darc 60

#60 EUROLUCE REVIEW MISSION ROC K , MIC H A E LIS BOY D LONE BØDKER PEDERSEN, NORDLUX K E L LY H O P P E N , WOW ! H O U S E I N S TA L L AT I O N

rothschildbickers.com

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WELCOME

Sarah Cullen • Editor

Welcome to issue #60 of darc magazine!

I trust you are all well and recovered from the busy month that was April – I can’t believe Milan Design Week/ Euroluce has been and gone already? With such a build-up to the show, it always catches me off guard at how quickly it passes, much like a good party that takes a lot of advanced preparation, which is then over in a flash! But darc returned with plenty of photos, memories, and inspiration.

In typical fashion, the Euroluce year of MDW is a big one for us, and as such, we dedicate a huge chunk of our editorial to it in this issue. Starting on p.32, you can delve straight into a vast range of new product launches, followed by an array of exclusive interviews - carried out by our Junior Journalist Ellie Walton - with some of the top designer collaborations unveiled at the exhibition. We have also scattered throughout some of our favourite installations from our week in Milan.

Turning away from our focus on the Italian show, also in this issue we are pleased to bring you a couple of stunning projects. Pictured on our front cover is the stunning Mission Rock residential complex with amenity spaces designed by Michaelis Boyd. I spoke with the project’s lead designer to discover more about the studio’s scheme and the influence of decorative lighting within it.

Our second project brings us back to the UK, where the rise of PBSAs is moving fast. The latest chic student digs have opened up in the heart of Nottingham with interior design completed by Ekho Studio. I caught up with Rachel Withey to understand the role of lighting in the stunning amenity spaces and how the building’s heritage played a strong role in the overall design. I wish I could return to Uni life and call dibs on a room in one of these new PBSAs – they’re a far cry from the crumbling, 1960s grey boxes I was more acquainted with!

Coming up this June is the well-known Wow!house exhibition held at the Design Centre in Chelsea Harbour.

With numerous high-end designers creating individual rooms in collaboration with various brands, we asked Kelly Hoppen to walk us through her design intentions for her living room in partnership with Visual Comfort.

And last but not least, this month we held our annual [d]arc awards party to announce and celebrate all of this year’s winners! It was a great night had by all, and I want to say another big thank you to all of our award sponsors and to everyone who submitted an entry, voted for their favourites, and came along to party the night away. In recognition of this year’s winning product in our Kit: Decorative category, we highlight the Nebula collection designed by Giovanni Luca Ferreri at Patrizia Volpato.

COVER: MISSION ROCK BY MICHAELIS BOYD IMAGE: JAMES MCDONALD

Our next issue of darc magazine will be our annual design directory, 3d. Please make sure your brand is correctly listed in the current edition, and if any changes or updates need to be made, that you bring this to our attention as soon as possible.

Now bring on May and June – quite possibly our two busiest months yet! We’ll be seeing you at [d]arc sessions Ibiza, Clerkenwell Design Week for our [d]arc thoughts talks programme, ICFF in New York, and 3 days of design in Copenhagen.

Over and out!

/darcmagazine |

@darc_mag

04/05 | CONTENTS

CONTENTS FE ATURE D

PROJECTS

032 On Show: Milan Review Dive into our extensive coverage of Euroluce. We bring

INSPIR ATION

006

016

Mission Rock

Design Evolution Part 2: Schwung

Mission Rock is a newly developed residential

Continuing it s passion for creating timeless

complex

t wo

lighting f ix tures that are built to last , Schwung ’s

residential towers boasting multiple amenit y

new floor lamp went through numerous iterations

042

spaces, Michaelis Boyd was brought on board

before the f inal version was ready for market .

On Show | Interview: Lasvit x Yabu Pushelberg

to create a harmonious, prac tical yet luxurious

Miles collection

scheme.

you the latest product releases, installations and designer collaborations.

044 On Show | Interview: Contardi x Studio Munge Picchio collection

in

San

Francisco,

USA .

