Darc 54

#54 T H E C A N TA B R I A N M A R I T I M E M U S E U M , S PA I N S T E V E N E S H L E M A N , AV R O KO PA N TO N E P E AC H F UZ Z OFFICE LIGHTING

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

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WELCOME

Sarah Cullen • Editor I feel like I blinked and was straight back on print deadline with this next issue of darc. Such is life when you’re the hottest publication for decorative lighting and all the international events want to distribute you...!

It has been an intense month of travel so far, starting with the [d]arc media team heading to Frankfurt to attend Light + Building at the beginning of March. It was so nice to meet up with industry pals and see some lovely new product launches. When it was time to take our tired little feet home, unfortunately a group of us were stung by the German transport strikes when they cancelled our flight home mere minutes before boarding.

Team arc were fortunate enough to have had prior warning and fled the country like an Italian Job in an Uber to Brussels to get a flight home. Our experience, however, unravelled into a slightly stressful period of going back and forth to Lufthansa customer service desks in between buying new wardrobes and toothbushes while our suitcases were held captive in the system of conveyor belts. We eventually, and gratefully, staggered home on our rebooked flights three days later.

Please don’t mistake my tone for being anti-strikes. I am all for workers fighting for what they believe they deserve! We were just the unfortunate ones who were caught in the maximum-impact aim of the workers’ walkout.

I mentioned in the last issue that we would be featuring a roundup of our time at Light + Building, however, we decided as an editorial group to let our newest member of the team, Online Content Creator Ellie have a crack at doing a digital overview of our time in Frankfurt. Keep an eye out for darc’s newsletter and online to find out more.

Also in March, I had the opportunity to visit Occhio in Munich on a press trip to its showroom, experience hall, and live project at the Haus der Kunst art gallery. Along with a select number of other design journalists, I had the chance to get to know the faces behind the brand over an intimate dining experience at the very special two Michelin star restaurant, Tohru COVER: CANTABRIAN MARITIME MUSEUM ZOOCO

that was illuminated by Occhio’s Sento sospeso suspended luminaire.

What a treat!

To finish off the month, we will be donning our glad rags ready for the highly anticipated [d]arc night party celebrating the winners of this year’s [d]arc awards. At this year’s party we’re going all-out with a 1980s theme! I look forward to seeing the industry’s fancy dress efforts and awarding the best-dressed prizes on the night.

/darcmagazine |

@darc_mag

04/05 | CONTENTS

CONTENTS FE ATURE D

darc

chat s

PROJECTS

INSPIR ATION

034

008

028

Interview: Steven Eshleman

Focal Point

Materials: Lodes x Ron Arad

Treehouse, Dubai

Italian brand Lodes recently released Cono Di

to

Steven

Eshleman,

Direc tor

of

Industrial Design at AvroKo, to f ind out more

Luce, a sculptural piece designed with Ron Arad.

about his career at the New York interior design

010

Darc’s Editor Sarah Cullen f inds out more about the

studio, and his design approaches when it comes

Focal Point

design process.

to creating light f ix tures.

Al Mamlaka Social Dining, Saudi Arabia

050

012

Products: Pantone Peach Fuzz A selection of decorative lighting in warm peach hues.

042 Feature Interview: Harsha Kotak

Terraz zo Aperol

To open our Office and Task Lighting feature, darc’s

Terraz zo Aperol, a small Venetian bar in Italy,

editor sat down with Founder and Director of Women in

has undergone a renovation by architec tural f irm

046

Office Design and Sustainable Design Collective, Harsha

Vudaf ieri-Saverino Par tners.

Interview: Guillaume Bottazzi

Kotak to discover more about her industry initiatives.

Visual artist Guillaume Bottazzi has been linking 016

neurology and art in our living spaces, focusing his

055

The Cantabrian Maritime Museum

work on wellbeing. Here, he tells darc about his latest

Feature Comment: Charlie Bark-Jones

Architec tural studio Zooco has transformed the

collection, Nutty.

Workspace Design Show returned to London in February.

hospitalit y venues inside the Cantabrian Maritime

Charlie Bark-Jones, founder of the show, shares insights

Museum, creating an elegantly simple destination

060

and trends from the event, as well as biophilic lighting

that celebrates the building ’s original architec ture.

On The Board: Align Design and Architec ture

considerations.

Ben Pressley, Senior Designer and Laura Palmer, 022

Designer and Furniture Specialist , talk us through

062

Enso

their design concept for a well-known British DIY

Feature Products: Office Lighting

UK-based interiors studio Ekho has entered the

brand’s new of f ice space in South West England.

darc’s selection of task lighting products that are well-

Purpose-built Student Accommodation scene for

suited to a workspace environment.

the f irst time with it s projec t Enso, located in

064

Colchester, UK .

Interview: Women in Lighting

074

As part of our commitment to celebrate Women in

In Focus: Lysabel

056

Lighting and International Women’s Day, darc posed

Designer Lorenzo Truant discusses his latest collection

Matrix Studio

a series of questions to women working in decorative

for Intra Lighting, Lysabel, which was inspired by scenes

A s par t of our Of f ice Lighting feature, we cover Alex

lighting, about their working lives.

from Sci-Fi classics, Star Wars and the lightsabre.

Dauley’s workspace scheme for Matrix Studio.

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

THE GENEVIEVE 60cm SCONCE

Leading lighting designs.

Delivered to the world.

modistore.co.uk

8/9 | FOCAL POINT | TREEHOUSE

FOCAL POINT

TREEHOUSE BUSINESS BAY, DUBAI

Embarking on a journey through the Taj Hotel, Business Bay, Dubai, the recent refurbishment for Treehouse, by Prospect Design International, is a perfect example of how lighting plays a key role in design storytelling. The design team recognised lighting as a pivotal element in the narrative of the venue. In the realm of interior design, lighting creates ambiance, and immerses guests in a multi-sensory experience.

Situated on Taj Hotel’s rooftop, Treehouse is a bohemian-inspired retreat blending charm with high-energy allure against the bustling city backdrop. The design ethos embraces a boho-chic aesthetic created with natural materials for a cosy and friendly atmosphere.

The space is divided into two levels; on the upper deck, a central bar steals the crafted from natural concrete block façade elements adorned with a bespoke tree made of woven lights by lighting consultants Skyelume, a playful nod to the venue’s overarching story.

The bar, surrounded by lush greenery and two tiers of comfortable sofas, becomes the focal point, creating an inviting arena where guests can both see and be seen, elevating the overall experience of this rooftop sanctuary. www.prospect-design.com Image: Jimmy de Paris

10/11 | FOCAL POINT | AL MAMLAKA SOCIAL DINING

FOCAL POINT

AL MAMLAKA SOCIAL DINING RIYADH, SAUDI ARABIA

Al Mamlaka Social Dining is a new multi-

was important for LDI to create warmth

cuisine food experience in the Saudi

from the pendant, coupled with the accent

Arabian capital of Riyadh. Located inside

lighting on the tables.

the Kingdom Tower, a striking skyscraper,

Arianna Ghezzi, Associate at Lighting

Al Mamlaka is the first restaurant in Riyadh

Design International, says: “As the project

where diners can experience high-quality

entailed reworking an existing building

global cuisine under one roof, around the

rather than a new build, we had to work

clock.

within several constraints and limitations.

Working

alongside

lighting

designers

“We

have

created

a

multi-discipline

Lighting Design International (LDI) for the

scheme that oozes sophistication and

project was interior design studio TGP

sets Al Mamlaka apart from every day,

International.

standard food halls. As an almost 24-hour

A central focal point for the designers was

establishment, we needed to move the

the coffee and cocktails station. With it

lighting along as the day faded and the

being the first sight guests see on entering

nighttime set in.

the restaurant, the goal was to leave a

“We achieved this by programming all

lasting impression.

of the lighting across the hall, with four

The team at LDI team used linear lighting

different scenes. These are lighter during

around the canopy of the coffee counter,

the day, with more atmospheric, moody

which offers a continuous ray of light. To

lighting during the night. A podium and a

complement LDI’s plinth-level lighting

stage can be added to the space, so the

alongside lighting at the front of the

lighting needs to support a party mood for

counter, TGP specified Bonbon pendants

these occasions.

by Danish furniture brand HAY in the dining

“The new dining experience of Al Mamlaka

area, with the decorative lights made of

is certainly something unique, and the

fabric, partnered with rattan pendants.

lighting is a key part of making guests

All of the linear lighting was 2400K, which

know they are somewhere special.”

adds a warm depth. The architectural

www.lightingdesigninternational.com

lighting is 2700K, and the Zico Lighting

www.tgpinternational.com

lamps inside the pendants are 2200K. It

Image: Gavriil Papadiotis

12/13 | PROJECT | TERRAZZO APEROL

PROJECT

TERR A ZZO APEROL Terrazzo Aperol, a small Venetian bar in Italy, has undergone a renovation by architectural firm Vudafieri-Saverino Partners, which has injected a lively orange palate with matching decorative lighting accents.

Terrazza Aperol, located in the heart of Venice, Italy, is characterised by the distinctive orange tones of an Aperol Spritz, a refreshingly vibrant Italian cocktail that hails from the Northeast of the country.

Milan-based architectural firm Vudafieri-Saverino Partners initially designed the interiors and recently returned to transform the 70sqm space into a successful fusion of a traditional bacari - Venice’s small local bars - with the contemporary allure of a cocktail bar.

Architects Tiziano Vudafieri and Claudio Saverino have given a modern makeover to traditional Venetian materials and elements in order to give an authentic experience to the Italian-style aperitivo ritual and socialising. They managed this through enhancing the bacaro and bar and creating a social room.

Blue accents from the Aperol brand have been introduced throughout to add notes of personality alongside neutrals and orange details.

“Inside the Bacaro, where the famous Venetian “cicchetti” appetisers reign supreme, a counter in

14/15 | PROJECT | TERRAZZO APEROL

ribbed canaletto walnut teams with tops in warm white Corian to lend a decorative touch to the interiors and, together with orange details and bright lines, it creates a warm relaxed mood reminiscent of traditional Venetian bacari.”

Pendant lights above the bar are from Muranobased brand Barvoier & Toso and are a custom-made modification of its Hanami model. Their rich orange tone pair nicely with the 3D-printed recycled plastic chandelier, produced to a design by the architects that recalls classic blown glass chandeliers, situated in the social room.

Elsewhere, technical lighting includes spotlights

by Modular and LED ceiling strips by Immenso Luci d’Autore provide functional illumination.

“Ideal at any time of day, from coffee to after dinner, the bar continues to be the beating heart of Terrazza Aperol, the ideal place to enjoy a perfect Aperol Spritz and admire the beauty of this city through the large windows overlooking Campo Santo Stefano.” www.vudafierisaverino.it

TERR A Z ZO APEROL Interior Design: Vudafieri-Saverino Par tners Lighting Specified: Barovier & Toso, Custom 3D printed chandelier Images: SantiCaleca Cocktail bar Terraz zo Aperol celebrates the vibrancy of an Aperol Spritz, interjecting the distinctive orange and blue colours of the Aperol branding throughout its furnishings and decorative lighting.

16/17 | PROJECT | CANTABRIAN MARITIME MUSEUM

PROJECT

C A N TA B R I A N M A R I T IM E MUSEUM SANTANDER, SPAIN

Architectural studio Zooco has transformed the hospitality venues inside the Cantabrian Maritime Museum, creating an elegantly simple destination that celebrates the building’s original architecture.

The Cantabrian Maritime Museum, Spain, was conceived as part of an architectural complex together with the Oceanographic Center, designed

by Vicente Roig Forner and Ángel Hernández Morales and built between 1975 and 1978.

The original building consists of two square bodies connected by a canopy, with a concrete structure. The interior is distributed over three floors around a central courtyard covered by a vault of paraboloid membranes. In 2003, a renovation and extension was carried out, which included the extension of the west façade and the roof of the terrace with a pyramidal aluminium structure, thus altering the initial conception of the building.

Madrid-based architectural studio Zooco was brought on board initially to rectify issues of dampness in the roof and façade of the building. This later developed into the team designing and creating a new space of the museum on the second floor, which houses its restaurant and terrace.

When describing their involvement in the project, Miguel Crespo Picot and Javier Guzmán Benito, two of the three founders of Zooco, explained how fortunate they were that the client granted them complete freedom when it came to shaping the design of the restaurant.

“Throughout the duration of the project, the integrity of the design remained unaltered, preserving its originality and functionality without undergoing any changes.”

The geometric properties of the space helped define the approach to the restaurant’s interiors. The square morphology of the restaurant’s volume is the result of four additional triangles that regularise and complete the concrete paraboloids of the original building.

“The original building had a terrace on the third floor, where the concrete structure was completely outside and functioned as the roof of the museum’s central patio. In 2003 the building was renovated and within this intervention, the paraboloids were covered with a new roof and the

18/19

space between them, and the perimeter of the building was closed with glass, generating a covered space where there was previously a terrace. From the outside, the original cover can no longer be seen, and from the inside it is covered by paint or coating,” explain the two founders.

“Our intervention focused on recovering the original essence of this significant construction element.

To do this, the coating and paint were removed, and the inclined green glass was replaced with vertical transparent glass. In this way, the paraboloids appear in their pure state and a perimeter terrace is recovered along the entire space.

“The geometry of the existing structure conditions the space, because its height in its lower part is impractical, so a large bench was arranged around the entire contour that allowed us to take advantage of that space and organise the distribution of the rest of the floor plan.

“We wanted the concrete paraboloids to be the absolute protagonists of the space. To do this, we looked for a floor finish that was as neutral as possible, that adapted to the existing conditions and did not compete with the main element of the project.

