thread that runs through

between design aesthetics and architectural materials.

a lot of Fiermonte’s designs, something he explains as

“A line that guided me in the creation of this product

an “unintentional” consideration in his work.

- and which I think is always a characteristic feature

“I envision this product primarily as a collector’s item,

of my way of conceiving objects - is to respect precise

given its deeply artisanal creative process, which

mathematical and geometric parameters, which vary

ensures that each piece is distinctly unique. When

from project to project.

placed within a space, the Spira lamp is carefully

“Working with light fascinates me enormously through

designed to blend into its surroundings, asserting its

the attempt of sculpting and giving shape to something

presence with elegance.

so intangible and eternal.”

“It effectively embodies the robust nature of the

The concrete used by Fiermonte is composed of

material that constitutes its essence, evoking a

recycled aggregates to aim for a more sustainable

“brutalist” aesthetic. At the same time, as a decorative

product. The concrete is cast in a 3D printed mould

object, it generates a surprising contrast when placed

made up of five parts, which proved challenging to

in a minimalist environment, lending an unexpected

create due its complex shape. “The most significant

element while curiously maintaining a sense of

difficulty in making this piece was the creation of a

harmony within the environment.

mould that could lead to a clean and optimal result

“Exploring the interplay between light and concrete, I

and produce precise edges. Making the mould is in

wanted to analyse my profound fascination for the field

fact 70% of the physical production work and it’s

of architecture,” he continues.

constantly being developed as I add improvements

“Concrete has made it possible to realise remarkable

while continuing to work on the product,” he explains.

42/43 |

“Within the lamp’s structure lies an armature crafted from hand-bent and welded rods, sourced from reclaimed metal waste, as well as aggregates repurposed from debris of different sizes (one to four millimetres) collected in the Otaniemi area in Espoo near Helsinki within the construction industry.”

MATERIALS | FIERMONTE

MANUFACTURING PROCESSES

The concrete used by Fiermonte is composed of recycled aggregates to aim for a more sustainable product. The concrete is cast in a 3D printed mould made up of five parts, which proved difficult to create due its complex shape.

44/45 |

“In the initial stages, I experimented with compact

using a 12V DC transformer and a thin LED COB strip light.

foam moulds milled with CNC technique, subsequently

The implementation of a COB-type LED light strip allows

I experimented with a silicone mould supported by

the individual LEDs to be very close to each creating a

plaster, and finally reaching the best result with a 3D

seamless line of light that integrates perfectly within the

printed mould with PLA made up of five parts.

design based on curves and lines.”

“The particularly simple shape is complicated to obtain

He continues: “Crafting an interior piece in concrete,

by casting the concrete, especially to remove once it has

using a recipe divergent from those employed in

solidified.

construction

“Within the lamp’s structure lies an armature crafted

advantage. In this context, there is no imperative to meet

from hand-bent and welded rods, sourced from

specific standards of strength or durability like most

reclaimed metal waste, as well as aggregates repurposed

structures that are concrete made. This liberates the

from debris of different sizes (one to four millimetres)

creative process, fostering a greater degree of flexibility

collected in the Otaniemi area in Espoo near Helsinki

and experimentation, allowing for more focus on other

within the construction industry.

artistic and design aspects.

“For the functioning elements of the lamp I have been

“The choice to use concrete was partly driven by my

or

infrastructure,

offers

a

notable

MATERIALS | FIERMONTE

desire to challenge public perception surrounding a material that I find captivating from an aesthetic standpoint, both in an attempt to highlight the beauty that can be obtained through this material and by taking it to its extremes.

“At the same time, I aimed to contribute to a more sustainable production approach by selecting components and conscientiously repurposing other waste elements.”

Once Fiermonte had settled on the design for Spira, his primary goal was to not change or make any compromises on the shape. This greatly impacted the process of creating and developing the mould. But it was all worth it for the designer as he achieved what he set out to, and all within just over a year. www.fiermonte.design

46/47 | INTERVIEW | STUDIO SLØYD - ARCHIVE LAMP

INTERVIEW

STUDIO SLØYD The new Archive table lamp from Northern is the result of a collaboration with designers Studio Sløyd. darc’s editor chats with the duo about their first venture into the world of designing lights and how Northern’s Jonas Norheim helped them along the way.

The Archive table lamp is the first collaboration

service and interaction design, so when we found we

between Nordic design brand Northern and fellow

had a common interest in furniture, we collaborated on

Norwegians, Studio Sløyd.

a school project and thus, the studio was created.”

The collaboration was established during Designers’

Jøraandstad adds: “We established Studio Sløyd

Saturday, one of Oslo’s largest and most important

because we wanted to keep creating furniture together.

design events.

We are also good friends, so we thought that starting

An open competition was hosted to aid in building

a studio, and making a career together would be just

relationships between designers and manufacturers.

perfect. The studio was established in 2019.”

Five design briefs were sent out by the manufacturers

When discussing design principals and approaches,

to which designers could respond. Northern’s brief

darc discovers longevity is key for the young designers.

for a lamp design received approximately 40 different

“It can be an expectation that a young design studio

proposals from roughly the same number of designers.

is focused on creating objects with a certain “out

Eventually, the team chose Studio Sløyd to be their

there” concept and shape, and this can cause objects

partners.

with a contemporary and

Following the acceptance

short lifespan. We want

of Sløyd’s design, Northern

to create furniture with

was

then

tasked

with

developing a prototype, which was to be displayed at the next Designers’ Saturday event that takes place every other year.