With

018 Materials: Larose Guyon

010

Discover the whimsical creation of the Saule

The Place

Collec tion by Canadian studio Larose Guyon.

Ekho Studio unveils it s scheme for the latest

046

purpose-built student accommodation

024

On Show | Interview: Vibia x Francisco Gomez Paz

in Not tingham, UK

Interview: Lone Bødker Pedersen

Veil lighting system

Produc t Manager at Danish lighting brand Nordlux 040

speaks with darc about the design aesthetic s

Focal Point

and culture the brand adheres to, along with her

Loomo collection

Occhio: Dreamagination

role in trend predic tions and material selec tion

052

056

050 On Show | Interview: Lasvit x Maxim Velčovský

On Show | Interview: Secto Design x Ilkka Kauppinen Adilo pendant 054

within the company.

Focal Point

030

PE T Lamp: A Dialogue Among Weaving Light

On The Board: Kelly Hoppen

and Design

Light , Drama, and Serenit y: The Living Room of the WOW!house.

On Show | Interview: Lladró x Lee Broom Cascade porcelain collection

066

058

In Focus: Nebula Collection

On Show | Interview: Preciosa x Michael Vasku

Check out the [d]arc awards winner in Kit: Decorative

Crystal Links range

category by Patrizia Volpato.

060 On Show | Interview: Luceplan x Umat Yamac Posi portable collection 062 On Show | Interview: Michael Anastassiades Cygnet, Frame, and Floor Moblie Chandelier

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

Editor | Sarah Cullen s.cullen@mondiale.co.uk

Chairman Mondiale Publishing | Damian Walsh Junior Journalist | Ellie Walton e.walton@mondiale.co.uk

Contributing Editor | Matt Waring m.waring@mondiale.co.uk

International Sales Manager | Rosie Jackson r.jackson@mondiale.co.uk +44 (0)161 464 4750

FINANCE Finance Director | Amanda Giles a.giles@mondiale.co.uk

[d]arc media ltd | Strawberry Studios, Watson Square,

Credit Control | Lynette Levi

Printed by Buxton Press, Palace Road, Buxton, UK

l.levi@mondiale.co.uk

Stockport SK1 3AZ, UK | +44 161 464 4750 ISSN 2052-9406

Light by Occhio – mood

by You

Occhio store London | 91– 97 Fulham Road | London SW3 6RH | occhio.com

06/07 | PROJECT | MISSION ROCK

PROJECT

MISSION ROCK Mission Rock is a newly developed residential complex in the Bay Area of San Francisco, USA. With two residential towers boasting multiple amenity spaces, Michaelis Boyd was brought on board to create a harmonious, practical yet luxurious scheme.

London and New York-based architecture and interior design studio Michaelis Boyd was appointed to complete the amenity spaces for the Canyon and Verde residential towers in Mission Rock, San Francisco, which opened in 2024. Speaking with darc, Rina Kukaj, Partner at Michaelis Boyd’s NYC studio and Mission Rock’s lead designer walks us through the project’s design intentions and executions.

Both towers offer residents spectacular views over the San Francisco Bay and into the iconic Giants’ baseball stadium. Working in collaboration with real estate company Tishman Speyer, which Michaelis Boyd has crafted a series of projects with over the last decade, the areas developed by the team included entrance lobbies, mailrooms, lounges, games rooms, screening room, arcade, communal workspaces and kitchens, a podcast room, meeting rooms and external terraces, all aimed at enhancing convenience and fostering a sense of community.

Joining the project at a later stage, Kukaj and the team only had a couple of months to bring the brief to fruition for these varied spaces. The design concept for both towers was influenced by the studio’s approach to its renowned hospitality projects, blending the functionality of public spaces with the comforts and warmth typically found in a private home.

“The brief was to provide amenities that felt like an extension of a home filled with energy and colour to

08/09 |

“Lighting is critical to a space. It not only supports functionality, but it also adds an additional layer of artistry to a project, both interior as well as exterior.”

reflect the San Francisco palette: a blend of many styles and influences. Some of the forms and colour palette lean on the mission revival with a touch of mid-century modern,” she explains.