“To enhance the original structure, we decided to use a wooden roof that framed the perimeter of the paraboloids. The wooden slats bring warmth and friendliness to the space, while allowing us to solve all the technical needs for air conditioning, heating, and lighting, leaving them hidden. In this way we ensured

PROJECT | CANTABRIAN MARITIME MUSEUM

“The luminaires, in their varied forms, become not merely sources of light but protagonists in the narrative of design, illuminating not just spaces but also the nuanced interplay between permanence and flexibility, aesthetics and functionality.”

that all these elements did not interfere with the dialogue of concrete and wood, which were presented as continuous and clean elements.

“This geometry became a recovered element, a vestige of the past, and the protagonist of the restaurant’s interior. Treated as an artistic element, the triangular wooden false ceilings frame it.

The museum’s location also played a key role in the design strategy for Zooco. “We could say that it influences 100%,” says Guzmán Benito. “We are at the Cantabrian Maritime Museum, a museum dedicated to the sea, which is practically on top of the water. When we are inside, the feeling is the same as when we are inside a boat, there is only water around, and that is why we used clean glass from floor to ceiling, generating a perimeter terrace as if you were on a boat.”

“The use of wood and steel for all the furniture is reminiscent of the materials used in ship building,” continues Crespo Picot. “The wood is arranged in small boards just as it is used in the hulls of boats and the furniture has slight curvatures that are reminiscent of the aerodynamic shapes of boats. Likewise, the lamps are inspired by the masts for ship sails.

“The dialogue between the concrete container in grey tones, on the one hand, and the glass envelope that allows a total visual connection with the outside, generates great spatial harmony. Everything is completed and harmonised with all the oak wood furniture and stainless steel accessories.”

The role of decorative lighting was integral to achieving

20/21 | PROJECT | CANTABRIAN MARITIME MUSEUM

the minimalist aesthetic the team were working

“[Decorative lighting is] as important as any main

towards for the dining area. Along with fixtures from

element of the design. The luminaires, in their varied

Arkoslight, Menu and Gubi, Zooco also created a

forms, become not merely sources of light but

custom piece called the MMC Lamp.

protagonists in the narrative of design, illuminating

“The concept behind the design of the MMC lamps

not just spaces but also the nuanced interplay

stemmed from a specific necessity – the quest for a

between permanence and flexibility, aesthetics and

lighting solution that seamlessly emerged from the

functionality.”

table surface, eliminating the need to suspend it from

When asked how this project differed to others in

paraboloids,” explains Crespo Picot. “This innovative

Zooco’s portfolio, Guzmán Benito explains that the

approach aimed to preserve the integrity of the

task of rehabilitating the existing concrete structure

concrete structure, ensuring a harmonious blend

was a point of difference for them. “This challenge

of functionality and aesthetics. In addressing this

added layers of complexity to the process, requiring a

challenge, the lamps were meticulously crafted to not

meticulous approach to preserve and strengthen the

CANTABRIAN MARITIME

only fulfil their illuminating purpose but also to become

structural integrity while undergoing rehabilitation.

MUSEUM, SANTANDER, SPAIN

an integral part of the architectural composition.”

“Zooco designs everything. Our philosophy consists of

Interior Design: Zooco

Discussing the various considerations for lighting

approaching any type of assignment, regardless of its

Lighting Specified: Arkoslight,

placement, Guzmán Benito says: “First, in this luminous

scale, budget, and programme, with the same attitude

spectrum are the suspended fixtures, gracefully poised

and creative ambition. Applying the same process

from the ceilings adorned with wooden slats. Second,

searching the most appropriate and valuable solution,

the MMC Lamps that emerge from the table, and thirdly

both from an artistic and functional point of view.”

the recessed spotlights, which are strategically placed

www.zooco.es

to illuminate pairs of tables, creating intimate pockets of radiance.

Gubi, Menu, Zooco Images: Zooco Taking inspiration from the geometric shapes of the new restaurant’s architecture, the decorative lighting throughout the space mirrors the clean lines and simple aesthetics, resulting in an elegant atmosphere.

EST. 1995

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14/02/2024 16:32

22/23 | PROJECT | ENSO

PROJECT

ENSO COLCHESTER, UK

UK-based interiors studio Ekho has entered the Purpose-built Student Accommodation scene for the first time with its project Enso located in Colchester, UK. Managing Editor Helen Ankers discovers more about the studio’s design scheme.

Ekho Studio has completed its first student accommodation project,

A second design thread is nature, with Colchester and the

as the interiors consultancy enters the PBSA (Purpose-built Student

surrounding countryside full of strong textures and dramatic forms

Accommodation) market. The project is a new-build scheme called

and colours. The colour palette fuses Roman-era references with

Enso, located in the heart of Colchester, UK and just minutes from

local natural colours, celebrating earthy and warm tones.

the University of Essex campus.

“By using these tones as ‘block’ colours, we created a vibrant,

The joint clients on the project were UK real estate fund manager

bold colour palette that works well with the forms but also has a

Moorfield, with whom Ekho Studio Founding Partner Rachel Withey

softer feel,” Withey says. “We emphasised the toasty burnt oranges

had already worked on several occasions at previous agencies,

and varying shades of pink that cloud and streak the traditional

plus project developer Melberry. The Ekho Studio design team also

earthenware material of terracotta and complemented this with

liaised throughout with operator CRM Students.

the natural greens/blues that reflect Colchester’s surrounding

The brief for the interior was first to create a bright, airy, and

countryside.”

light-filled student amenity space on the building’s ground floor,

Ekho Studio collaborated with branding agency J2 on the scheme,

incorporating thoughtfully designed communal spaces aimed at

with the latter creating the project’s unique Enso branding, mining

encouraging social interaction. The amenities needed to promote

a direction inspired by the interior design narrative. The lower case

relaxation and wellbeing and offer a sense of balance to residents,

‘enso’ of the brand features an ‘n’ that alludes to the simple form of

with co-working spaces for individual study and team collaboration,

the arch, for example, with the ‘n’ additionally used by Ekho Studio

lounge, and seating areas, as well as a gaming area, and gym.

within the scheme as a playful standalone marque/art feature, filled

The second part of the brief was to create the look and feel for the

with planting, in both small and large iterations.

scheme’s 282 student rooms, devising a colour palette that would

As Ekho Studio was involved in the project prior to construction, the

tie in harmoniously with the amenity concept. The overall design

team was able to request minor alterations to the space plan from

was also to be environmentally low-impact, prioritising materials

the point of view of flow, including, for example, more external doors

with strong recycled or recyclable credentials and low-energy

into the courtyard. Other changes included moving the reception

manufacture and use.

further away from the arrival doors and swapping the internal ply

For the project concept, Withey and her team took inspiration from

laminate doors to blue for the amenity space, while they are in light

a sense of place, focusing particularly on Colchester’s rich historic

oak elsewhere. Ekho Studio also proposed locating additional gym

past. The city was known as ‘Camulodunum’ – translated as the

equipment outside in the courtyard space, in addition to the ample

‘Fortress of the War God Camulos’ – during Roman times and was

internal gym located at the rear of the games area.

immortalised by Pliny the Elder as Britain’s first recorded settlement

“Courtyards are lovely to look at and great sources of natural light

and, later, as Britain’s first city and capital. Certain forms and

but are often under-used and passive in nature,” Withey says. “By

elements from that period remain intact, standing out as a common

locating part of the gym outside in the healthy fresh air, we also

thread through the city’s history and architecture, from Roman

made it into a more active space, with the added benefit of liberating

arches to the town’s layered brick walls.

indoor space for other uses.”

Ekho Studio took these key visual and architectural elements and

The amenity space features two distinct areas: a social space at the

used them to formulate a consistent design language for the scheme

top of the plan with a games area, including a pool table, and access

that translates right across the interior spaces. Simple forms,

to the gym, with this potentially noisier area located the furthest

particularly the ‘arch’ motif, were used horizontally and vertically to

from ground-floor student residences. At the bottom of the plan are

create interest, while a series of layered vistas add a sense of depth,

the reception, tea point, lounges, study room, and smaller enclosed

with repeat patterns, sometimes with a woven form or fringed edge,

study room. The ground floor bedrooms are located beyond the

suggesting the reveal of layers in the old city.

study spaces to ensure the quietest possible adjacency.

24/25 | PROJECT | ENSO

When students and their visitors enter the ground

a Hanex top and a cork frontage, while two pendant

floor amenity space, they are immediately greeted by

lights are featured above – the Cortina – Big Pendant

the site-specific enso branding on the wall opposite,

Lamp from Dam-Green.

backlit and in lower case, with the four letters in-filled

“The primary intent with this light fitting was ensuring

with planting to establish an immediate outside-

it worked for the functionality of the desk to light the

in biophilic connection. The two dominant concept

solid surface evenly for 24/7 working use,” Withey tells

colours – blue and terracotta – are also immediately

darc. “We also wanted to balance this with sustainable

introduced in the form of a blue-painted wall with

material choices and ensure that such a prominently

terracotta skirting at its base; complementing this are

located fitting worked with the design aesthetic and

several Muuto Unfold pendants, also in terracotta.

language – no small feat! The main material is cork to

The playful take on the arch shape of Enso’s letter ‘n’

suit the desk itself, while the long, arched form followed

also has its first iteration here as a wall decoration,

the design language, and the length functionally

both super-sized as a large arch and as a smaller,

gave the user the desired lighting levels they needed

inverted ‘n’, with the bottom of the shape aligned to

without compromising on aesthetic and cost.”

the top of the wall. Both are edge-lit and either infilled

A reception waiting area features furniture arranged

or surrounded with reindeer moss. Flooring here and

on two different rugs that tie in with the scheme’s

throughout is in Marmoleum tiling in varying patterns

blue/green and terracotta colour palette, with the first

and colours, while the ceiling is exposed to create

large-scale plants here adding drama and scale. Vibia’s

maximum height, with white-coloured track lighting

Palma 3724 pendant lights with planters feature in this

throughout.

space – lining the internal side of the glass façade.

As students or visitors approach reception, they see the

As the space opens, a tea point follows round to the

space’s first structural column, treated decoratively,

left, with laminate cladding to the front in a terracotta

and clad in a pattern of terracotta and blue tiles with

tone, though the focal point in this area is a bespoke

a feature green grout. Above the tiling is the scheme’s

joinery seating lozenge. This features at its base a

first artwork, incorporating both an arch and a pottery

zigzag brick pattern, with deceptive depth, with the

shape. The bespoke reception desk to the left features

same material and pattern also used on the back wall

“The traditional earthenware material of terracotta links to the design language throughout Enso with the warm toned colour and linking back to the Roman history conceptual thread. The terracotta pendants sit against the blue background, which created the striking colour contrast we were aiming for.”

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14/02/2024 16:33

26/27 |

of the tea point and later in the scheme for the screens

been leveraged out. The booth areas feature a fabric

that lead to the games area.

backing, while the acoustic ceiling grid in the space has

Above the banquette seat – and extending over the

been painted blue and arranged at angles in an on-

whole tea point area – are three inbuilt display shelves

theme geometric styling. Two feature pendant lamps

for planting, with a single lozenge-shaped raft at the

in blue by Tom Rossau feature here and are made of

top, featuring on its underside a geometric patterned

bent ply. A graphic wallpaper incorporates a city wall

textile in blue and terracotta. The tea point is lit by

pattern in shades of terracotta and, once again, offers

four Blush pendant lights in white from Northern;

a playful sense of depth. Flowerpot VPI pendants from

according to Withey, this fitting needed to contrast

&Tradition feature in the individual booths in a deep

against the vibrant blue slab but also be small enough

terracotta colour.

to hang between the raft elements.