Once the final design is completed, the brand has a choice on whether to

“We established Studio Sløyd because we wanted to keep creating furniture together. We are also good friends, so we thought that starting a studio, and making a career together would be just perfect.”

a long lifespan,” explains Ødegaard. “But it can be challenging

to

something

completely

design

unique, and something a lot of people want to fill their homes with. It is a big reward when we feel like we have fulfilled both

release the design back

these criteria, as we have

to the design studio who

with the Archive lamp.

can take it to another

“We think that a long

manufacturer, or to keep and produce the piece

lifespan both in quality and in design is important.

themselves; Northern chose to keep and produce the

For us, prototyping is also important for our process.

design.

With the Archive lamp we prototyped using regular A4

darc sat down with Herman Ødegaard and Mikkel

sheets of paper. This caused the lamp to be sleek and

Jøraandstad of Studio Sløyd, and Jonas Norheim,

minimalistic. We also think that a good relationship

Director of Northern to find out more about the studio

between the designer and the producer is essential to

as well as their collaboration on Archive.

create furniture that both parties can be proud of.”

“We both grew up in Oslo, Norway,” says Ødegaard.

Norheim’s first impressions of the studio’s design

We both attended and met, at the Oslo School of

submission was that they found something that would

Architecture and Design. The school had a big focus on

fit in nicely with Northern’s branding.

48/49 |

IMAGES: THE ARCHIVE LAMP IN ITS TWO SIZES AND TWO COLOUR OPTIONS - DARK GREEN/LIGHT GREY AND BLACK/ STEEL. BELOW, NORTHERN’S JONAS NORHEIM SKETCHES.

“Getting the opportunity to work with the experienced people at Northern has been very educational for us. Not only does Jonas have a lot of good advice when it comes to the production aspect, but he is also a great designer, so we feel very lucky that we got to collaborate and discuss the design with him along the way.”

INTERVIEW | STUDIO SLØYD - ARCHIVE LAMP

He describes it as a “nice lamp, timeless character, and something new”.

Making the prototypes for the Archive lamp from paper allowed the team to perfect the soft curves of the lamp. It was then down to Sløyd’s materials-focused approach to recreate these smooth curves in striking steel.

“Archive is made from steel and stainless steel,” explains Norheim. “For this lamp, the materials choice was a given, because of its shape. There are a lot of curves and small details, which are very suited to steel.

Also, it gives it a fine quality and will make it last for a lifetime.”

Jøraandstad continues: “We used paper to prototype the lamp at the beginning of the process, which also played a part in the inspiration for the lamp. The shape is made up of an elongated cylindrical lampshade in stainless steel, which reflects the light downwards. The end of the cylinder is capped with an angled piece of steel that not only creates an interesting composition, but helps the light reflect onto a wider area. The table lamp has two bent pieces of steel that form the base as well as a visual counterpart to the lampshade. The shape of the base lets the light travel down along the two pieces and creates an interesting gradient of light towards the ground.

“We discussed making it in aluminium, but the weight of the lamp in the final product with steel feels right, and it really feels and looks like a quality product.”

Before embarking on this project with Northern, the Sløyd duo’s experience in design was mostly built upon wooden furniture, so the working relationship they built with Nornheim was invaluable as they developed skills and knowledge in metalwork.

“We had a meeting with Jonas shortly after the announcement of the winners, where we discussed the processes further. Northern was very open minded and assisted us with all the help we needed in the design process, but it was very clear that we should do the big design decisions. We really appreciated the trust from them,” says Ødegaard.

“Getting the opportunity to work with the very experienced people at Northern has been very educational for us. Not only does Jonas have a lot of good advice when it comes to the production aspect, but he is also a great designer, so we feel very lucky that we got to collaborate and discuss the design with him along the way.

“Working on a new kind of object and a new material is always challenging. We had never made a lamp before, and the complexity of all the parts and components was a new chapter for us. Northern made it easy for us to understand, but this was probably the most challenging aspect of the process.”

Nornheim adds: “I think the working relationship was a good one. This was their first lamp in production.

So, I believe they learned a thing or two. Heman and

50/51 | INTERVIEW | STUDIO SLØYD - ARCHIVE LAMP

“For this lamp, the materials choice was a given, because of its shape. There are a lot of curves and small details, which are very suited to steel.“

Mikkel are fast workers, so every time there was some

versatility and timeless elegance that aligns with our

changes needed to be made, they fixed them right

vision for the product.

away. That is something which is very important when

“Naming a new product at Northern is a comprehensive

you are developing a lamp in such a short time.”

and meticulous process. We conduct numerous

The Archive features a replaceable LED lamp and a

workshops to find a name that not only resonates

three-step dimmer switch, which is integrated as

with the essence of the product but also aligns with

a design feature. It is available in two colour ways

our brand identity. For the Archive table lamp, we went

and two sizes, which were carefully thought out. “In

through an extensive list of over 20 potential names.

the development of the Archive lamp, we explored

Ultimately, Archive stood out because it evoked the

a spectrum of colour combinations and sizes to

same emotions and characteristics as the lamp itself,

discover the most harmonious fit for the intended

perfectly capturing its spirit and the timeless elegance

environments - be it a desk, sideboard, or console,”

we strive for in our designs.”

explains Northern. “After thorough consideration, we

www.studio-sloyd.com

narrowed it down to two sizes that perfectly cater to

www.northern.no

these spaces.