“We have been working with Tishman Speyer for several years, so we know each side’s general requirements and interests. Equally, we share a common ground on a desire to think outside the box and create something wholesome and unexpected for each project we approach. Here, it was no different. Mission Rock Bay Area was a fresh canvas with ample opportunity to achieve a new community and a sense of place.

“The project had a very short schedule for the interior design, so we all had to focus to ensure the design was on point from the very beginning.”

When asked what role the decorative lighting played, Kukaj explains that the approach for each area varied due to the building’s constraints or levels of natural light. “Some of the amenity spaces were located within the core of the building, where access to natural light was limited. These areas required special attention in terms of artificial lighting. Our intention was not to replicate natural light, but to use decorative lighting to introduce an additional layer of ambience and enhance the overall interior experience.” Some areas consisted of in-house custom-designed pieces by Michaelis Boyd, and elsewhere the team specified fixtures from brands including Allied Maker, Astro Lighting, Circa Lighting, Lightology, Pure Edge, Rich Brilliant Willing, Roll & Hill, Sonneman - A Way of Light, Tech Lighting, Vibia,

PROJECT | MISSION ROCK

and Visual Comfort. These pieces were chosen to

functionality, but it also adds an additional layer of

ensure the ‘eclectic home meets elevated boutique

artistry to a project, both interior as well as exterior.”

hospitality spirit’ came across. The lobby at Canyon

Local artwork was a key element to the interior

features two custom-designed pendants, designed

spaces and formed a core part of the design’s brief

by Michaelis Boyd and fabricated by PTY Lighting,

from the very beginning. “From the outset, we were

that respond to the expansive volume and ceiling

interested in local art and local artists. We also

height of the space. These fixtures were created not

wanted to ensure the art complemented the subtlety

only to provide a sense of scale but also to introduce

yet boldness of the interior design palette. Ownership

an element of playfulness, setting the tone for the

procured the art with support from an agency, but

eclectic and inviting atmosphere of the interior.

overall, it was a very collaborative process with all

“We wanted to ensure this layer to the interior

involved, and we are happy with the outcome.”

provided the additional touches of playfulness and

Reflecting on this as their first project in San

charm throughout the amenities.”

Francisco, the Michaelis Boyd NYC studio is very

Regarding the architectural lighting, the team made a

pleased with the finished product. “The important

conscious effort to keep these details simple and low

thing is the amenities are continually in use by

profile. “The decorative lighting was carefully curated

the tenants of the building,” says Kukaj. “They are

to accentuate key areas and provide the necessary

using the spaces in so many ways and for so many

functionality. Rather than relying solely on general

purposes, which is wonderful to see.

illumination, we layered the interior with smaller,

“The project has been well received by our clients

focused accents of decorative lighting. This approach

and, most importantly, by the new tenants. The

not only addressed the practical needs of the space

amenities are always in use, and more recently, the

but also complemented its eclectic style, adding

project has won best amenities in San Fran, so we

depth and visual interest throughout.

are delighted.”

“Lighting is critical to a space. It not only supports

www.michaelisboyd.com

MISSION ROCK SAN FR ANCISCO, USA Interior Design: Michaelis Boyd Architecture: MVRDV Lighting Design: PritchardPeck Lighting Lighting Specified: Allied Maker, Astro Lighting, Bespoke piece by Michaelies Boyd fabricated by PT Y Lighting, Circa Lighting, Lightology, Pure Edge Rich Brilliant Willing, Roll & Hill, Sonneman - A Way of Light, Tech Lighting, Vibia, Visual Comfor t Images: James McDonald Using decorative lighting to add layers of interest and ar tistr y, the team at Michaelis Boyd has successfully created luxurious residential-feel yet practical spaces for the commual amenit y areas of these residential towers at Mission Rock.