In the gaming area of the ground floor amenity

“We sourced something that was a block colour tone to

space, the use of terracotta and blue is flipped for

create the contrast but also had an arch-like profile to

subtle differentiation, with the walls and ceiling in

tie in with one of our key aesthetic concept drivers,”

terracotta rather than blue. A U-shaped, large sofa

she says.

in dark terracotta is dressed in a variety of plain and

Opposite are two sets of four-person table seating

patterned cushions that fit with the colour palette. The

arrangements that feature Rigatoni pendants in

feeling of a new zone is aided by a square suspended

indigo from Hand and Eye Studio. “The Rigatoni fixture

ceiling raft in blue over the sofa area, enclosing four

was utilised for above the dining/study tables and

feature Junit pendant lights from Schneid Studio.

continue our theme of utilising natural materials

Commenting on the use of these fixtures, Withey

where possible. The blue and terracotta combination

says: “The oversized bulbs with simple stacked timber

emphasises the wall finish palette and complements

shapes were selected to zone the TV and games area

the blue sprayed slab colour. These light fixtures

while also creating visual interest in a fun way. The

were chosen to create a focal grounding to the tables

simple pieces, we felt, were reminiscent of Roman

below.”

architectural forms but with a quirky twist as to how

Then, behind these, there is a long, glazed wall

they are threaded together; the selected colour tones

announcing the large co-working and the smaller quiet

suited the overall palette.”

study spaces. These include chairs in complementary

Behind the sofa, a large-scale, laminate-clad planter

colours and a variety of worktops and booths, with a

with a terracotta top edge creates a zonal screen, with

large central table as the focal point of the co-working

a pool table located directly behind. The adjoining

area. This bespoke blue table with a triple edge

wall here also features the same large arch and

with a central inset layer is in the shape of the arch

small inverted arch as used on the entrance wall. A

motif, playfully inset into a wall arch, as if it has just

rectangular track light from Lightforms demarcates

PROJECT | ENSO

the pool table area, while feature lighting directly

we were aiming for.”

above is provided by the Palma 3736 pendant light with

From recycled and sustainably sourced materials,

planter by Vibia.

through to natural design features and landscaped

“Due to the ceiling height and architectural façade

gardens that bring the outside world in, every corner

grilles at high level, we wanted to specify a pendant that

of Enso has been designed to celebrate and help

dropped low enough to be seen from the outside, but

protect its environment. Sustainable materials used in

which also worked internally,” adds Withey. “Located

the scheme range from recycled wallpapers to water-

above table and chair settings where users can sit,

based paint finishes, the use of cork for joinery and

work, or socialise, we wanted to keep the tabletop clear

feature walls; biophilic interiors with air-filtering plants

for the students’ use but also to soften the setting. This

at low levels; living walls made from moss; terracotta

fitting meant we could have a biophilic plant dressing

tiles, joinery and light fittings made from 100% natural

element to create a softer area while maintaining the

recyclable material and manufactured with energy

working space below.”

efficiency; durable and sustainable Marmoleum natural

Commenting on other lighting elements within the

flooring throughout; ceiling tiles and plasterboard with

space, Withey tells darc, the K table lamp from Vitamin,

ACTIVair technology to improve air quality; recycled-

used for the reception desk and in the TV area, “ended

content furniture with FSC timber accreditation – plus

up being a particular favourite of the client. The fitting

fabrics made from hemp and nettle.

style is simple in form but with a clever twist in terms of

Heiko Figge, Head of Operational Asset Management

how those two forms interact with each other. We were

at Moorfield Group comments on the final scheme:

drawn to this fitting for the scheme not just for the

“We are delighted to have worked with Ekho Studio

colour and form but also because it is like a fantastical

on Enso and several other projects within our

character with the ‘hood’ pushed back to reveal the

portfolio. Ekho Studio was responsible for the interior

light within. It had a playful feel we thought would be

design, look, and feel of the development and we

perfect for the games and social lounge.”

are delighted with the outcome, which captures a

Additional lighting from Hand and Eye was also used in

stylish and contemporary character while respecting

the TV lounge area of the scheme, Withey comments:

the heritage and architecture of the local area. Ekho

“We are huge fans of the terracotta pendant range

Studio understands our brand standards, design brief

and have used this in other schemes. The traditional

and budget, and were always willing to go above and

earthenware material of terracotta links to the design

beyond what is expected. The team are creative, deliver

language throughout Enso with the warm toned colour

inspiring concepts and designs, and pay attention to

and linking back to the Roman history conceptual

detail.”

thread. The terracotta pendants sit against the blue

www.ekho.studio

background, which created the striking colour contrast

ENSO COLCHESTER, UK Interior Design: Ekho Studio Lighting Specified: &Tradition, Dam-Green, Flos, Gubi, Hand & Eye, Muuto, Nor thern, Shneid Studio, Tala, Vibia, Vitamin Images: Gunner Gu Sustainabilit y was one of the core aims of this project, with the design needing to be environmentally low-impact, prioritising materials with strong recycled or recyclable credentials and low-energy manufacture and use.

Ever y corner of Enso has been successfully designed to celebrate and help protect its environment.

28/29 | MATERIALS | LODES X RON ARAD

MATERIALS

LODES X RON AR AD CONO DI LUCE

It a l i a n b r a n d L o d e s r e c e n t l y r e l e a s e d C o n o D i L u c e , a s c u l p t u r a l p i e c e d e s i g n e d w i t h R o n A r a d . D a r c’s E d i t o r S a r a h C u l l e n f i n d s o u t m o r e a b o u t t h e d e s i g n p r o c e s s.

Cono di Luce is one of the latest pieces from Italian

di Luce was to realise the decorative potential of this

lighting brand Lodes. A grahpic and sculptural light

technology – exposing the PCB board by wrapping it

created in collaboration with internationally renowned

inside the glass cone,” explains the brand.

British-Israeli artist, architect, and designer, Ron Arad.

“We harnessed the material’s opaque and translucent

Arad is best known for his iconic industrial pieces that

areas to create stripes in line with Arad’s drawings

have won multiple awards and been exhibited in the

- Arad played with the dark and light bands and the

world’s most prestigious institutions.

moiré effect given by the overlapping of the stripes. We

Firstly, Lodes set a challenge, tasking designers to

were then able to employ this aesthetic to design an

use borosilicate glass to create an iconic object. “We

electrical circuit connecting more than 200 LED chips.”

selected Ron Arad for his disruptive approach – as

The PCB is the result of a process that includes 33 steps

someone who blends art, architecture and design – he

and several layers composed of fiberglass and copper

is able to uncover new realms in which objects break

for the LED chip electric circuits, which by nature

out of their typical typologies,” explains the brand.

have both translucent and opaque areas. A sheet

Arad’s proposed design was a slender, truncated cone

of fiberglass, which is extremely thin, flexible, and

shape as the archetype, with a light source placed on

insulating, on which a copper path is smeared, acts as a

top, hence its name meaning “cone of light”.

conductor of the electrical polarity, which on reaching

From concept to completion, the project took two and

the LED allows them to emit light.

a half years of bringing Lodes’ technical knowledge

The white, rigid PCB frame performs three functions:

together with Arad’s designs to produce the unique

refracting light so that the luminous effect of the lamp

Cono di Luce design.

can be uniform, connecting electric circuits that give

The first design concepts submitted were not the

power to the LEDs and thirdly, acting as a mechanical

direction the brand wanted to explore initially. It did,

suspension of the product itself to ensure the sheet

however, bring to light that an already existing piece

remains at the right height inside the cone.

of technology, PCB (printed circuit board), could be

“The initial proposal was very different to the final

utilised for a different purpose. In this case, as a design

piece,” says Lodes. “We had to revisit the project

feature of the lamp. A continuous exchange between

multiple times to make it technologically viable – after

Lodes and Arad enabled them to explore a different

a year of trying to redefine the initial concept, we

design path, which led them to the final piece we see

produced Cono di Luce!”

today.

The light fixture is available in two versions - a pendant

“PCB technology is well-known in the industry, but

and table lamp - and three finishes, red, grey, and gold.

it is usually hidden, it is rarely shown as part of the

The pendant measures 45cm and 65cm, making it well

design. What was innovative and unexpected in Cono

suited to sit above countertops as a group or solo.

30/31 |

“Lodes harnessed the material’s opaque and translucent areas to create stripes in line with Arad’s drawing - Arad played with the dark and light bands and the moiré effect given by the overlapping of the stripes.

We were then able to employ this aesthetic to design an electrical circuit connecting more than 200 LED chips.”

MATERIALS | LODES X RON ARAD

MANUFACTURING PROCESSES

A sheet of fiberglass, which is extremely thin, flexible, and insulating, on which a copper path is smeared, acts as a conductor of the electrical polarity, which on reaching the LED allows them to emit light.

32/33 |

The table version is available at 50cm and features a black dimmer switch.

Arad prioritised the red version to offer an impactful statement piece, featuring his signature on the outer flap.

The grey version is more subtle, with the signature and product name positioned discreetly on the inside of the sheet, allowing the product to adapt to various settings.

There is also a third version which features a grey finish on the inside and a gold finish on the outside, obtained through the deposition of gold, to give the product its preciousness.

“Cono di Luce differs aesthetically from the Lodes catalogue,” explains the brand, “but it also marks a first for the industry. There is, however, a correlation in the use of Pyrex (a very flexible material used throughout our catalogue) as well as the colours selected for the frame that recall our CMF [colours, materials, finish].”

Arad comments: “When you look at it (Cono di Luce), first of all, I’m very happy that it’s legible. You can you look at it and think you understand what you’re looking at. There’s a page locked in the glass cone. However, this page is providing light through the cone and becomes sort of glowing in itself. There are lines which create a moiré.

“Sometimes you start with an idea and in the process of making it, you lose something. In this case, I don’t think we lost anything. If anything, we gained something. I am very happy to see this, and I am very happy that through the interesting journey that we had getting here, you can still look at the original sketches and compare it with the end product and think that it’s the same.” www.lodes.com www.ronarad.co.uk Images: Kinonauts, Mattia Balsamini, Ron Arad

MATERIALS | LODES X RON ARAD

34/35 | INTERVIEW | STEVEN ESHLEMAN

INTERVIEW

STEVEN ESHLEMAN Interior design studio AvroKO is not only well known for its stunning interior schemes, the firm also has a product design arm, which is led by Director of Industrial Design, Steven Eshleman. darc chats to the designer to find out more about his career at the New York studio, and his design approaches when it comes to creating light fixtures.

American interiors studio AvroKO is well known for

New York, and a Bachelor of Arts degree in industrial

some of the most beautiful hospitality projects

and product design from Parsons School of Design.

spanning across the world. Established in 2001 by four

Alongside his design career, Eshleman gives us a

close friends, Kristina O’Neal, Adam Farmerie, William

personal insight into his side line hobbies: “In recent

Harris and Greg Bradshaw, the studio prides itself on

years, I can admit that I’ve fostered an addiction to

four foundational values; create as a collective, work

collecting and caring for unusual houseplants. At the

macro-to-micro, be hospitable, and think sideways.

same time, I’ve cultivated a budding interest in writing

“As we’ve grown as a firm, this idea of “connection” has

horror fiction on themes surrounding technology

extended beyond just the four of us, our studio, and

and climate change. Curiously, these hobbies are

even the end result of the work,” says the firm. “We

the functions of perceivable light and conceptual

orchestrate experiences that envelop patrons through

darkness.”

a combination of design-driven programming and

Perhaps this self-confessed interest in the dark side

contextual references.

explains one of his intriguing original career aspirations,

“This ultimate goal of connectivity in our design is

to work with the dead. “I don’t think I consciously desired

to ensure that hospitality backdrops are not simply

a career in design, life moves fast, and I just leaned in;

passive reception spaces where people dine or sleep,

I do remember I wanted to be a mortician or to work

but

that

they

create

in advertising. Early on, I

emotionally transcendent

was told I had a penchant

experiences,

however

tiny or even subliminal, allowing the energy of the spaces to shift and evolve timelessly.”

Along

with

delivering

outstanding

interior

schemes for hotels, bars and restaurants, the studio also

provides

“I don’t think I consciously desired a career in design, life moves fast, and I just leaned in; I do remember I wanted to be a mortician or to work in advertising. Early on, I was told I had a penchant for sketching, collaging, and anything that involved crafts.”

product

design services.

for

sketching,

collaging,

and anything that involved crafts. That led me to an arts education, which led me to an arts-focused university. After the first year in school, a professor urged me to major in 3D design based on what he observed of my work. From there, everything seemed

“A big part of the design of our spaces is focused on

to point towards industrial design.

the magic of custom lighting and furniture pieces,

“Before disbanding for higher education, I developed

elements that often define the experience of a space.

and capitalised on a quick-service food concept with

We pride ourselves on our passion for developing these

a few schoolmates. In university, I interned for a

custom furniture, case good and lighting components

fledgling pet product design company, and had another

inhouse and turning them from visions into production

internship at a furniture and lighting design atelier. At

pieces.”

one point, I had the opportunity to teach a college

To discover more about the product design arm of

course by myself. Afterwards, I worked in sourcing and

AvroKO, darc’s editor spoke with Steven Eshleman,

procurement for an eco-fashion start-up. My career

Director of Industrial Design at the studio.

could have very well ended up on any of those paths.”

“I spent my formative years in Hong Kong, and

Eshleman joined the AvroKO team in 2019 as Senior

subsequently in Toronto, Canada,” he tells darc.

Furniture and Lighting Designer before progressing

After high school, he obtained a bachelor’s degree in

to Director of Furniture and Lighting in 2022, and now

environmental studies at The New School university in

Director of Industrial Design in 2023.

36/37 | INTERVIEW | STEVEN ESHLEMAN

“My current role is pretty novel at AvroKO in that it demands a multidisciplinary approach to the work, the mentorship of younger designers, and the conceptual pollination of future projects.”

“My current role is pretty novel at AvroKO in that it

fundamental human needs, brands and businesses

demands a multidisciplinary approach to the work, the

can resonate with consumers on a deeper, more

mentorship of younger designers, and the conceptual

profound level, resulting in a strategic approach that

pollination of future projects. The work is micro in scale

maintains relevance and longevity. It’s an approach

but has macro impacts if not executed thoughtfully;

we call Hospitable Thinking. We bring the philosophy

the princess will feel the pea. On a typical day, I’m still

of Hospitable Thinking to all of our projects in order

involved in ideation, sketching, and 3D modelling just

to foster remarkable experiences and ultimately form

like any member of our furniture and lighting team. We

more meaningful connections between people. This

take Hospitable Thinking very seriously for our clients

process integrates timeless core truths, behavioural

as well as our staff; I emphasise a place of empathy

sciences, and environmental psychology to maximise

and collaboration for my team so that they can be

hospitality experiences.”

empowered to succeed in every project they tackle.