“As for the colour selection, we were drawn to dark green/light grey and black/steel. These particular hues naturally stood out, not only complementing the lamp’s design but also embodying a sense of

IMAGES: STUDIO SLØYD SKETCHES THE TECHNICAL DETAILS OF THE ARCHIVE. PLUS CLOSE-UP DETAILS OF THE ARCHIVE SWITCH.

WAV E C O L L E C T I O N BESP OKE FREE-BLOWN GL ASS LIGHTING HAND MADE IN THE UK W W W.C U R I O U S A .C O. U K

DARC_FRANFURT-EXHIB-2024.indd 1

15/01/2024 14:12

COMMENT | DANIEL BLAKER | 52/53

COMMENT

DAN IE L BL AKE R Daniel Blaker, Creative Director at Nulty, discusses the lighting details to be considered when designing a lobby, and how it can be used to establish the tone of the space.

Entering a lobby should feel like a warm embrace.

the transition should feel seamless.

A beautifully curated welcome that creates a

Finally, we need to make the space sing, come alive and

strong first impression and immediately gives

feel unique - this is where a focal point such as a bespoke

you a sense of the occupant’s character and personality.

chandelier or a theatrical lighting installation comes into

Light has an important role to play here because it has the

play. When decorative lighting is thoughtfully curated, it

power to change the tempo and set the tone, so the way that

can elicit an emotional response by imprinting a hotel

we weave a lighting scheme together needs to be carefully

experience in a person’s mind, reinforcing a company’s

balanced and emotionally driven. While a designer’s

visual identity in a workplace, or giving pause for reflection

approach varies according to whether it’s a commercial

in a residential setting. If we get it right, it’s a stylistic

space where typically brighter finishes are required, or

intervention that becomes an expression of the wider

a hotel where warmer tones are the order of the day, our

interior design narrative.

design intent is simple - a lobby environment should make

Too often a decorative lighting piece in a lobby is an

an impact and feel like the pinnacle of the experience set

off-the-shelf response, which is a missed opportunity

to unfold.

because creation isn’t just specification, it’s about how

Before we consider the specifics of incorporating a

form, materials, finishes, and light come together to create

decorative luminaire or a feature installation, it’s important

something special. Commissioning a piece for a lobby is a

to step back and unpick the design narrative and purpose

chance to have a little bit of fun by adding a creative stroke

of that scheme. What are we trying to say with that space?

to that scheme, or weaving in something unexpected that

Who is the scheme intended for and how will it be used? Is

gives it an extra punch of personality. All of this brings us

it simply a transition space that’s sole purpose is to guide

back to our original design mantra - make an impression!

its occupants through to a particular spot. Or should it

This should be the raison d’etre of a decorative luminaire

encompass the welcoming spirit of a concierge and be a

or lighting piece in a lobby space, but it’s important to

space of emotion and connection. It’s likely to be the latter

remember that these standalone lighting elements can’t be

because lobby environments are evolving to become social

expected to enhance an interior space on their own. They

landscapes that serve multiple purposes, so co-working

need a sprinkle of magic in the form of delicately balanced

spaces and casual meeting areas are being embedded

layers of light that prevent them from becoming featureless

into the design. Designing for diversity of purpose is a skill

and formless.

that the lighting designer is becoming increasingly adept

The key to activating the characteristics of a decorative

at. Often it means pulling a rabbit out of a hat by weaving

lighting piece depends entirely on the composition, scale,

different lighting techniques together in one single scheme.

materiality, sense of movement, and ambience that you are

The trick is how we master the hierarchy of the space; the

looking to create. In some cases, the feature itself is the

magic takes place when we design in layers.

light source, and whilst this does inherently provide its own

First things first, we need to think about how light can be

expression, it typically delivers a modest performance that

used to influence the way that people move around the

is at best functional light. Considered use of architectural

space. As the eye is drawn to the brightest point, we can aid

lighting can make all the difference. If we want to add a

wayfinding and improve permeability by using light where

strong dose of sparkle, we need to balance multiple light

it’s needed most to create a dwell point or pause moment

sources around a fitting to increase the level of refractions

such as a reception area or concierge desk, or to guide users

and reflections. And, if we are looking to make a feature soar,

to the next stage of their journey by accenting a lift lobby

incorporating imperceivable up lighting will help it ascend.

or staircase.

A

Next, we need to think about what materials are being

decorative lighting will, without fail, result in a more resonant

illuminated and how they receive light. Most of the lit

environment. Staging an experience is fundamental to

environment is perceived through how effectively the

the success of a lobby environment, and while decorative

vertical surfaces are illuminated (as opposed to the floor),

elements are typically not wall flowers, they need a little bit

so when a person enters a space from the outside world,

of help to be teased out of the shadows.

they shouldn’t feel like they are walking into a cave. If we

www.nultylighting.co.uk

have taken the time to properly illuminate the elevations,

harmonious

dialogue

between

architectural

and

54/55 | FOCAL POINT | LA MAMOUNIA

FOCAL POINT

LA MAMOUNIA MARRAKESH, MOROCCO

Marking its 100th anniversary, the renowned La Mamounia hotel, situated opposite the Kutubiyya Mosque in Marrakesh, revealed newly refurbished interiors in October 2023.