10/11 | PROJECT | THE PLACE

PROJECT

THE PL AC E NOTTINGHAM, UK

There has been a notable shift in the rise of purpose-built student accommodation (PBSA) in the UK in recent years. The need to attract student populations to UK universities and also the deliverables in products from manufacturers are key to this movement towards luxury student housing.

The Place is a brand-new development located in the heart of Nottingham and is a market first for developer and owner McAleer & Rushe (MRP). Comprised of 409 units, the development aims to ease the supply and demand imbalance of Nottingham’s undergraduate population.

Belfast-based

architects

Consarc

were responsible for the design, while Ekho Studio completed the interior design, from room finishes to the scheme’s amenity spaces on the ground floor and 11th-floor roof terrace.

The Place saw the redevelopment of a brownfield site on the city’s Queen’s Road, adjacent to the railway station. The 11-storey, BREEAM ‘Excellent’ rated building is managed by Homes for Students under its Prestige Student Living brand. It offers a mix of ensuite and undergraduate studio residences, alongside generous amenity spaces, including a gym, private dining room, and 360° rooftop terrace and sky lounge offering spectacular panoramic views over the city.

Focusing on the 100sqm amenity area on the complex’s

ground

floor,

darc’s

editor,

Sarah

Cullen, spoke with Rachel Withey, Co-Founder and Designer at Ekho Studio, to explore the team’s first collaboration with MRP and the design concepts for this new student development. “Purpose-built student accommodation (PBSA) is a particularly vibrant market in the UK right now,” she says.

“Historically, students lived either in halls of residence or in shared houses, under the aegis of private landlords, where standards could be very unpredictable. We are delighted to be part of the maturation of this flourishing market with projects like The Place, whose imaginative design, with its

12/13 | PROJECT | THE PLACE

IMAGES: PREVIOUS PAGE: KITCHEN BAR AREA FEATURING COPENHAGEN PENDANTS FROM &TRADITION AND KNIT-WIT FROM MADE BY HAND. THIS PAGE TOP LEFT: PHOLC CHROME PENDANTS ABOVE RECEPTION DESK, BOTTOM LEFT: CLUSTER AND FLOOR LIGHTING FROM MADE BY HAND IN SIDE ROOM, RIGHT: PRIVATE DINING ROOM ENTRANCE

seriously ‘grown up’ members club feel, offers students

generally based around facilities and a target audience,”

not only contemporary comfort and security, but also

says Withey. “Generally, you have a lot of freedom to

study, fitness, gaming and social spaces - with proper

propose an aesthetic brief in the first instance.

design credentials.”

“To begin with, we focus in on the project’s location,

Pulling from their years of experience in commercial

its locality, and the building’s architecture. We would

design, Withey and her team were able to intertwine

then look for a link between the interior and the

a practical space for varied usership while also

architecture.”

maintaining a high level of luxury.

For The Place, there were three main threads to the

Wanting to keep the series of spaces open in the

design concept: heritage, process, and locality. With

amenity area and avoiding a blocky, compartmentalised

regards to heritage, the site itself was historically

atmosphere was one of the main challenges the team

famous for iron, steel and lace production. Taking the

faced. Successfully placing furniture and lighting

lace production angle further, the team took inspiration

subtly suggested designated areas throughout, while

from the journey of threads weaving together to form a

maintaining a sense of flow and wayfinding.

lace pattern to form the process element.

“In contrast to a lot of workplace projects where the

The lacing industry also played a key role in Withey’s

client is also the end-user, one of the most exciting

product selections, choosing light fixtures that

things about PBSAs is you have quite a lot of freedom

embodied notes of delicate textiles juxtaposed

when it comes to their design, because the brief is

with metallic accents as a nod to the industrial,

14/15 | PROJECT | THE PLACE

manufacturing machinery. Notably, the variety of Made

they’re an interior designer when not. But, I do love

by Hand pendants diffuse a soft light through knitted

working with the lighting as its key to the schemes.”