Looking more closely at Eshleman’s product design

Outside of client-based projects, we also wear various

journey, he reflects on his design style over the years

hats in product development for our own lines of

and how his various experiences and education

furniture and lighting with collaborators and partners

have influenced this. “In my early career, I gravitated

like Visual Comfort and Stellarworks.”

towards the mid-century modern, as many of us are

The concept of Hospitable Thinking referenced by

guilty of. But in an effort to diversify, I’ve focused on

Eshleman is a phrase coined by AvroKO that describes

the perennial aspects of design rather than a specific

its philosophy to approaching projects. The studio

period or place. What makes a product or design

describes it further: “AvroKO believes that hospitality

alluring to a person apart from its period or place?

transcends languages, industries, and borders, it’s a

This question allows us to focus more on form and

collection of small moments that can have a powerful,

design rather than a point in time that might fall out

positive impact on how people feel. Human needs are

of fashion. Perenniality in creativity is identifying

universal. They transcend geography, race, religion,

inspiration from the past just as well as works from

culture. They are wired into our very DNA, informing

today; it does not discriminate between Eastern or

our decision-making and shaping our reactions to the

Western styles. This certainly has an influence on

world around us. They are few, finite, and classifiable,

AvroKO interiors because our work cannot be defined

and have remained constant throughout history and

by a particular era — let alone be replicable by others.

human culture. By understanding and fulfilling these

What is old becomes new again can describe others’

CHELSOM.CO.UK

Darc full page March Apr 24.indd 1

22/02/2024 11:12:54

38/39 |

“Good designers employ a blend of critical, conceptual, and technical thinking. It answers the “what,” “why,” and “how” through tangible designs and use cases.

There is really no prescribed “good” product design, only if it solves a need; the need can be met with experiential and practical products.”

INTERVIEW | STEVEN ESHLEMAN

works, while our designs live in the nostalgic tension

delivery of thousands of chairs in as many homes.

between the old and the new.

We can elevate the product through diligent material

“In product design, the light we work with is

selections and design engineering, thus ensuring a

promethean and basic, but that doesn’t mean it’s easy

longer product life; many of our works can be refinished

or elemental. The conjuring of new light is heavily

or refurbished for a new life after the original project.”

influenced by memories of past experiences. A new

In Eshleman’s experience, good lighting should above

design for a sconce, for example, only emulates all the

all be functional. “No one wants to be blinded by a

light that has ever been. When we describe our work,

phone camera in a restaurant with medieval light

we often propose that a light fixture evokes a place, a

levels and miniscule menu fonts. Light imagines and

time, or a snapshot. We ask questions like, “should the

maps memories onto space, whether the memories

light be diffused and spray like shattered crystals up a

are filled with contentment or melancholy is entirely

column? Or should it peak and dance through reveals

up to the guest and user. Through materiality and

in an opaque shade?” Light itself is fickle and intangible

geometry, a simple point of light through tinted

in the most romantic way. It reminds us there is a past,

glass panes can be manipulated to evoke the green

and plants us squarely in the illuminating present.

flash at the ocean’s horizon, for example. At its core,

“I have always been drawn to the works of H.R Giger,

lighting reflects one’s histories, and those illuminating

Carl Auböck and Eero Saarinen. All of their works remain

histories bring nostalgia.”

steadfast and unflinching through grace and brutality;

In order to balance aesthetic appeal with functionality,

timeless in execution, skewering passing fads. Today,

Eshleman and his team work through iterative

I’d say my inspirations can come from a concept or idea

sketching. “Yes, we can make it beautiful, but we can

derived from tangible thematic research. I often find

be thoughtful in the way it can be manufactured,

IMAGES: PREVIOUS PAGE & LEFT: ZOU ZOU’S, NYC, USA. IMAGE CREDIT: GARRETT ROWLAND ABOVE: BESPOKE WALL SCONCE DESIGNED BY ESHLEMAN

myself in decrepit flea markets flipping through books

assembled, and serviced too,” he explains. “If we see

or trawling the recesses of strange Tumblr pages trying

that the aesthetics or function of a product is eclipsing

to draw connections from one idea to another.”

the other, then that is when we reorient. Many times,

With reference to his first degree, he continues:

it’s a simple stroke of the pen or just omitting a detail

“Environmental

to bring those aspects to a harmonious design.

studies

is

a

broad

topic

that

encompasses everything from urban landscape design

“Good designers employ a blend of critical, conceptual,

to cartography in the service of disaster research. At

and technical thinking. It answers the “what,” “why,”

AvroKO, it has helped me to understand the macro-

and “how” through tangible designs and use cases.

level impacts of the furniture and lighting industry.

There is really no prescribed “good” product design,

We promote a workflow where we encourage our

only if it solves a need; the need can be met with

clients and vendors to think globally but act locally.

experiential and practical products.”

Not everything we design must be manufactured

With regards to technological developments, he

and sourced from oceans away, it’s up to our team to

believes that technology is “simply a tool in our

resource that homegrown industry given the renewed

primitive hands”. “Tools can be helpful, or they can

need for a repatriated supply chain. With that, I have

be abused. We designers have been using tools long

always seen hospitality environments as the most

before generative AI, and we will be creating long after

eco-friendly way of experiencing good design; in the

our current arsenal of software becomes obsolete. I’d

lifetime of a hotel, for example, thousands of people

instead reframe the question to, “how do we empower

can experience a chair rather than the creation and

designers to create their works without stripping them

40/41 | INTERVIEW | STEVEN ESHLEMAN

IMAGES LEFT & BOTTOM RIGHT: EL PRESIDENTE, WASHINGTON DC, USA. IMAGE CREDIT: CHRISTIAN HARDER IMAGE TOP RIGHT: ANDIRON, HOUSTON, USA. IMAGE CREDIT: JULIE SOEFER

of their nuanced experiences and cultural context?”

When it comes to the relationship between technical

Perhaps the worst outcome is that we would fail to see

architectural lighting and decorative lighting in the

the subtleties of organic design or the sophistication of

world of interior design, Eshleman refers to the

the beholder. The best outcome? We keep designing.”

topic as somewhat controversial. “There seems to

Walking us through the design process of creating a

be two schools of thought, the architectural design

new decorative lighting product, Eshleman describes

perspective is prescribed to run in opposition to the

how he and his team are immersed into “three

visions of interior designers. Architectural lighting

distinct conceptual pillars” from which they ideate. He

can create a sleek and modernist tableaux, but a

continues: “The conceptual triumvirate informs us of

liberal use of which creates a sense of coldness and

the site, its relative history, as well as any associated

frigidity. It’s up to interior and lighting designers,

muses as a contextual backdrop. From there, we

engineers included, to negotiate and identify the

research and unearth unexpected themes that we can

utility of the space in question. While we can all agree

incorporate into the larger story. We fold those findings

that programming for lighting is straightforward for

into our hand sketches and ideations. For example, we

boutique hotels or the healthcare space, it is the

reimagined the form of a proto-handloom from pre-

transitional and transformative spaces that need

modern Korea as details in a series of lighting for a

careful consideration. These require us to be cognizant

new hotel in Chicago. When the schedule permits, we

of what the space is used for at different times of the

frequently prototype our designs for our clients and

day or night, and in changing social contexts. In short,

internally for quality control. All of this culminates into

it’s finding the optimal balance because nothing is as

the delivery of an original product that is truly one-

jarring as ghastly lighting temperatures in otherwise

of-a-kind, with notes of the past and a foot into the

thoughtfully designed welcome spaces.”

future; AvroKO’s designs today are tomorrow’s coveted

Reflecting on one of the most significant moments

vintage finds.”

in his career, Eshleman describes the moment he “professionally stepped into the Idlewild at JFK airport”, which has since been recast as a public space for the TWA hotel. “It remains the most reverent project that I have been a part of since I have family who are of Finnish descent. At parties, the topic is a tried-andtrue icebreaker because chances are, someone had a layover or made the pilgrimage to the iconic site.”

Looking at design trends across products and interiors, Eshleman has seen a shift to “loose, relaxed, soft, and comforting” due to the “current atmosphere of stress reckoning”.

“Design trends reflect the attitudes of the entire creative ecosystem, which encompasses the industries with the most cultural influence, such as fashion and film.

As a generalisation, the next generation of designers are inclined to foster a sense of protectiveness and soothing in their works, as opposed to the brash or restrictive. What this translates to is plush and enveloping furniture and lighting that is blushed and elemental, at its core, approachability, and a sense of tranquillity. I’m not sure where design is going next, but I think you need to look out a restaurant window, feel the sentiment of passersby, and eavesdrop on current issues.”

As for the future of AvroKO and the direction the studio is moving, Eshleman concludes: “There is much to be done in the realm of mindful hospitality and all the industries that it touches. Nothing is off the table because everything is some function or experience of conscious design. With that, do stay tuned for AvroKO’s forays into the product world with many collaborations ahead…” www.avroko.com

Merchants of Light since 1969

SKYE Pendant

Quintiesse Collection

INTERIOR & EXTERIOR LIGHTING | CEILING FANS enquiries@elsteadlighting.com | elsteadlighting.com

DARC Full Page March Edition.indd 1

16/02/2024 12:03:01

42/43 | PRODUCTS | PANTONE PEACH FUZZ

FEATURE

PA N TO N E P E AC H FUZ Z

Pantone has selected Peach Fuzz as its colour of 2024 and we are here for it! So much so, that darc’s Editor Sarah Cullen has been inspired to source a selection of decorative lighting products that are channeling warm, peachy hues.

Pantone 13-1023 Peach Fuzz marks the 25th anniversary of the Pantone Colour of the Year programme. Described by the colour experts, the new tone is “subtly sensual”. It is a “compassionate and nurturing soft peach shade conveying a heartfelt kindness.

“At a time of turmoil in many aspects of our lives, our need for nurturing, empathy and compassion grows ever stronger as does our imaginings of a more peaceful future. A warm and cosy shade highlighting our desire for togetherness with others and the feeling of sanctuary this creates, Pantone 13-1023 Peach Fuzz is a heartfelt peach hue bringing a feeling of tenderness and communicating a message of caring and sharing, community and collaboration.”

Leatrice Eiseman, Executive Director at Pantone Color Institute says: “A cosy peach hue softly nestled between pink and orange, Pantone 13-1023 Peach Fuzz brings belonging, inspires recalibration, and an opportunity for nurturing, conjuring up an air of calm, offering us a space to be, feel, and heal and to flourish from whether spending time with others or taking the time to enjoy a moment by ourselves.

“Drawing comfort from the tone, we can find peace from within, impacting our wellbeing. An idea as much as a feeling, Pantone 13-1023 Peach Fuzz awakens our senses to the comforting presence of tactility and cocooned warmth.”

According to Pantone, introducing the hue into home interiors creates a welcoming ambiance. Promoting feelings of gentle warmth whether appearing on a painted wall, in home décor, or acting as an accent within a pattern, Pantone 13-1023 Peach Fuzz infuses our most personalised worlds with a comforting presence. www.pantone.com Images Left: Courtesy of Pantone

Array Vibia Array, a collaboration between Vibia and Umut Yamac, explores the potential of threads to form lightweight, dynamic light sculptures. Yamac manipulates technically-processed threads into three-dimensional volumes, balanced by aluminium rings for a delicate yet solid form. The concealed light source within the lower ring produces a captivating gradient effect, combining soft downlighting with an enchanting upwards glow. www.vibia.com

Zona d’ombra Knikerboker An irregular, hand-beaten sheet of steel illuminated by a beam produced by a spotlight creates alternating flashes and shadows that chase each other capturing the onlooker’s gaze.

Zona d’ombra is now available in a brand new colour: antique pink, which was successfully presented by Knikerboker at the Lighting + Building 2024 exhibition in Frankfurt. www.knikerboker.it

madco Ambientec In collaboration with designer Elisa Ossino, Ambientec introduces madco, a contemporary lantern that combines warm, emotional, and minimalist elements. The spherical luminous body sits atop a visually slender, 360° rotatable structure, allowing for varied light configurations. The lower cover, concealing technological components and the driver, comes in five shades: Oliva (olive), Pesca (peach), Cacao (cacao), Mostarda (mustard), and Ciliegia (cherry). With USB type-C recharging and IP66 rating, madco is ideal for various settings. www.ambientec.co.jp

Globe Curiousa The Globe table lamp from British lighting studio Curiousa provides a striking addition to any desk or side table. The lamp features a semiopaque coloured glass orb and visible customisable fittings, providing a contemporary look and a warm and sumptuous glow. Each lamp is bespoke and free-blown, without the use of moulds, using just the skill of hand and eye to guide each shape using recycled glass. Available in over 22 glass colours in sizes small, medium and large. www.curiousa.co.uk

44/45 | PRODUCTS | PANTONE PEACH FUZZ

Lampshade Fermoie Fermoie lampshades are available with suitable fittings and shade carriers for UK, EU, and US standards.

“Our lampshades are both elegant and beautiful and offer tremendous possibilities. Handmade using specially produced Fermoie fabrics and our intricate pleating and finishing techniques, they’re a wonderful demonstration of our inhouse design, craft expertise and attention to detail,” says Jamie Shawcross, Director. www.fermoie.com

I-MODEL Cordless Pendant Anour

Lumiere Nuances Foscarini

The I-Model by Anour is a testament to refined craftsmanship, featuring a sleek copper surface. Each lamp is individually handcrafted, ensuring a unique patina that grows richer over time. Designed with a minimalist aesthetic in mind, the lamp harmonises with both contemporary and classic interiors, casting a warm, inviting glow. It is a statement piece that celebrates the enduring beauty of copper. www.anour.dk

Foscarini’s Lumiere Nuances designed by Rodolfo Dordoni was one of the brand’s first pieces. A contemporary restyling of the classic bedside lamp, Lumiere has become a design icon throughout the years. Distinguished by its blown glass diffuser and tripod base, the lateset addition to the collection, Lumiere Nuances, highlights the classic design in new colourways. www.foscarini.com

Perla Nulty Bespoke The elegant Perla wall sconce can be produced in peach and has a unique mosaic effect. The feature luminaire can be affixed to the wall to emit a soft glow and works as a standalone piece or can be arranged in a larger bespoke configuration resulting in soft, graceful illumination that enhances surrounding interiors. www.nultybespoke.co.uk

Pierrot Meljac

Pearl Curtain Precosia

Over and above their functional role, the electrical fittings of Meljac’s luxury switches and sockets provide the perfect finishing touch for beautifully designed interiors.