Lasvit created three handmade lighting pieces for this legendary location. Collaborating with French design studio Jouin Manku, these installations are a tribute to Moroccan tradition with a touch of global sophistication. An impressive near-nine-metre-long chandelier dominates the lobby.

The vision of Jouin Manku was brought to life with “Le Chandelier du Centenaire,” a striking lighting installation suspended less than a metre above the ground at the lobby’s heart. With its intricate design, this chandelier honours the art, traditions, and especially the Berber women of Morocco, drawing inspiration from traditional Berber necklaces.

It

resembles

two

intertwined

necklaces

and

incorporates an extensive 300-metres of electrified cables braided in red strings — a colour of profound significance to the Berber community.

The glass elements are individually handblown and shaped. The installation comprises 3,000 of such pieces in three sizes and eight distinct finishes.

Some glass elements are braided in red to echo a traditional necklace, while others use silver to accentuate the crystal sparkle.

Central to the chandelier are braided red cords adorned with authentic Berber silver pendants crafted by Moroccan artisans to underscore the cultural significance of the piece. The chandelier is connected to two lighting circuits, allowing a combination of lighting effects to highlight its intricate details. www.lasvit.com

56/57 | CASE STUDIES | LOBBY

CASE STUDIES

LODES T H E F U L L E R TO N O C E A N PA R K H OT E L , H O N G KO N G As the first Fullerton hotel in Hong Kong and first

floor group check-in reception, all FF&E for

Fullerton resort worldwide, The Fullerton Ocean

the outdoor terrace/lawn, feature lighting and

Park Hotel Hong Kong is a sustainable, oceanfront

seating areas throughout the lift lobbies and

luxury resort offering a relaxing and tranquil

corridors, and all guest room furniture, art, and

retreat for every kind of traveller.

accessories.

Located in Aberdeen, Hong Kong, the concept

A large installation of Lodes’ Random Solo

for the Fullerton Ocean Park Hotel was inspired

pendants, supplied by Zodiac Lighting, hang

by the tranquil setting of the Southside. Interior

above the reception desk in the hotel’s lobby,

designers EM Bespoke reinterpreted elements of

creating a stunning welcome for visitors and staff

linear architecture, colonial curves and furniture,

to the hotel. With Random Solo, designer Chia-

bespoke and tailored details from days gone by,

Ying Lee unleashes the individuality of Random’s

weaving them into a contemporary world.

spherical shapes, which now float like bubbles

EM Bespoke worked closely with property

of light in their solitary beauty and suggest new

developers Sino Group on several feature areas,

compositions of luminous harmonies.

including the lighting installation at the ground

www.lodes.com

IMAGES: CHRIS WEBB

CURIOUSA THE ARTS HOUSE, ENGLAND Curiousa was commissioned by architects Marchini Curran Associates, to design a bespoke stairwell chandelier for The Arts House, which is a luxury boutique development in South Kensington, London consisting of 12 prestige apartments.

The design needed to enhance the lobby, which has a grand entrance to this exclusive development as well as working across all five floors. Curiousa created the chandelier with a dramatic cluster of 12 large individually handblown pendants in slate grey.

The main challenge for this project was that the piece needed to hang directly under a skylight at the top of the stairwell. The team devised a way of suspending the lights using a dark bronze finished metal double ring that straddled the opening - still allowing the light to pass through and for the pendants to cascade down towards the lower stairwell.

Maintenance is also a very important part of any chandelier project - it’s something clients often forget to consider but each shade needs easy access. Therefore, Curiousa made sure each of these pendants can be pulled up from the stairwell above for cleaning and any lamp changes, ensuring this chandelier really looks the part for years to come. www.curiousa.co.uk

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LUTRON LUTRON OFFICE, ENGL AND Lutron, a leader in lighting control and automated blinds, recently opened a new office for its UK, Continental Europe and Africa headquarters. The company chose a 7,770sqft premises at 51 Lime Street in the heart of London, which was designed to provide improved comfort for the growing team, including the use of Lutron lighting and shading controls throughout the space.

The space had to match the company’s technology by providing a comfortable and bright aesthetic.

The new office represents the solutions and design it offers to customers including the notion that Lutron’s products are ideally suited to a lobby environment.