shades in muted colours. Elsewhere, the Pholc fixtures

The approach Withey and her team took for the lighting

above the reception desk provide a striking contrast in

scheme began with zoning the space, identifying the

bright, polished chrome and linear silhouettes.

features and circulation points where track lighting will

Lastly, the locality element was inspired by the

be used to aid wayfinding. “These are the areas where

building’s placement on Queen’s Road, which was

we’d generally put the track lighting and the smaller

constructed in 1843 and named as such in preparation

fittings, so people are drawn to the areas with the big

for Queen Victoria and Prince Albert’s visit to the city

feature pendants.”

on route to Belvoir Castle, 20 miles to the east. It is one

Taking

of the UK’s finest regency castles and dates back to the

some pendants were able to drop lower in areas

11th century. It added the luxury note of inspiration

with low seating, creating varied levels of lighting.

to Withey’s scheme, with notes of maroon and gold

“Predominantly, we used task lighting for wayfinding

scattered throughout the textiles, soft furnishings and

and as a backdrop to the feature lighting. The balance

decorative lighting, such as the Flowerpot VP1 pendants

can be very off if you start going for similar size fittings

by &Tradition.

throughout and subtly guide people to feed off into

When it came to balancing the architectural lighting

different areas.”

fixtures with the decorative, Withey admits most of

Speaking of her final impressions on the completed

the time there are not dedicated lighting designers on

project, Withey reflects: “We’re really pleased. It was a

the PBSA projects. However, over the years, she has

new client for us, and they really put a lot of trust in our

developed the skills needed to create a harmonious

dedicated team to drive the design. We built really great

scheme that meets the needs of the project and its

working relationships to the point that we are now

end-users.

working together on their next PBSA project in Glasgow.

“I am by no means a lighting designer, it’s a specialist

To me, that is one of the biggest compliments.”

skill I really appreciate and I’d never want to say that

www.ekho.studio

into

account

the

furniture

placements,

I am; in the same way it annoys me if someone says

IMAGES: LEFT: BOOTH SEATING WITH MAROON INTERIOR TO ARCHED AREA FEATURING &TRADITION PENDANTS, RIGHT: MEETING SPACE WITH SEPARATING CURTAIN AND MUUTO TABLE LAMPS

THE PL ACE, NOT TINGHAM, UK Interior Design: Ekho Studio Lighting Specified: &Tradition, Galvani, Made by Hand, Muuto, Pholc Images: Stevie Campbell Ekho Studio has brought an elevated, elegant design to the brand new student accommodation in Not tingham cit y centre. Using layered lighting that subtly emphasised the historical threads throughout the scheme added points of interest while also guiding people through the space.

Architectural lighting sat quietly in the background, of fering wayfinding and allowing the decorative fixtures the room to be the focal points of the space.

16/17 | DESIGN EVOLUTION | SCHWUNG

DESIGN EVOLUTION

SCHWUNG CREATIVE STUDIO

For Part 2 of our Design Evolution, Schwung presents its new floor lamp, which completes the Hana collection.

Continuing its passion for creating timeless lighting fixtures that are built to last, Schwung’s new floor lamp went through numerous iterations before the final version was ready for market.

The meticulously crafted Hana lighting collection expands its design

mood. This refined fusion of material and beacon evokes a quiet,

language with the introduction of Hana floor (Hana means ‘flower’

captivating glow.

in Japanese) - a natural evolution that completes the enlightened

All Hana prototypes were developed, from concept to creation,

family alongside the Hana flush mount (suitable for both ceiling and

under one roof. This fully in-house journey, guided by the precision

wall mounting) and Hana table lamp.

of Schwung’s own research and development team, ensures the final

At Schwung - which emerged a decade ago from the shared vision

piece reaches its form through a process of refinement, intention,

of Rudi Nijssen and Dominique Sente (pictured), premised on a

and care. To honour its promise of enduring beauty, Hana Floor has

deep appreciation for the timeless and the enduring - everything is

undergone a suite of thoughtful tests - each one a silent ritual of

handcrafted. Hana floor is no exception. This harmonious interplay

patience and pursuit.