The peach fuzz copper-finish brass and tinted glass models create a sense of well-being in a peaceful, cosy space, with poetic notes that blend perfectly into a contemporary atmosphere. www.meljac.com

In case you’re in need of a spark of warmth, Preciosa is excited to share some lighting inspiration featuring Pantone’s Peach Fuzz.

Its internal designers experimented with Peach Fuzz on a few of its Signature Designs (of which there are nine: Raw Crystal, Crystal Grid, Crystal Spin, Diamond Cloud, Inspiral, Pearl Drop, Breath of Light, Pearl Wave, and Pearl Curtain) and were very pleased with the purity and sophistication the designs showed. www.preciosalighting.com

LUSTRE TRIO 5x2 MOZAIK Designer : Davide Oppizzi Credits : Jared Chulski Photography

DARC_Mars_Avril_2023.indd 2

WWW.DESIGNHEURE.COM contact@designheure.com +33 (0)467 539 963

13/03/2023 14:52:06

46/47 | INTERVIEW | GUILLAUME BOTTAZZI

INTERVIEW

GU I LL AUM E BOT TA Z ZI For more than a decade, visual artist Guillaume Bottazzi has been linking neurology and art in our living spaces, focusing his work on wellbeing. His works aim to modify our brains and help us to live happier lives. Here, he tells darc about his latest collection, Nutty.

Guillaume Bottazzi is a French visual artist, born in 1971,

darc asked Bottazzi to tell us more about his research

who has had a permanent studio in Brussels since 2012.

and latest creations, including the technical design

For the last 30 years, he has worked predominantly

details behind the new lamps, which support his

in Europe, Asia, and the United States. Recognised

findings on the connection between mental health

as a pioneer of the neuroaesthetics movement, he

and art.

has signed more than a hundred artworks for public

He states: “According to the ‘Assises de la santé

spaces.

mentale et de la psychiatrie’ (conferences on mental

His most recent installation is a permanent collection

health and psychiatry), one in five people are affected

designed for a Beaux-Arts-style building listed as a

by a mental disorder every year; a total of 13 million

heritage site by the city of Brussels. The new pieces are

people in France. The OECD (Organisation for Economic

described by some as having “the power to enhance

Co-operation and Development) warns that mental

our ability to live better and feel good. These luminous

health problems among employees could increase

works of art in situ reduce our

further as a result of stress and

heart rate, stress, and anxiety,

pressure at work.

and help us to put our thoughts

“We make many mistakes with

in order. They have the power to soothe and strengthen us, to put us in a good mood by activating

neurotransmitters

such as dopamine, which send

“Among other things, the lights we use in our daily lives are harmful to our mental health and our eyesight.”

regard to our surroundings, and we do not use the full scope of our knowledge to compensate for this. Among other things, the lights we use in our daily

us rewards commonly known as

lives are harmful to our mental

the ‘happy hormone’. They help

health and our eyesight.

to make the viewer happier,

“They were designed to be as

more elegant, and stronger”.

close as possible to daylight, but

In 2019, WHO (World Health Organisation) confirmed

the white of the lights used are aligned with the blue

that art can improve mental health. Ten years of

spectrum, with short waves, whereas we need long

research into art and the brain by neuroscientists

waves to give the eyes’ pupils a rest. The risk is that

Helmut Leder and Marcos Nadal from the University of

this light can damage our eyesight and, what’s more, it

Vienna in Austria, has shown that the works realised

produces anxiety and a dependency that prevents us

by Bottazzi help us to feel better and be happier. His

from sleeping.

works modify our organism, and the involvement of

“Neuroscience professor Glen Jeffery from the Institute

these sensory experiences has a powerful effect that

of Ophthalmology, Faculty of Brain Sciences at the

impacts our biology, the way we live, feel, and hear the

University of London, has shown that, using a simple

world around us.

torch to which he has attached a piece of plastic tubing

48/49 | INTERVIEW | GUILLAUME BOTTAZZI

“According to Nobel prize winner for medicine Eric Kandel, these luminous creations immerse the viewer in an unreal universe that encourages us to distance ourselves more from the things that surround us and encourages our creativity. ”

and a red filter, he can boost retinal function by four to

to put our thoughts in order. Yellow is an optimistic

five days just by shining the light on the eyelid for three

colour that makes us feel good, which is why it is

minutes. This device regenerates the mitochondria

used in tranquillisers. Blue is used for sleeping pills,

responsible for transforming light waves into electrical

reduces heart rate, and encourages creativity. White is

signals.

a constant for artists, allowing architecture to breathe

“I’ve been an artist for over 30 years, and I’ve been

and enhancing the viewer’s creativity through its

dreaming of painting with light for 15 years. My

evanescent quality.

dreamlike aspiration sees the magic in this material.

“These lights are made using enamel, a natural

“For more than a decade, these lighting systems have

material composed of powdered minerals fired with

been providing complete, integrated solutions. These

glass. The bases are made of wood or metal, and the

in-situ creations adapt not only to the spaces in which

low-energy LEDs comply with the standards used for

they are installed, but also to the needs of the users.

public spaces. The low-energy LEDs are tuned to be

This unifying approach reconciles art, design and

close to long-wave.

architecture, an alliance lost since the beginning of the

“According to Nobel prize winner for medicine Eric

last century.

Kandel, these luminous creations immerse the viewer

“My new Nutty collection is limited to 150 pieces. The

in an unreal universe that encourages us to distance

dreamlike, organically inspired light creations invite

ourselves more from the things that surround us and

us to travel to an unreal world and recreate what we

encourages our creativity. And, according to Leder, they

see. They are located in a Beaux-Arts-style building, in

reduce our anxiety and strengthen our capacity to live.

a room with a view overlooking a garden, a place of

“These creations are suitable for residential, office and

exchange, conviviality and reflection, where employees

hotel buildings, but also for health centres, museums,

meet for lunch and coffee.

towns and cities in Japan, China, and Europe.”

“Green makes it easier to concentrate and helps us

www. guillaume.bottazzi.org

A captivating exhibition merging artistry, craftsmanship, and sustainability, showcasing international brands embodying contemporary design culture.

Script Series by Bodo Sperlein Convento Sant’Angelo. Piazza Sant’Angelo 2, 20121, Milano

Voliere by Bodo Sperlein

15th - 21st April. 10am to 7pm @menu.milan

50/51 | INTERVIEW | OFFICE LIGHTING - HARSHA KOTAK

INTERVIEW

H A RS H A KOTA K To open our Office and Task Lighting feature, darc’s editor sat down with Founder and Director of Women in Office Design and Sustainable Design Collective, Harsha Kotak to discover more about her industry initiatives.

Kotak is an international interior designer and

have support from a lot of senior leaders and experts

workplace consultant who has been practicing in the

from our industry.

workplace design industry in the US, India, and the UK

“When I first launched WOD as a community group

for more than 20 years. Some of her notable projects

on LinkedIn, I was unaware of its potential and need.

include the White House and Pentagon in the US, as

But slowly as more and more women joined hands

well as FedEx and the US Embassy in India. Alongside

and as we started hosting knowledge sharing events,

her design career, Kotak is also the Editorial Director

the industry took notice. At first, there was a bit of

of the Sustainable Design Magazine and has been a

an apprehension as the industry looked at it as just

keynote speaker at various international design events.

another women’s group.

Over the years working across three continents,

But soon it was apparent that our vision was to

Kotak noticed a disparity in gender representation

empower women through knowledge sharing events

in architecture, and began to question why this was.

and thought leadership.

“I was researching for an article that I was writing for

“Our events got a lot of visibility through design

a magazine in 2018 and found that most architecture

festivals like the London Design Festival, Clerkenwell

and design schools have about 60-65% of female

Design Week, Madrid Design Festival, and Milan Design

students, but when you look at

Week. We started getting invited

the numbers in the professional industry this drops down to only 30-40% women. And out of that, only 5% of the top executives are women – I questioned this disparity.”

Off the back of these findings, Kotak went on to establish

to speak at other shows and it

“I started WOD as a personal mission but was soon joined by other women who were looking for a community and some who had a similar vision as I did.”

became a more collaborative effort.

“Today WOD is a well-respected organisation in the industry and our events are open both to men and women.”

As part of WOD, a series of well-

Women in Office Design (WOD)

received seminars focussed on

with the aim of empowering

sustainability were held, but

female designers and architects and give them a

Kotak recognised they didn’t result in longer term

platform to showcase their work. Today, WOD is a

outcomes. This led her to establishing the Sustainable

growing global community with chapters across the

Design Collective (SDC), a “think tank group of architects

UK, Europe, and India.

and designers to promote and applaud achievements

“I started WOD as a personal mission but was soon

and, more importantly, to create a forum of knowledge

joined by other women who were looking for a

sharing and exchange”.

community and some who had a similar vision as I did.

“I worked with my co-founder and WOD’s sustainability

This helped me in forming core teams and ambassador

manager, Joanna Knight together with existing

networks in different cities globally.

members of WOD to build SDC. Our professional

“[The aim was] to give women the visibility and power

relationships were formed by a shared passion to drive

and looking back we have been able to empower many

change.

female designers, architects, and consultants through

“The positive response was immediate! Many designers

our workshops, presentations, and events.

recognised the frustrations of lack of knowledge

“[Another] vision for WOD was to give young designers

and understanding about greater sustainability and

access to thought leaders and experts in the industry

wanted to join. It became a collective effort as no one

and over the last five years we have been fortunate to

likes to work in silos. Slowly the community grew and

52/53 | INTERVIEW | OFFICE LIGHTING - HARSHA KOTAK

“All SDC members were united to help accelerate the pace of change in developing a more sustainable approach to workplace interiors.

All members were happy to endorse and accept the spirit of non-competition.”

today we are a group of 35+ top A&D firms in the UK

The future for the initiatives includes further growth

and India.

and promotion. “We will continue to develop new

“All SDC members were united to help accelerate the

and innovative ways of promoting greater equity

pace of change in developing a more sustainable

and diversity in the industry through WOD’s various

approach to workplace interiors. All members were

initiatives. Meanwhile, SDC’s goal is to educate and grow

happy to endorse and accept the spirit of non-

the understanding of improvements to sustainability.

competition. We all recognised that we are working

In the short term, we will be expanding the offer within

towards the greater good – ultimately to reduce our

the training academy as well as developing our online

climate impact.

magazine.”

“The Collective meetings are practical sessions

An upcoming event Sustainable Design Forum will be

focussed on discussing key topics, which have the

held in London on 25 of April and is an event curated

greatest impact on companies working in the office

“By the Designers For the Designers”. It’s a day for

design field. Members are encouraged to highlight

designers and architects to meet with suppliers

‘best practice’ and describe hurdles and difficulties.

and manufacturers and also to learn from experts

We publish a report at the end of each meeting, which

in sustainable design. An immersive sustainable

is available on an ‘open source’ basis.

materials lab will be held as well as interactive

“We have already progressed far beyond the original

workshops and discussions around topics like “How

ambition to host meetings and reports. We now

to include sustainable products in your projects” and

hold regular events, panel discussions, interactive

“Focusing beyond carbon”.

workshops, and other activities, including an online

Register and attend for free by visiting

training academy and magazine, to help support

www.thesustainabledesigncollective.co.uk/forum/

knowledge sharing. Last year, we also hosted our first

To become a free member of Women in Office Design,

event in India.”

visit www.woduk.com

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april 30 - may 2, 2024

COMMENT | OFFICE LIGHTING - CHARLIE BARK-JONES | 54/55

COMMENT

C H A R L I E B A R K- J O N E S Workspace Design Show returned to London in February with a theme of ‘Bloom – Exploring the Thriving Ecosystem of Work Life’.

Charlie Bark-Jones, founder of the show, shares insights and trends from the event as well as biophilic lighting considerations.

This year, the Workspace Design Show showcased

focus on creating bespoke, statement pieces that not only

a diverse range of lighting exhibitors, ranging from

provide illumination but also serve as artistic elements to

emergency lighting from Daisalux and acoustic

elevate a space. Manchester-based brand, Ricoman Lighting,

lighting from Luxxbox, as well as Stoane’s bespoke pieces and

has created Flow Curved Linear Lighting, which allows for

Synergy Creativ, which specialises in biophilic lighting. There

countless dramatic possibilities. This system consists of

was also unique wall lights from Reon, flexible spotlights from

straight and curved basic modules, which can be combined

Erco, as well as acoustic pendants from Ricoman. In short,

in different ways to create unique lighting projects. The

we’re delighted that this year’s event really runs the gamut of

modules can also be configured to classic circular luminaires,

commercial lighting.

rounded rectangles, continuous waves, or other abstract

We’ve seen a variety of lighting trends coming through this

shapes. Providing even more possibilities, single or continuous

year. The emergence of sustainability as a priority in lighting

luminaires can be suspended or mounted on ceilings and walls

will come as a surprise to no one. This year, however, it is

with the light directing downwards, inwards, outwards, and

evident there is a newfound enthusiasm for reusing products,

also twisting, making this product range ideal for larger spaces

hence the thinking behind the talk at this year’s show ‘The new

that desire a theatrical suspended lighting configuration.

aesthetic of repair and re-use in lighting design: Why we need

Lighting is also becoming more experiential with dynamic

a mindset shift’. We assembled an expert panel to discuss

lighting effects, with colour gradients, motion sensors, and

this, including Dan Lister, Associate Director, Lighting, Arup:

interactive elements able to create engaging and immersive

Ruth Kelly Waskett, Project Director, Hoare Lea: Simon Fisher,

experiences in both commercial and residential settings

Founder & Director with F Mark; and Kristina Allison, Senior

where the boundaries between light and art blur. Light fixtures

Lighting Designer at Atkins Global.

can also serve as works of art themselves, featuring beautiful

With the sector’s increased focus on reducing carbon

sculptural forms, and innovative use of materials to really

emissions, lighting designers are and must be increasingly

bring out the brilliance in an interior. Lighting is also working

focused on developing sustainable methods and long-term

harder than ever before with products having the ability to

solutions, ensuring products work to achieve energy-efficiency

provide acoustic baffling or even sprinklers or M+E systems.

targets. For example, exhibitor Stoane Lighting is launching a

Human-centric lighting is also set to continue its rise in

new division called ‘ReNew’ which has been set up for just this

popularity into 2024. This concept involves designing lighting

purpose. Its products are designed so that they can easily be

systems that mimic natural light patterns to positively impact

disassembled, have internal components replaced, upgraded

human health and well-being. This includes adjusting colour

and eventually parts recycled.

temperatures throughout the day to support circadian rhythm.