The new office gave Lutron the perfect opportunity to install its latest lighting control platform. They wanted visitors waiting in the colourfully decorated lobby space as well as the Lutron team to enjoy the benefits of its latest innovations the same way customers do. There is dynamic lighting in the lobby and office to adjust colour intensity and temperature throughout the day. The lighting control works in combination with Lutron’s automated blinds, to optimise energy savings while providing a comfortable and productive environment for everyone. www.lutron.com

IMAGE: OLIVER POHLMANN

CASE STUDIES | LOBBY

CORDULA KAFKA AC A D E MY O F SC I E N C E S , LI T E R AT U RE & MUS I C , GERMANY At the end of 2023, the new chamber music hall of

a concert in the evening. Leaves thus complements the

the Academy of Sciences, Literature and Music in Mainz,

new and modern academy extension in terms of both

Germany was ceremoniously opened. Named after the

form and content.

benefactor Sibylle Kalkhof-Rose, the “Kalkhof-Rose

No two porcelain sheets are the same as they are

Hall” was harmoniously integrated into the existing

moulded by hand in Kafka’s studio in Berlin. The high-

building complex.

fired and translucent sheets are installed in between

Two Leaves light objects by Cordula Kafka complement

fine stainless steel rods and are illuminated from

the architecture by Timm Helbach from the Mamuth

above.

office in Mainz. The floating “papers” made of fine,

The Leaves installation is a sensual lighting object

translucent porcelain accompany visitors from the

and a special highlight to many spaces, such as foyers,

entrance up into the concert hall.

stairwells, and lounges. The luminaire is made to

Leaves represents the image of a frozen moment of

measure as an individual item. Size, lighting technology,

movement. It is open to interpretation as to whether

and design of the structural parts are adaptable to

the falling porcelain sheets signify sketch paper,

each individual environment.

sheets of music, or pages from a book. In any case, the

www.cordulakafka.de

viewer is invited to rest and pause on their way to enjoy

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BROKIS HOTEL PERK, CZECH REPUBLIC The lights of Brokis are particularly well suited to creating the right mood in restaurants, hotel lobby bars, and other hospitality settings.

The wide spectrum of its collections can evoke a pleasant atmosphere in any environment, indoor or outdoor. Thanks to customisation of components and a broad selection of glass colours, metals, finishes, and colour options, the lights can be used in almost any type of space. Its collections work very well not only as a form of lighting but also as a jewel in the interior, even when they’re not switched on.

Following a remarkable transformation, the functionalistic landmark Hotel Perk has reopened in North-East of Czech Republic in the city Šumperk. Formerly one of the dominant features of the cityscape, Hotel Perk has a rich history.

The modern interior was designed by Brokis‘ Art Director, Lucie Koldova. A playscape of light and subtle shadows that accentuate the building’s clean lines.

The hotel welcomes visitors in a lobby featuring a clean and minimalistic yet stunning Orbis collection, which was designed by Koldova. The building’s clean lines are brought to the forefront by a play of light and subtle accents, such as those elicited by the Orbis collection.

The main stairway, a central feature of the hotel, features an attractive pinkish-grey stucco finish illuminated with a combination of Orbis and Sfera lights. www.brokis.cz

CASE STUDIES | LOBBY

STOANE LIGHTING B I O T E C H N O L O G Y I N N O VA T I O N O RGA N IZ AT I O N (B I O), USA Floating above the central space of the brand-new headquarters of the world’s largest biotechnology trade association, Biotechnology Innovation Organization (BIO), is this stunning feature piece known as the DNA Pendant by Stoane Lighting.

Developed with Inter Lux and FOX Architects, this four-metre-tall sculptural luminaire uses a total of 116 LED sources connected to the central spine; illuminating bespoke diffuser rods of 11 different sizes, carefully arranged to reveal the double helix DNA design. The modular design allows for easy installation, maintenance and remanufacture.

During the collaboration, Stoane Lighting’s team provided a sample section, photos, renderings, and technical drawings in order to accurately communicate the design vision.

The motivation behind the making of this chandelier was to create a striking focal point, to celebrate design and collaboration, and to support the objective of the architecture in reflecting the company’s “mission and commitment to life-saving work.” www.stoanelighting.com

62/63 |

LZF NIL S A M SEE HOTEL , AUSTRIA Located in Burgenland, Austria, Nils am See is a boutique hotel that opened last year.

The moment guests step into the foyer of Nils, they’ll immediately notice the meticulous attention to detail, genuine craftsmanship, and hard work that went into its design. The subtle colour scheme, generous use of natural materials such as wood, and expert interplay of light and decor create a welcoming and elegant ambience with a relaxed vibe.

Architects Halbritter & Hillerbrand designed the building, while the interior design was carried out by Jürgen Hamberger of Mezza-Maiso, alongside Stefan Bayer, one of the two Nils partners.

According to Lucas-Maximilian Lammel, the second partner, Nils aims to provide a tranquil hideaway where guests can feel at home and relax. The hotel offers more spacious rooms than usual, providing a comfortable and homely atmosphere that encourages guests to unwind and recharge.

The foyer features two remarkable Big Bird lamps designed by Isidro Ferrer for LZF. The impressive light sculptures made of wood and accompanied by light globes, highlight nature-inspired elements in the space.

The Nils am See is a boutique hotel prioritising sustainable practices in its design, planning, and operations. The hotel utilises a photovoltaic system for most of its electricity needs, with 100% green electricity purchased from the region.

To furnish the hotel, the operational team worked as much as possible with regional companies and utilised sustainable or recycled materials. For example, LZF’s sculptural Big Bird lamps are handcrafted from FSC-certified white elm wood by master craftsmen in Valencia, Spain. www.lzf-lamps.com

CASE STUDIES | LOBBY

ARTICOLO PA R R A M AT TA S Q UA R E , AU S T R A L I A Parramatta Square is a landmark project in Sydney, Australia, by Walker Corporation with architecture by JPW and interior design by Carr. Consisting of three towers connected by a continuous lobby ground plane, the impressive build follows the typography of the site, creating a series of internal and external spaces.