between light and form elevates spaces of every kind, bringing a

The outcome is a soulful and tactile creation - born of artistry and

serene and calming ambiance.

care - designed to stir the heart and serve as a cherished heirloom

The crowning jewel is a delicate yet resilient milk-frosted, handblown

for years to come.

glass cloche, secured by a matching brass button - also found on

www.schwung.design

the base - that serves as a dimmer, granting precise control over the

18/19 | MATERIALS | SAULE BY LAROSE GUYRON

MATERIALS

SAU L E CO L L EC T I O N BY L A ROS E G U YO N Dis c o v e r t h e w hi m sic a l c r e atio n o f t h e S a u l e C o l l e c tio n b y C a n a di a n s t u dio L a r o s e G u y o n. Th e p e n d a n t t h at is re d efinin g l ig h tin g as kin e tic a r t, ble n din g m e tic u l o u s h a n d c r a f t s m a n s hip w it h p o e tic d e sig n t o c r e at e pie c e s t h at m o v e, s hi m m e r, a n d t r a n s f o r m t h e s p a c e s i t o c c u p i e s.

Félix Guyon and Aubrée Larose, the visionary founders

allowing the light to breathe with its environment and

behind Larose Guyon, always knew they were destined

subtly shifting the mood of the space it inhabits. The

for the world of design, long before their creative

fixture’s organic elegance is amplified by the sculptural

paths ever crossed. Their mutual fascination with

composition, where the brass arches rise like tree

light fixtures became the foundation of a partnership

branches, bringing both volume and height.

grounded in artistry, function, and emotion. For them,

“For a long time, we have wanted to incorporate

light is more than mere illumination; it’s poetry in its

mobility into our fixtures, to create a visual dance

purest form.

reminiscent of nature’s rhythm. The inspiration

This belief gave birth to Larose Guyon, a studio devoted

from the willow trees led us to explore designs that

to crafting handmade lighting pieces that embody the

allow for movement within the light, reflecting the

beauty of nature while forging a deeper connection

dynamic interplay between light and shadow,” says

between people and their environments. Their latest

Larose. “Throughout the design process, we focused

creation, the Saule collection, is a poetic interpretation

on capturing the essence of the willow tree’s beauty,

of the willow tree, capturing its graceful movement

ensuring that each piece in the Saule collection

through a whimsical, kinetic design.

embodies grace while providing functional lighting.

The Saule is defined by its hand-shaped leaves that are

This journey has not only elevated our artistry but also

suspended from elegant, curving brass arches, each

reinforced our commitment to creating designs that

crafted with care to reflect the gentle sway of willow

connect with nature’s poetry.”

branches. Inspired by the principle of equilibrium,

Adding to the fixture’s delicate balance is a soft pink

similar to a baby’s mobile, the fixture responds softly

glass globe, which serves as the light source. Paired

to the surrounding air, casting mesmerising reflections

with a smaller, suspended globe, this design detail

as the brass leaves shimmer in motion. “We wanted to

is evocative of delicate ripened fruit and introduces

design a fixture to capture the essence of movement in

gentle warmth and depth. The subtle contrast of glass

a simple, natural way – just like the gentle rustling of

and metal adds complexity and charm – each choice

wind through leaves,” says Guyon.

in material is thoughtfully considered to elevate the

The kinetic element is a cornerstone of the Saule

composition.

collection, imbuing each fixture with a sense of life

Creating Saule was a year-long endeavour filled with

and dynamism. The movement encourages interaction,

exploration and refinement. The design process

20/21 |

MANUFACTURING PROCESSES

Each leaf is individually hand-cut, ensuring that no two pieces are exactly alike. Once cut, the leaves are pressed into a custom-designed mould, created by Guyon and 3D printed in-house, to imprint a rich, textured surface.

MATERIALS | SAULE BY LAROSE GUYON

After moulding, every leaf is handshaped to create a natural, organic flow, allowing the brass fabric to move and settle like real foliage.