Our theme for this year’s Workspace Design Show theme for

At home, this means keeping the light out when you need to

2024 was ‘Bloom’, reflecting the huge increase in biophilic

sleep and ensuring you let the light in when you need to wake

design in the built environment. In design terms, biophilia

up and stay energised. In commercial interiors, whether that’s

seeks to integrate elements of the natural world indoors,

a workplace or other commercial environment it could mean

fostering a deeper connection to the natural world. This

providing a range of lighting from brighter lights to warmer

trend was exemplified by our exhibitor Synergy Creativ, which

tones, depending on the time of day.

specialises in design lighting fixtures such as living walls. In this

This fits in nicely with the idea of personalisation in lighting,

way, it incorporates greenery to promote this connection with

another key trend set to continue. This not only includes

nature, promoting wellbeing and productivity by cultivating

overhead lighting but also the use of desk lamps, allowing

a serene atmosphere that visually connects inhabitants with

individuals to customise the amount of light required on

flora and fauna. We expect to see more and more biophilia-

their individual workstations, as well as making an attractive

inspired lighting in the next few years as in other areas of

addition to the physical desktop.

interiors.

Lighting is a key product category for us here at Workspace

Statement lighting has long been an asset in the designer’s

Design Show and as we move forward with the show, we look

arsenal. Unique and eye-catching lighting fixtures can

forward to visitors exploring the thriving ecosystem of work

take centre stage to entice workers back to the office, think

life, including lighting up offices in a multitude of ways.

dramatic atriums or areas where a big impact needs to be

www.workspacedesign.com

made such as a town hall or shared kitchens. Designers often

56/57 | PROJECT | OFFICE LIGHTING - MATRIX STUDIO

PROJECT

M AT RI X O F F I C E Alex Dauley tells darc about her workspace scheme for Matrix Studio. Combining luxurious colours and furnishings, she has created a stunning and professional environment.

After two years of pandemic-induced remote work, the return to the workplace has left companies and their employees stuck at a crossroads. On one hand there is a positive attitude to the familiarity of routine and the welcome escape from home confinement, bringing back a natural rhythm to life. On the other hand, the comfort of our own abode is sorely missed when forced to work the nine to five in the same bland environment complete with squeaky swivel chairs and sterile lighting.

Matrix Studios, an office, studio, and co-working space, nestled in West London, is one of many companies changing their perspective of post-pandemic workspaces. Embracing the idea of being a “home away from home” Matrix has invested in its interior landscape to make employees and clients enjoy working in the space. Interior Designer Alex Dauley of Dauley Design was tasked with the ambitious endeavour to transform the space. Dauley, already having a longstanding relationship with the client, brought a wealth of expertise to the project with her knowledge of the company and working with many commercial projects since the pandemic.

“The office is used by two music industry companies, 2 Tone Entertainment and Stellar Songs. They are publishers and artist management. Their brand is very strong and the image they needed to project to their clients and artists informed the design direction. It needed to feel opulent, sophisticated, and professional yet relaxed,” says Dauley.

Previously the office was a stereotypical white box with little character, thankfully the client was open for a complete transformation, leaving Dauley with a blank canvas. Her design emerged from her observations of how the team worked and through thorough research of the client’s brief.

In response to the clients wishes to have a SoHo House inspired look, the design process unfolded with a nuanced approach aiming to establish sophisticated feel to it’s hospitality. Using a layered approach to textures and tone, Dauley designed a neutral backdrop using stone and wood, which were juxtaposed against bronze mirror, brass accents, and reflective surfaces. Each element was meticulously created not only for its visual appeal but also its practicality in conjuring the kind of productivity for a

58/59 | PROJECT | OFFICE LIGHTING - MATRIX STUDIO

music company. The overarching aesthetic sought

at home. The lighting was residential lighting placed

to strike a balance between opulence and fostering

into a corporate space. It needed to be softer and more

an atmosphere that will nurture creativity. Take for

tactile to create that ambience.”

example, the chairs, upholstered in a vibrant blue

According to Dauley, decorative lighting is one of the

velvet, injecting energy while blue can simultaneously

crucial components when achieving a dynamic look

bring peace and calmness.

in workspace environments to add both comfort and

Dauley explains: “This space was about creating a vibe,

luxury. She says: “The lighting played a huge role,

a space that allowed for creativity and entertainment,

again to help it move away from feeling too corporate.

alongside the day to day running of the business. It

Layered ambient lighting, lamps, vintage wall lights

had to function on several levels. Technically we had

and statement pieces added to the relaxed aesthetic

to soundproof the entire office so music could be

and the mood could change depending on the lighting

played without causing too much disturbance. The

used.”

space needed hot desks, a group meeting area, break

The shift in workspace design since the pandemic has

out spaces, a private meeting room, bar, and stage for

been notable to Dauley, with most of her commercial

client performances. We fitted a lot into a small space.”

projects requesting to move away from corporate

Alongside textured materials and warm metallics, the

looks and instead prioritising comfort. The reason for

look is complete with ambient light such as Andrew

this is crystal clear to Dauley as she explains from her

Martin floor lamps positioned in the corners of the

experience: “I think companies want to entice people

room, while Andrew Martin’s tubular chandelier takes

back into the office environment and have realised

MATRIX OFFICE Interior Design: Dauley Designs Lighting Specified: Andrew Mar tin, vintage sourced from Cr ystal Palace Antiques.

Images: Tom St Aubyn

centre stage from the ceiling. The wall lights are vintage

the importance and benefit of creating a space people

Dauley Designs has created a

and bought from Crystal Palace Antiques, washing the

want to spend time in and that promotes wellbeing and

luxurious and opulent

walls with a warm glow.

happiness.”

workspace for Matrix Studios,

Dauley adds: “I wanted the space to feel like you were

www.alexdauley.com

successfully blending home comfor ts with practical design.

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18/03/2024 11:03

60/61 | ON THE BOARD | OFFICE LIGHTING - ALIGN DESIGN AND ARCHITECTURE

ON THE BOARD

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3

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On our drawing board right now is a workplace scheme to house the digital team of a major British DIY retailer, whose HQ is located in South West England. The 500sqm space needs to combine two previouslyseparated teams and accommodate an agile working scenario. High on the agenda is sustainability and a space plan that can work for all the team’s needs and missions and will include collaboration, meeting and open-plan working spaces.

Our concept separates the space into three zones, with a flexible spine down the centre and the quietest space – the open-plan desking area, and the potentially noisiest space – the collaboration area, sitting to either side of the spine. Unsurprisingly, acoustic separation will also be key to the project’s success.

For the spine itself, we’re specifying the ‘Pavilion O’ modular system

by Kettal [1], with our own added detailing. This offers great acoustic

5

separation, will help define the structure of the space, and is easilydismountable. Designing for end-of-project life is increasingly a part of our role.

The space features a fairly new 600mm grid square ceiling, so we’re not looking to replace it, but to improve its acoustic properties and break up its uniformity. We’re thinking of working with Turf Design [2] on a bespoke box cube solution using their rainbow-coloured range of materials to achieve this.

For the walls, we’re looking to Keim for paint colour. They not only offer an extensive colour range featuring textural and matte finishes, but their paints are also ecological and low-pollutant, which improves air quality.

We’re also looking into Muraspec’s brand new slow-printed wallcovering 6

[3] for the breakout areas, which will add texture.

When it comes to lighting, we’re looking at two pendant lights and one task light for desk working. The pendants are the Wire Pendant [4] by Milan Illuminacion, which has acoustic lining and is really playful and fun, and the Moon pendant [5] from Abstracta. For the desk lamps, we’re keen on the Bow Lamp [6] by Nexia, which is adjustable, dimmable and pleasingly architectural-looking. It’s also popular because of the soft and warm lighting it provides - and how good it makes people look on camera! For the architectural lighting, we’re thinking of using can lights from Stoane Lighting, which have really good sustainable credentials.

ALIGN DESIGN AND ARCHITECTURE Ben Pressley, Senior Designer and Laura Palmer, Designer and Furniture Specialist, Align Design and Architecture, talk us through their design concept for a well-known British DIY brand’s new office space in South West England.

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Office flooring needs to be very robust and with the potential to be used

use for the collaboration space, featuring colourful upholstery in a

as a form of intuitive navigation to differentiate zones. The Transition

sustainable fabric.

Tiles from Ege Carpets [7] are perfect for this, both for defining areas

Another great range in our eyeline is the Profim Revo office furniture

and introducing pops of colour. When it comes to adding character,

system by Flokk [10], made up of benches and stools, partitions, cushions

there’s nothing better than something handmade, so the Folklorico

and tables in various sizes and heights, which can be assembled into

handmade rug by Warli [8] will be a great addition – with each rug

96 different configurations depending on individual requirements. The

design both complex and unique.

system recently won a Red Dot Award and its credentials are excellent,

Flexibility is the number one requirement for furniture on the scheme,

with the design based on recycled polypropylene instead of plywood,

so spaces can remain fluid for every potential mission. Workagile’s ‘On

with no glue or staples used for assembly, which facilitates later reuse

the Move’ range and its ‘Nimble’ table [9] would be ideal here, along

and reduces the weight by 40%.

with the Xpresso Stackable Chair by Connection, which we intend to

www.aligngb.com

62/63 | PRODUCTS | OFFICE LIGHTNG

FEATURE

O FFI C E TA S K L I G H T I N G Rest Chelsom Rest (Pictured in Satin Black with Brushed Brass) from Chelsom is one of the hero desk lamps from the new collection, Edition 28, which launched last year. Rest is a striking contemporary desk lamp whose slender arm passes through a heavy cylindrical base. The LED light source emits a warm light onto the desktop below. www.chelsom.co.uk

Original 1227 Anglepoise

Humanscale Nova

For over 90 years, the Anglepoise lamp has illuminated many workplaces. Its design, featuring a spring-balanced arm and tilting shade, offers exceptional flexibility and ergonomic comfort.

Recently, the brand has collaborated with Sir Kenneth Grange to create more modern icons for discerning desks as well as with Paul Smith, Margaret Howell and the National Trust to develop curated collections of colourful lamps. www.anglepoise.com

Designed to complement any work surface and enhance any workstyle, the Nova task light offers endless adaptability in a striking, sculptural form. The custom lens and LED array create a uniform pool of glare-free light that can be adjusted exactly to each user’s preference. Energy Star-certified to benefit people and the planet, Nova is a lighting solution for today and the future. www.humanscale.com

Gioia Equilibrio Occhio Italian for “balance”, Gioia Equilibrio is like a kinetic sculpture that can be moved into several positions.

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Halley, created by German designer Richard Sapper in 2005, returns in a new version, maintaining its operating principles unchanged, while sporting a new modern, unmistakable look. The heirs of the designer, Cornelia and Carola Sapper, affirm that the “technologically sophisticated lamp allows unlimited movement and positioning of the light, without cluttering the workspace.” www.stilnovo.com

WPL, or “The Workplace Light” is designed as a clean looking, easy to install response to the growing body of evidence suggesting many of us spend too long in sub-optimum lighting conditions. It efficiently satisfies not only immediate ergonomic and phycological expectations of such a luminaire, it also addresses physiological requirements leading to verified improvements in mood, alertness and subsequent sleep quality. www.stoanelighting.com

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64/65 | INTERVIEW | WOMEN IN LIGHTING

WOMEN IN LIGHTING

WOMEN IN M A N U FAC T U R I N G As part of our commitment to celebrate Women in Lighting and International Women’s Day, darc posed a series of questions to women working in decorative lighting, about their working lives. The aim? To better understand their experiences of being in roles that have, historically been held by men.

RAMINDER VIRDI PROJECT SALES M ANAGE R , ASTRO LIGHTING

How long have you been involved in the lighting industry?

manufacturers do to encourage a diversity of applicants

I have been in the industry for 17 years.

for roles in sales and product development for example?

Have you always been involved in the manufacturing

Absolutely more women should be encouraged. I’m

side?

fortunate to be working in a company where a majority of

I was exposed to the lighting industry when I started my

the UK sales team are female, which is truly empowering.

first job at Lutron straight after university. Since then, I

But to change the mindset of this industry being a ‘man’s

have been lucky enough to work across several business

world’ we need to be encouraging women earlier on in

functions, including supply chain, quotations, and project

their career. I do think manufacturers are diverse with

management until I decided to specialise in sales.

having women on their teams. I moved into a sales

Have you noticed more diversity in sales, manufacturing,

position around nine years ago, and I don’t think I would

and marketing over the past two decades?

have felt comfortable before that as I would have been

Over the last few years, I have seen a positive shift within

too worried about feeling intimidated or spoken down

marketing where this field seems to attract more women.

to. The move for me came with age, experience, and

Whereas the sales and manufacturing side still has a

confidence in what I was doing.

way to go. This is further emphasised when I visit a trade

What are the positives of working for a manufacturer?

show for example – seeing saleswomen at a stand is still

What are the negatives?

uncommon.