Articolo was commissioned to design three custom pendants in response to the lobby’s exaggerated volumes and a desire to enhance intimacy and comfort.

Inspired by the rhythm and repetition of the architecture and interior spaces, it sought to unify the interconnected ground floor with a reinterpretation of its lauded Staggered Scandal pendant.

The original design was dramatically supersized to over eight-metres in length – six customised barrels extending from each pendant. Enhancing the design’s elongated proportions is an inlay of Italian brass herringbone mesh; the pendants capped end-to-end by Australian mouthblown glass.

Reimagined for this site-specific installation, in a feat of both design and engineering, the trio of pendants were made in Melbourne before being suspended 12-metres in the air at a weight of 170-kilos in solid metal and glass.

“I am incredibly proud of what we’ve achieved with Carr and JPW on this landmark project for Walker Corporation at Parramatta Square,” says Nicci Kavals, Articolo’s Founder and Creative Director. “It was a privilege to be entrusted with such a complex commission of scale, and the outcome is truly a feat of both design and engineering.”

“Collaborating with Nicci on custom pendants and lighting throughout Parramatta Square was a wonderful experience. She took us on a journey and involved us and the whole team in her strong vision and rigorous process,” adds Rebecca Trenorden, Associate Director of Carr.

Jessica Jordan, Head of Commercial Development at Walker Corporation adds: “This has been an exciting collaboration with our skilled design team, producing an amazing outcome for our lobby spaces at Parramatta Square. This sets a new benchmark for premium office space in the heart of Western Sydney.” www.articolostudios.com

64/65 |

N U LT Y B E S P O K E T H E H O U S E O F WA L P O L E AT N O. 1 PA L AC E S T R E E T, E N G L A N D Custom luminaire specialist, Nulty Bespoke, introduces A Garden

The commission saw the team play around with clear, coloured, and

Breeze, an exquisite handcrafted installation for The House of

opaque effects to reference the vibrancy of nature and punctuate the

Walpole at No. 1 Palace Street. The beautifully conceived apartment

wider scheme with subtle injections of colour and texture. Some of the

is a collaboration between Northacre and Walpole to showcase and

sculptured glass elements feature speckled brown and champagne

highlight British luxury within a one-off residence designed entirely

pigment, while others are simply clear. A juxtaposition of crackled

by Oliver Burns.

and non-crackled finishes adds further visual complexity to the piece.

Steeped in history, No. 1 Palace Street, The St. Regis Residences is one

Each of the delicate hand-pulled components were crafted by highly

of London’s most coveted addresses, adjacent to His Majesty’s official

skilled artisans in Stourbridge, the glass-making centre of England.

London residence, boasting unique views of the Palace and its private

The free-flowing composition of the installation was achieved using

gardens. Taking inspiration from the gardens, Oliver Burns has created

ultra minimalist stainless-steel cables that create the illusion that

a unique design concept for House of Walpole entitled ‘A Celebration

each butterfly, dragonfly, and leaf is floating in the air. The glass designs

of the Palace Gardens’ and the apartment features a curated mix of

have been suspended at varying lengths to form an oscillating effect

bespoke pieces from the best British luxury brands.

and draw the gaze along the hallway towards the bedroom at the end.

Situated in the hallway lobby of the elegant apartment, Nulty Bespoke’s

Low glare downlights were then positioned on the ceiling to provide a

luminaire was designed to bring depth, movement, and visual interest

layer of ambient illumination from above, which radiates shimmering

to the high-end interior scheme. The playful centrepiece is an abstract

light throughout the installation and animates the decorative detail

depiction of the flora and fauna in the palace gardens and comprises

of the glass.

hand-pulled glass butterflies, dragonflies, and mulberry leaves in a

www.nultybespoke.co.uk

delicate tapered arrangement.

CASE STUDIES | LOBBY

LSE LIGHTING A B E R B AY, W A L E S Working alongside Nick Carroll Architects, a new, purpose-built luxury clubhouse has been constructed for Aber Bay, a seafront holiday park along the coast from the cultural capital of Wales, Aberystwyth. LSE Lighting was appointed with designing the lighting for all external and internal areas of the clubhouse. The multistorey complex incorporates a swimming pool area, bar and restaurant, and roof terrace bar.

Guests are welcomed by a warm glow around the outside of the building, created by lengths of linear profile. Within LSE’s design and supply, bespoke stepped glass pendants were crafted for the reception desk, along with specially designed opal glass spheres.

The spheres blend into an immersive feature light, which consists of 105 glass spheres, leading visitors from the reception area, up the stairs and through into the restaurant/ bar area.

Director of LSE Lighting James Mansfield says: “Throughout this project we worked closely with the client to ensure the vision was brought to life. The opal glass globes represent waves lapping the beach and gather in intensity, drawing users towards the central staircase where they are greeted with a 105-glass ball wave design flowing them into the central terrace bar.”