The positives for me are being out and meeting new

What reasons do you think there are so few women

people every day, coupled with the excitement and

working for manufacturing companies? What obstacles

energy of being involved in such an amazing project.

do women come up against?

There is a sense of pride in knowing that you have been a

I think the manufacturing industry has been a largely

part of delivering some great iconic projects.

male orientated one and often perceived as needing

I would say that a negative is that there are some real old-

technical ability, especially when you notice that most

fashioned views out there of what women can and can’t

engineers are male. Women can be just as technical, but

do, which need to be washed out. There is a new wave of

I think society makes us believe this is the male domain,

people, and when we embrace this, the more diverse and

which I believe is the barrier that needs to be broken.

more creative we can be.

There have been occasions that I’ve attended meetings

Is there anything else you would like to add?

and I’ve asked a male engineer to join me, as I was often

I love what I do and if I didn’t, I wouldn’t do it, it’s that

perceived that I don’t know what I was talking about.

simple. It’s important to believe in yourself, show

Women often need to prove themselves before they are

confidence in yourself and your abilities. The only way

taken seriously, whereas a man can walk into a meeting

this industry will change is if we talk about it, so I thank

without reservations.

you for bringing light to this important subject.

How do you think more women can be encouraged

www.astrolighting.com

into this side of the lighting industry? What can

C A RLOT TA D E B E V I L ACQ UA C EO, ARTEMIDE How long have you been involved in the lighting

reinterpreted and respected to offer flexible, qualitative,

industry?

and accessible responses.

Light has always been my passion.

In this, women’s sensitivity is important. Women work

Have you always been involved in the manufacturing

above all for the long term, for tomorrow. Attention to

side?

“taking care”, a predisposition that is transmitted in the

My relationship with light has evolved over the years. I

use of what is designed, in the relationship that objects

began my career as an architect, working with light as a

have with man, and in the relationships they create.

material for the construction of spaces.

What reasons do you think there are so few women

Then a meeting with Ernesto Gismondi (Founder of

working for manufacturing companies? What obstacles

Artemide and lifelong companion) led me to approach

do women come up against?

light in all the aspects.

Time is a central theme for our professionalism.

Designing light then transformed in the following years

This reality of imbalance between the female and

into doing business thanks to the teaching and daily

male presence depends, as we often know, on social

experience I gained from Ernesto. It was a natural

and cultural conditions that link the role of women to

evolution.

family commitments and responsibilities, limiting and

In my professional life and as a woman, I have always

impeding freedom in managing dedicated times and

considered my duty as trying to introduce better quality

spaces.

and alternatives to what already exist.

Even if the gender distinction now seems outdated,

I have tried both as an architect and designer through

the history of our society is anthropologically based

the design of spaces and light as an indispensable

on models that place limits on women’s freedom in

material for life, and as an entrepreneur through vision

time management, even if not openly, an element that

and innovation to “distribute” “useful and beautiful”

subsequently tends to penalise their active role in the

products, tools, and solutions to educate the present

profession.

and contribute to the future.

How do you think more women can be encouraged

Have you noticed more diversity in sales, manufacturing,

into this side of the lighting industry? What can

and marketing over the past two decades?

manufacturers do to encourage a diversity of applicants

Light has experienced and is still experiencing a great

for roles in sales and product development for example?

revolution with the introduction of LEDs and electronics.

At Artemide we are exactly equal! As we also declare in

It is increasing in science, parametric measurement,

our sustainability report, women make up 46% and their

and interaction. We no longer think about just the

presence is distributed across all roles.

product but about shedding light more broadly on its

Is there anything else you would like to add?

management, and for a positive energy balance.

I think that within an ethical, cognitive, human, and

Light is energy and sustainability parameters have

often tiring professional path, it is talent that provides

become fundamental.

solutions and skills and, when you are able, also beauty.

Especially thinking about the current context, I have

I don’t think it just depends on gender.

never experienced such a complex period. Just think of

I have never imagined that there is a female, male or

the war, the increase in the costs of raw materials and

other gender approach to tackling a project, I believe

energy, and the environmental crisis.

in the different personalities, talents, study, and

Resources are exhausted, we must educate the

commitment to doing.

responsible use of lighting, and we must do with less -

Creativity is neither male nor female, because it is the

less materials, less energy...

ability to synthesise and realise an idea with a project,

Today it is crucial to reaffirm a vision, to be able to

whether a small or large dream.

understand the new technological and cultural frontiers,

www.artemide.com

to reflect on the needs of a global world that needs to be

66/67 |

IMOGE N SPRY HEAD OF PROJECTS AND SALES, CAMERON DESIGN HOUSE How long have you been involved in the

Interestingly, I have not seen a lack of

lighting industry?

women in my area of the industry. We have

Originally, the interest in lighting design

had three workshops over the years as we

began during the final project of my Product

have grown, and in each location, our team

Design degree, working with a lighting brand

has been equally divided within both the

to design adaptable bathroom lighting.

design and production team.

Designing and prototyping this was a

How do you think more women can be

fascinating blend of technical application

encouraged into this side of the lighting

and

strongly

industry? What can manufacturers do to

influenced my search for roles within the

encourage a diversity of applicants for

industry. I have been working with Cameron

roles in sales and product development for

Design House for over seven years now.

example?

Have you always been involved in the

It is important to see the value in what

manufacturing side, or have you come from

someone can bring to the whole process and

another part of the industry?

I certainly have learnt so much since starting

I’ve always been drawn to making and

as an intern all those years ago.

designing, which strongly influenced my

Offering opportunities to learn and develop

choice of degree. However, my experience

in manufacturing roles opens up the process

at Cameron Design House has provided

to new ideas and perspectives, so there is

me with a significant insight into the

equal benefit to those interested in learning

manufacturing industry.

and manufacturers.

Have you noticed more diversity in sales,

What are the positives of working for a

manufacturing, and marketing over the past

manufacturer? What are the negatives?

two decades?

As we design and fabricate all of our

Over my time in the lighting industry, I

own products, we see the very beginning

have had the pleasure of working with a

developments of manufacturing methods.

diverse group of people from many different

This has led to a number of new products

backgrounds.

within the Cameron Design House collection

This collaboration has allowed for not only

as well as the development of what is

a creative development of all aspects of the

possible with the application of these

lighting design process, but also a hugely

designs.

enjoyable work culture.

This certainly keeps us all on our toes,

What reasons do you think there are so

but it is really enjoyable to see a concept

few women working for manufacturing

developed with clients result in beautiful,

companies? What obstacles do women

custom and unique chandeliers.

come up against?

www.camerondesignhouse.com

design

freedom,

which

INTERVIEW | WOMEN IN LIGHTING

E S T H E R PAT T E RS O N FOUNDER, CURIOUSA How long have you been involved in the lighting industry?

managed to build around me a small team of seven people.

I launched my lighting business in 2010 so essentially I’ve

Including myself, there’s six women and just two men. Four

been involved in the lighting industry for 14 years.

women actually get their hands dirty and make the lights in

Have you always been involved in the manufacturing side,

our workshop, the other two are in sales and dispatch. All

or have you come from another part of the industry?

the roles in our company are seen as open game for men

I originally trained as a graphic designer but I also enjoyed

or women or gender non-specific.

ceramics, drawing, and printing. I progressed these

How do you think more women can be encouraged into

interests and immersed myself in a Decorative Arts Degree

this side of the lighting industry? What can manufacturers

in my late thirties and graduated in 2009.

do to encourage a diversity of applicants for roles in sales

I’ve always loved designing too and combined this with

and product development for example? When we advertise

being quite hands on - making is in my DNA. I think

for some roles we will typically only get men applicants

this helps me see a problem as a challenge, and from

and that’s not great. I’d say to the owners of any business -

experience, I know solutions are always a logical journey.

when a job becomes available, look around at your female

For me the same issues occur whether I’m constructing a

staff. You know the bright sparks you already have, maybe

clay vessel or working with an engineering company - you

they can be challenged to train up and fill those gaps in

can work solutions through and I really enjoy that process.

your business. Do this before you even think about putting

Have you noticed more diversity in sales, manufacturing,

a job advert out. Sometimes women can be conditioned to

and marketing over the past two decades?

think they can’t achieve in certain men-dominated areas,

When I got involved in the lighting industry over 14 years

but believe in them and they can achieve so much and

ago there didn’t seem to be much going on that was female

more! We’ve done this at Curiousa and I’ve been astounded

led. For instance colour is my thing and most lighting was

at their commitment and determination to train on the job

white, grey or black, probably mostly designed by men. I felt

and make it work for themselves and the business.

there was a real niche in the market at that time - colour

What are the positives of working for a manufacturer?

needed embracing and I think instinctively women are less

What are the negatives?

scared of colour. I think slowly there are a smattering of

The positives are that it’s very satisfying designing and also

women getting more involved but not enough.

making the final product. We make very bespoke lighting

What reasons do you think there are so few women

and you can get very attached to the piece you are part

working for manufacturing companies? What obstacles do

of making. We nurture them at each stage - the careful

women come up against?

grinding, polishing and constructing, the precise packing

I think women are really inspired to design for the lighting

and sending them off into the world. There’s a great deal of

industry but when it comes to manufacturing there’s quite

satisfaction in a job well done.

a hill to climb. When I wanted to make my first slightly

The down side can be if you have a person down through

ambitious chandelier, I went to a steel engineering and

illness and you’re a small manufacturer it’s hard to juggle.

fabricating company to help with the suspension part of

We now have a policy of two people within the team need

the piece. The owner rather condescendingly referred to

to train up on each major task whether that’s making

my plans as pretty pictures! As a woman you have to be

a large stacked sculptural light piece, packing or sales.

quite tough to overcome preconceived ideas about what

Having backup feels pretty essential.

you can achieve. Fortunately I’ve not allowed this negativity

www.curiousa.co.uk

to get in the way and there are plenty of good people and companies out there that want to help. Over time I’ve

68/69 |

MÓNICA LAFUENTE F O U N D E R A N D G E N E R A L M A N AG E R , L E T ’S PAU S E How long have you been involved in the lighting

organic materials, reflecting a broader commitment

industry?

to eco-friendly practices. In terms of marketing, the

In 2013, I established Let’s Pause in Barcelona with a

landscape has evolved with a more nuanced approach,

clear vision of bringing natural contemporary design to

acknowledging and celebrating the diversity of design

life. Our initial product range included furniture, decor

styles, materials, and crafting methods.

accessories, and lighting. Over the years, our focus has

What reasons do you think there are so few women

evolved, honing in on the crafting of lighting pieces using

working for manufacturing companies? What obstacles

organic materials and sustainable artisan techniques.

do women come up against?

We’ve even embraced the practice of upcycling natural

In the design and lighting industry, the representation

elements that Mother Nature discards. Prior to founding

of women in manufacturing roles has historically been

Let’s Pause, my involvement in the design and lighting

limited, but there has been a noticeable shift in recent

industry dates back to 1999 when I founded SmartDeco,

years. One reason for the underrepresentation could

a press agency specialising in design. Since then, I’ve

be attributed to traditional perceptions of certain

been immersed in communicating design and lighting

manufacturing roles as male-dominated. Overcoming

themes, actively participating in events within this

these preconceptions and fostering an inclusive

creative realm.

environment are crucial steps toward encouraging more

Have

you

noticed

more

diversity

in

sales,

women to pursue careers in manufacturing.

manufacturing, and marketing over the past two

Obstacles

decades?

stereotypes and biases that associate certain tasks

Absolutely, over the last two decades, I have

with gender, making it challenging for them to break into

witnessed a significant expansion of diversity in sales,

traditionally male-dominated fields. Additionally, there

manufacturing, and marketing within the design and

may be limited access to mentorship and networking

lighting industry. As for sales, there’s a heightened

opportunities for women in manufacturing, hindering

appreciation for unique, handcrafted pieces, and

their professional growth. Addressing these challenges

consumers are increasingly drawn to sustainable and

requires a concerted effort to challenge stereotypes,

organic options. On the manufacturing front, there has

promote inclusivity, and provide mentorship and

been a notable shift towards embracing traditional

support programmes to encourage and empower

artisanal techniques and a greater emphasis on using

women to thrive in manufacturing roles.

that

women

may

encounter

include

HEIDI LEONELA DIRECTOR OF SALES NORTH AMERICA & FR ANCE, SECTO DESIGN How long have you been involved in the lighting

decades?

industry?

Unfortunately I can only speak for the years that I have

I started working in the lighting industry in 2017 so I still

been in the industry. Working for a Finnish company

consider myself as relatively new in the field.

obviously has an impact on my opinion when it comes

Have you always been involved in the manufacturing

to the question of diversity. At Secto Design we have

side, or have you come from another part of the

both women and men working in the manufacturing,

industry?

administration, and sales. Secto Design is a design

My experience in the lighting industry is purely from

brand concentrating on decorative lighting, which

the manufacturer side.

surely also influences the big portion of women

Have

sales,

working in the company. Let’s not forget that the

manufacturing, and marketing over the past two

you

noticed

more

diversity

in

company’s founder and owner is a woman called Tuula

INTERVIEW | WOMEN IN LIGHTING

How do you think more women can be encouraged

What are the negatives?

and there might be a need for careful planning and

into this side of the lighting industry? What can

In the case of Let’s Pause I would say the positives are:

coordination to balance creativity with efficiency.

manufacturers do to encourage a diversity of

Artistic Fulfillment: Working for a manufacturer in our

Limited Scalability: Depending on the intricacy of

applicants for roles in sales and product development

niche allows employees to actively contribute to the

handmade techniques, scaling up production may be

for example?

creation of sustainable, aesthetically pleasing, and

challenging. This can impact the company’s ability to

At

women’s

unique lighting products. The use of natural materials

meet high demand, potentially leading to longer lead

participation, with the majority of our team across

Let’s

Pause,

we

actively

promote

and handmade techniques often provides a deep sense

times for customers.

various departments being composed of talented

of artistic fulfillment.