In addition to the lobby area, LSE also perfectly wall washed the perimeter of the pool area, following the curves of the stepped stretch ceiling. Recessed LEDs also create a calm ambience as well as wayfinding through to the changing rooms. In the bar area, sculptured clouds are suspended throughout, representing an open sky. www.lselighting.com

66/67 |

MODERN VERVE C RE AT I V E AG E N C Y RI DG E WOO D, USA Modern Verve’s Spark series chandelier was specified by Z+ Architects for the lobby of a new build space for an unnamed creative agency located in Ridgewood, New Jersey.

Mary Scro of Z+ Architects says: “the Spark Series Porcelain chandelier by Modern Verve Lighting was the perfect fixture for the unique narrow lobby condition in a new building we designed for a creative advertising client in Ridgewood.

“Our client wanted the building we designed to house their art collection. We all liked the artistic design and handmade aspects of the Spark chandelier as well as the energising qualities it provided the space.”

The Spark Series chandelier appears to explode in all directions. It is made of machined brass arms tipped with handmade porcelain shade. This is a feature the architect and client liked since the fixture also acts as a connector to all the floors that opened up to the lobby.

Like many of the light fixtures Modern Verve Lighting makes, the Spark Series chandelier can be manipulated on-site for various configurations. The Ridgewood lobby’s light is fully fanned-out, its arms can also be rotated flat into a linear fashion.

Modern Verve’s owner and lead designer, Shea Bajaj, says: “I feel very strongly that lighting for the 21st Century should not just be static decoration. It is important to me that a fixture be able to adapt to its space as well as to be changed or manipulated by its occupants. This change would be re-configuring the fixture to create a new mood, provide a fresh change or respond to the seasons.” www.modernverve.com

IMAGES: AMANDA KIRKPATRICK

CASE STUDIES | LOBBY

I N N O VA T I O N S I N L I G H T I N G E D DY H OT E L , TA P E S T RY C O L L E C T I O N BY H I LTO N , US A When Dwellings set out to design the lighting for the Eddy Hotel in Tucson, the team had a very specific look in mind for the property but needed a lighting partner with the experience in producing custom product to bring their concept to life.

Working closely with the design team, Innovations in Lighting brought its expertise in materials including wood, rope, metal, and resin as well as its manufacturing expertise to help execute this vision.

The outcome was a wave of fixtures above the reception desk, plus a cluster of rope-wrapped pendants hanging in the lobby stairwell, ranging in size from 91cm diameter to 168cm diameter, designed by Dwellings and created by Innovations in Lighting.

“Producing fixtures of this scale and with all the different materials required more than a leap of faith, but almost the ability to get inside a designer’s head and produce what really amounts to functional art,” says Rob Bruck, President of Innovations in Lighting.

“The resulting collaboration speaks both of the design acumen of the team at Dwellings, and the abilities that Innovations in Lighting brought to the project.” www.innovationsinlighting.com

68/69 |

IMAGES: ELLIOT WHITE PHOTOGRAPHY

SKINFLINT V E RDA N T B RE W E RY A N D TA P ROOM , E N G L A N D skinflint was founded on a mission to stop vintage lights going to landfill; salvaging and restoring only the highest quality vintage lights from the 1920s-1970s. Bucking fast-furniture trends, it works sustainably across the UK, Europe and the USA, with a roster of clients from Soho House to fellow B Corps Patagonia and Aesop.

But it continues to collaborate with pioneering start-ups too. Verdant Brewing Company is one of many.

Designed by Zelah Studios, Verdant’s brewery and taproom in Penryn, Cornwall, prioritises sustainability throughout. Lit by skinflint vintage lights, the space is impressive from the get-go - glance towards the bar and you’ll notice a row of skinflint vintage Czech pendants, their polished aluminium galleries adding to the industrial aesthetic of the interior. The walls are illuminated by skinflint 1950s Eastern Bloc machinist lights, adding layered lighting above tables, and creating cosy corners to enjoy a brew. But stealing the show, like a piece of artwork suspended above the staircase, are a trio of skinflint Eastern Bloc LED lights. Cascading down between the floors, they create a show-stopping focal point in an otherwise unutilised lobby space.

James Collins founder of Zelah Studio says: “Focusing on local suppliers and sustainable materials was key to the re-development at Verdant. No-one optimised this approach more than skinflint. They supplied various beautifully re-conditioned vintage lights and by offering a buy-back scheme, guaranteed the extended life cycle of the product.” www.skinflintdesign.com

CASE STUDIES | LOBBY

R ADAR OC TO GO N E T H É ÂT RE , S W I T ZE RL A N D Radar’s Mirage lamps light up the foyer of the Octogone Théâtre in Lausanne. Strongly recognisable due to its distinctively geometric volume in chiselled cement, the theatre is equipped with a 455-seater hall, hosting dozens of shows per year, and also has a dance studio. Recently, the foyer and bar-restaurant area were subjected to a refurbishment according to a project by SAS Architecture in collaboration with Alexandre Boyer. The load-bearing walls, which feature the same chiselled workmanship as the exterior, perfectly match the warm and welcoming environment, which is carefully furnished with wooden chairs and bistro tables. The common area includes the bar counters, the ticket office and wardrobe, which are highlighted by a lower false ceiling in light plaster evenly paced by the presence of Radar appliques and lit up by the Italian-French brand’s ceiling lamps.

The Mirage lamps designed by Bastien Taillard were selected for the theatre in the elegant bronze finish. The particular workmanship in hammered glass, which is exclusively produced by hand, imbues the surface of these dome-reflectors with a wavy effect and changing reflections reminiscent of shimmering light on a water surface. www.radar-interior.com

IMAGE: MICHEL BONVIN

68/69 |

NUURA N E T C O M P A N Y, D E N M A R K Netcompany was founded in 2000 and has over 1600 employees. In 2023, the IT company gathered all its Copenhagen staff in one new, unified office in the heart of Copenhagen. Holmris B8 handled the move, project management, and delivery of the new furniture in close cooperation with Netcompany and architect Tine Mouritsen from Colliers.

In addition to improving conditions for the company’s growth in a central location, the new headquarters also provides the framework for the flexible approach Netcompany has to work.

Tine Mouritsen, Director and Head of Workplace & Project Advisory at Colliers, designed the new interiors, including flexible work zones with room for informal meetings and buzz sessions and a stylish bar where the staff can gather for a festive moment.

Nuura’s lighting is placed in various common areas, contributing to a sensuous and warm atmosphere in the new modern domicile. Miira 4, designed by Sofie Refer for Nurra, are located in the reception lobby area, in the specially-built alcoves, and above the bar. Miira 4 helps to spread a pleasant atmosphere while contributing to calmness and coherence in the interior. Apiales 6 is located in the coupés and, together with the unique inventory, helps to form the framework for various meetings. www.nuura.com

IMAGE: HOLMRIS B8

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70/71 |

NORTHERN LIGHTS T H E M U N I C I PA L H OT E L L I V E R P O O L , E N G L A N D Global hotel giant Accor opened its latest hotel – The

feature of the Palm Court area. Each fitting comprises

Municipal Hotel Liverpool, MGallery – inside one of the

stunning laser-cut medium antique fretwork that

city’s most historic venues.

houses matte opal windows to create an atmospheric

The impressive Grade-II listed building, renowned for

ambience that perfectly complements the purpose-

its French and Italian architectural style and clock

built skylight above.

tower, houses 179 beautifully designed rooms, a

Medium antique brass has been used to create most of

restaurant, an afternoon tea lounge, a cocktail bar, and

the fittings that Northern Lights supplied to the hotel,

a sanctuary spa.

including several pendants, chandeliers, table and wall

Northern Lights was chosen to collaborate with

lamps throughout the venue.

Manchester-based interior designers Koncept ID and

Deirdre Billing, General Manager of The Municipal

lighting designer Luke Artingstall of Artin Light to

Liverpool – MGallery, says: “I am delighted to write a

develop bespoke lighting for the array of public areas

new story for the Municipal Building, bringing back its

and guest suites throughout the hotel.

local heritage into a hotel and introducing the luxury

The brief called for a vast range of bespoke lighting

brand MGallery to Liverpool. It has been a joy to see

fittings to be designed, with over two-dozen individual

this iconic building brought back to life, and we can’t

designs being fabricated and distributed throughout

wait to welcome guests into the space and experience

the hotel.

its charm for themselves.”

Ten exceptional decagonal chandeliers are a big

www.northern-lights.co.uk

IMAGES: GUNNER GU

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74/75 | IN FOCUS | MUD

IN FOCUS

P o p & Fl a r e d L a m p C o l l e c tio n S h el l e y Sim p s o n mud What is the inspiration behind this debut lighting collection?

It was really about something that sits quietly in a space. I don’t like things that become the focal point of a room. I wanted the pieces to blend in with the environment. We worked with a technical support - Zachary Hanna - and I believe the pieces we created together are the ones that achieved this quality of sitting quietly in a space and cast a light in a way that is really calming.

Which is your favourite piece from the new collection?

I think it’s the Flared floor lamp; it was like my problem child.

It’s frustrating because there is so much more in terms of mechanics to that piece than any of the others, and it will be the last one to enter the market to purchase because of that.

It changed many times through the design process, and we had lots of problems when first firing the pieces, as they kept warping way too much. It was then solved by sanding the shelves to allow the porcelain to slide across them. Each piece shrinks about 25% when it’s firing, so it must be able to move in the kiln and not drag.

Why is porcelain Mud’s go-to choice of material?

I worked with earthenware first, which is a starting point for everybody who works with ceramics. It’s the easiest clay to use. I was then approached by an Australian chef, Neil Perry, who had a place called Rockpool, and asked for a black bowl for a squid pasta dish. I knew when my creations went into his kitchen they were not going to last. With earthenware, you put a coating of colour on it, then you put a coating of glaze that seals the piece, but it’s quite soft. If it chips, you see the white on the inside, it accepts water, and then it crackles.

This experience kicked me into action to find a stronger material. I’d read a book about the discovery of porcelain by Europeans and how difficult it was for them to obtain. I was fortunate enough to be able to source it from a local shop, and just needed to figure out how to use it.

Normally, when you fire porcelain it nearly always has a shiny glaze. I took the glaze away on the exterior, giving it the inside out glazed effect, which has been our aesthetic for the last 25 years or so. With our lights, you can’t see the glaze at all, which I think adds to the quietness of the pieces. www.mudaustralia.com

Gramm The lightest light

It’s main feature is the possibility of rotation. For a pleasant indirect light you simply rotate it with one move.

intra-lighting.com/Gramm

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