Skill Dependency: The craftsmanship involved may

women. Encouraging greater female involvement in

Hands-On

the

require specialised skills, and finding qualified artisans

the lighting industry requires proactive measures from

opportunity to engage in hands-on craftsmanship,

can be a challenge. The business may be vulnerable if

manufacturers. Cultivating an inclusive and diverse

working closely with skilled artisans and incorporating

there’s a shortage of skilled personnel or difficulties in

company culture is paramount, as well as prioritising

traditional techniques. This not only enhances their skill

passing on the techniques to new generations.

mentorship programmes and networking initiatives

set but also fosters a connection to the heritage and

Market Perception and Pricing: Handmade and natural

tailored for women, offering crucial support for

authenticity of the products.

materials often contribute to premium pricing. This

navigating careers in our industry.

Sustainable Practices: Many individuals find it rewarding

might limit the market to a specific demographic, and

Engaging in educational initiatives is another avenue

to be part of a company that prioritises sustainability.

some consumers may perceive these products as

to inspire young women towards lighting careers,

The use of natural materials and a commitment to

expensive compared to mass-produced alternatives.

emphasising both creative and technical aspects.

handmade techniques often align with eco-friendly

www.letspause.es

Collaborating with educational institutions and industry

practices, contributing to a positive environmental

organisations facilitates the creation of talent pipelines,

impact.

providing exposure to diverse career opportunities.

Innovation and Creativity: Team members are often

Transparent and unbiased recruitment processes are

involved in problem-solving, experimenting with

essential. Actively seeking out diverse candidates

new materials, and pushing the boundaries of design

ensures job descriptions are inclusive. Additionally,

possibilities.

training and development programmes help empower

And as for the negatives:

women with the skills and confidence to excel in their

Time-Intensive Processes: Handmade techniques and

roles within our company.

the use of natural materials can be time-consuming.

What are the positives of working for a manufacturer?

Meeting production deadlines may become a challenge,

Jusèlius and also the CEO position is held by a woman.

in the decorative lighting.

directly for the manufacturer. The transparency of the

What reasons do you think there are so few women

How do you think more women can be encouraged

company’s functions at all levels contributes to the

working for manufacturing companies? What obstacles

into this side of the lighting industry? What can

motivation. In my sales role I find it extremely beneficial

do women come up against?

manufacturers do to encourage a diversity of applicants

to be able to work closely with all functions within

I am sure that historically the lighting industry has

for roles in sales and product development for example?

the company. I have a better understanding of our

always been more male-dominant. Often, when we talk

I strongly encourage all women having the passion to

brand and products as a whole, which contributes to

about lighting in general I believe it is seen as something

work in the lighting industry to pursue their dreams

sales directly. Acting as the face of the company when

more technical, which surely impacts the male/female

despite the fact that the industry is dominated by

meeting customers, working with different partners,

ratio within the industry. This is not to say because

men. I am a strong believer in diversity within the

and exhibiting at trade shows not only require me to

women were not capable, but maybe technical fields

employees and that it is an asset to any company. The

communicate the message of the manufacturer but also

are not as appealing to women as they are to men. In

manufacturers should definitely be encouraged to

provides me with valuable feedback from the customers.

Finland, when you look at the portion of women versus

promote equal opportunities to both men and women

Working directly for the manufacturer ensures that my

men studying in the electrical engineer programmes,

and also find ways to attract more women to enter the

message to the outside is in line with the brand but also

the female students count for only about 10% university

lighting industry. How this can be done, however, is a

that the message from the customers actually reaches

level and even this number varies depending on year.

much more complex question.

the manufacturer.

However, I am always delighted to see at the trade

What are the positives of working for a manufacturer?

www.sectodesign.fi

shows around the world that there are a number of

What are the negatives?

women representing lighting manufacturers, especially

I would say there are only positive factors when working

Craftsmanship:

Employees

have

70/71 |

MONICA POLONIO FOUNDING DIREC TOR , ROC K & SOAR

ALISON SMITH FOUNDING DIREC TOR , ROC K & SOAR

How long have you been involved in the lighting industry?

always based on materials and their reaction with light, so

Monica: six years ; Alison: 10 years

I’ve spent a lot of time with manufacturers and makers to

Have you always been involved in the manufacturing side,

understand techniques and processes.

or have you come from another part of the industry?

Have you noticed more diversity in sales, manufacturing,

Monica: I come from a sales background, and when I

and marketing over the past two decades?

joined the lighting industry, I had little knowledge of the

Monica: Prior to joining the lighting industry, I came from

complexity of lighting. It was through the process of being

the textiles and furniture industry where I represented

part of a small team that specialised in bespoke lighting

luxury brands in the UK, Europe, and Russia. My sales

that I learned more about its beauty and the design

background in the luxury industry spans over 10 years. In my

process.

experience, when working with beautiful luxury products,

Both Alison and I are now heavily involved in the design

the salesperson is typically female, whereas when dealing

and manufacturing process of decorative lighting. We have

with architectural or technical products, the salesperson is

also become experienced and knowledgeable in areas

usually male. So, no, I don’t think it’s changed much.

such as architectural lighting, which allows us to design

I have represented more architectural-based products, and

decorative lighting that is also functional and works with

personally, I disliked it as it lacked creativity and I found it

other lighting in interior spaces.

very boring. But I believe that companies and managers,

Alison: Yes! My background stems from sculpture and craft,

when recruiting, seem to think that men are more suited

so I’ve always been in the realm of making. My research is

for one style or product and women for another.

INTERVIEW | WOMEN IN LIGHTING

Alison: There’s still the lingering cultural conditioning of

promote. I recently went to Nottingham Trent University

‘men being better at handy work, engineering, and technical

to give a panel talk on ‘Finding Your First Role and Early

design’ and ‘women are suited to cleaning, cooking, and

Career Progression’ to share insight into the manufacturing

aesthetics.’ So manufacturing and product engineering fall

industry and product design as a female. It is our hope that

under the ‘male’ remit. While there is progression, it still

we can encourage others to pursue their careers and know

feels that stepping out from gender roles in society is seen

that other women are out there too.

as going against the status quo when, really, it should just

An interesting observation I came across when working as

be the norm.

a DT & Art Technician for a secondary school in 2014 is that

What reasons do you think there are so few women working

when teaching the students in Year 7 (ages 11-12) how to

for manufacturing companies? What obstacles do women

use the machinery, all boys were confident using these for

come up against?

the first time, whereas many of the girls lacked confidence

Monica: Is it that women are choosing not to work in these

and were extremely reluctant to participate. If young adults

sectors, or is it that they want to but are not chosen when

witness other women in this industry who are comfortable

applying for jobs? Could it be that they are afraid to say

and passionate, we can fast-track gender diversity.

they would like to work in a sector such as manufacturing

What are the positives of working for a manufacturer? What

and therefore do not even pursue it as an option, which

are the negatives?

therefore roots back to our society, schools, and what is

Monica: Being able to explore a wide scope of materials and

seen at home?

techniques as well as working with tangible objects. There

I believe manufacturing companies and managers might

is obviously the laborious side of doing repetitive tasks, but

see women as too fragile or too weak to manage certain

that’s the case in most industries.

machinery.

Alison: We love the collaborative approach to our work.

Alison: I agree that it begins with educational and societal

You meet so many craftspeople, engineers, and designers,

development. If you choose to progress in education as a

giving you the opportunity to discover so many new and

female in a male-dominated sector, it can be daunting; you

wonderful ways of making. A negative aspect is having to

can be judged, and it can fill you with self-doubt.

deal with sexist remarks from time to time, but it’s a chance

If you take a CV of a female compared to a male, for

to challenge and educate others in this area.

example, a male is likely to have pursued an education in

Is there anything else you would like to add?

construction, engineering or product design due to feeling

Monica: Many of the men I have met in the construction

comfortable in that sector. As an employer, regardless of

and manufacturing industry have ended up in these roles

knowing the gender of the CV, you are more likely to pick

from an early age, dropping out of the educational system

this person because of their background. You then get

and feeling like these sorts of roles were the only option for

a male-orientated industry. If 90% of applicants for a job

them. Do we have an influx of males in these roles because

are male, the probability of a male being employed is far

there simply isn’t enough resources to support young boys

greater. You also have the prospect of gender motivations of

and young girls who struggle to adapt to a traditional

the employer, but I do think this is becoming more neutral.

education system?

We need to recognise the importance of equity here - where

Alison: It’s a slow burner, but we’re getting there! I also

women are allocated the exact resources and opportunities

encourage everyone to read ‘Invisible Women: Exposing Data

needed to reach an equal outcome in our industry and feel

Bias in a World Designed for Men’ by Caroline Criado Perez

comfortable taking on the routes of design technology,

as it is eye-opening at just how insanely apparent it is of the

engineering, and construction. You have to push for women

lack of data on women, leading to a male-oriented society.

to have a voice in the industry.

We’ve also recently become a member of The Women’s

How do you think more women can be encouraged into this

Chapter, a platform to provide professional women with the

side of the lighting industry? What can manufacturers do

means to come together to create meaningful connections,

to encourage a diversity of applicants for roles in sales and

find solutions to business challenges, be inspired, and build

product development for example?

a work life aligned with their purpose.

Monica: I believe the work needs to be done at an early

www.rockandsoar.com

stage in a young female’s life. Design and manufacturing

www.womeninlighting.com

companies should be visiting colleges and universities and encouraging diversity.

*This article is a continued conversation from our sister

Alison: This is something Mon and I are really keen to

magazine arc, issue 137 in collaboration with Women in Lighting.

STEP INTO THE…

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20 & 21 November 2024 • Business Design Centre • Islington • London

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74/75 | IN FOCUS | INTRA LIGHTING

IN FOCUS

Ly s a b e l L o r e n z o Tr u a n t in t r a l ig h tin g

What is the design concept behind Lysabel?

What materials and design processes are used?

Lysabel was born as a straight line, hypothetically

The basic materials are aluminium and acrylic

infinite, radiating its light 360°. The primal idea of

glass (PMMA), both of which are 100% recyclable.

Lysabel originated from the beautiful images of laser

The profile of the acrylic glass is obtained by an

sabre battles in well-known science fiction movies.

extrusion process that easily allows for varying lamp

The whole project was illustrated through compelling

lengths and improves production by optimising

images, reminiscent of the epic saga, with numerous

it in terms of assembly time and production

characters wielding the lamp attached to the power

adjustment. High-quality LED strips can be cut to

cord. For example, the robotic multi-armed Grievous

size, allowing for high production flexibility. The

from Star Wars (who wielded four lasers) lent itself

light sources have high-quality parameters: Hi flux

to being associated with the adjustable multi-armed

LED strip, CRI>90, MacAdam<2, and with a wide

Lysabel chandelier or the “en guard” position of one

range of colour temperatures: 2700K, 3000K, 3500K,

of the knights approaching the floor lamp.

4000K. The design process begins with imaginative

The collection grew with the thought of light like a

assumptions. These ideas converge into thoughtful

gash in the darkness, like a weapon to be wielded in

formal choices that undergo verification in the

a dark space to illuminate it, like a battle between

engineering and prototyping phase. Subsequently,

opposing entities such as light and darkness.

they are further examined in the photometric results, utilising tools such as the photogoniometer.

How long have you been working on the collection?

This meticulous approach aims to achieve optimal

The Lysabel collection was born in 2019 and developed

functionality and manageability.

over a few months with increasingly elaborate concept sketches and an initial 3D-engineered design

What technologies are used?

equipped with all the essential components. In 2020,

The frosted opalescent acrylic glass tubes are

it was sent to Intra lighting, with the first prototypes

extruded by calculating the exact coverage of the

unveiled in 2022.

opalescent compound so that the light is diffused evenly without the bright dots of the LEDs being

What was the most challenging aspect of this project?

visible, but without the diffuser finish being able to

Managing the uniformity of light along the light

cover too much of the light emission. The aluminum

rod. In my initial drawings, I identified both a 360°

body, including the ball joint and all visible metal

spread and a predominance of light on one side,

details, is offered with a choice of finishes: gold,

without compensating for the opposite side. The

onyx, and bronze in coated or brushed variants.

hypothesis could only be checked in the prototyping

The components are of high quality, and the ballast

phase, thanks to the photogoniometer provided by

operates at 24V, maintaining a constant voltage.

Intra. This device allowed us to assess optimal light

The light source consists of long flexible webbing

diffusion with precise data, without bothering the

that can be cut at will, carrying on board numerous

view.

LEDs juxtaposed one to the other and electrically

Another challenge involved designing the connection

connected.

between the light rod and the power cord. The detail

Despite

borrowed from the particulars of irons has been

fragility, the collection is surprisingly resilient and

simplified and embellished. This detail personalises

manageable.

its

slender

the lamp and makes it ready to become a horizontal, vertical or tilted element as desired.

www.intra-lighting.com

appearance

suggesting

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