This meticulous, hands-on process highlights the craftsmanship at the heart of Saule, bringing a sense of authenticity to each fixture.

22/23 |

guided by a desire to echo nature’s forms and imperfections, embracing asymmetry, texture, and movement. Jewellery-like details, including brass chains and golden finishes, enhance its overall aesthetic, resulting in pieces that feel both precious and grounded.

Each brass leaf is meticulously handcrafted in Larose Guyon’s Verchères studio, where their team of artisans shape the metal to evoke the fluidity of nature. The process is detailed and timeintensive, beginning with the selection of high-quality materials and continuing through refined techniques that produce rich textures and lifelike forms. Much like fine jewellery-making, the work requires exceptional precision, care, and an artistic eye.

“Each leaf is treated like a miniature sculpture,” the team explains, “imbued with both artistry and intention.”

The process of creating the leaves begins with a tightly woven fabric made from brass fibres. Each leaf is individually hand-cut, ensuring that no two pieces are alike. Once cut, the leaves are pressed into a custom-designed mould, created by Guyon and 3D printed in-house, to imprint a rich, textured surface. After moulding, every leaf is hand-shaped to create a natural, organic flow, allowing the brass fabric to move and settle like real foliage.

This meticulous, hands-on process highlights the craftsmanship at the heart of Saule, bringing a sense of authenticity to each fixture.

Maintaining consistency while honouring the individuality of each handcrafted element is a balance Larose Guyon has refined over the past decade. Their experienced team adheres to rigorous quality standards without compromising the organic beauty that makes each piece unique. The result is lighting that transcends function – each fixture is a shimmering work of art.

Available in a variety of sizes and configurations, the Saule collection was designed with versatility in mind. This stems from the founders’ backgrounds in interior design and their deep understanding of spatial needs.

“We understand the importance of adaptable design,” they note.

“By offering multiple variations, Saule can seamlessly integrate into a range of interiors, from expansive entryways to cosy, intimate spaces.”

Larose adds: “When it comes to design, there are no strict rules.

That’s the beauty of using our pieces, they can elevate and transform any space.”

This adaptability is key to Saule’s charm. Envisioned as the “jewellery of interior spaces,” the collection enhances any room much like a statement necklace elevates an outfit. Whether placed in minimalist, modern, rustic, or eclectic settings, the fixture’s fluid elegance transcends stylistic boundaries. The founders add, “our pieces are made to transform and elevate any environment.”

At its heart, Saule is designed to inspire. It invites people to pause, reflect, and connect both with nature and with the artisanal craftsmanship behind each detail. The hope is that every piece sparks a sense of wonder, offering a serene and timeless presence that lingers long after the light is switched off. With Saule, Larose Guyon captures nature’s poetry in motion and brings it into the home. www.laroseguyon.com Images: Larose Guyon, Chanel Sabourin

MATERIALS | SAULE BY LAROSE GUYON

24/25 | INTERVIEW | LONE BØDKER PEDERSEN

INTERVIEW

LONE BØDKER PEDERSEN Product Manager at Danish lighting brand Nordlux speaks with darc about the design aesthetics and culture the brand adhere’s to, along with her role in trend predictions and material selection within the company.

Established in 1977, Danish brand Nordlux has since

I quickly worked up the ranks to a management

grown to produce and distribute lighting across

position and then on to be a buyer. This is where I

more than 50 countries. With a passion for inspiring

realised I have a passion and keen eye for colours

people to make the most of lighting, it is dedicated to

and materials, and looking further ahead than the

bringing great lighting with top-end technology at a

current trends. My interest in interiors then led me

competitive cost for a wide audience.

to a sales role at a design practice where I was able

The Nordlux Group consists of three brands: Nordlux,

to use my skills from the fashion industry, and where

Design For The People, and Energetic. Nordlux

I really found my career focus. Doing such versatile

provides attractive, value-for-money light sources

roles gave me a well-rounded perspective on the

and luminaires, while Design For The People focuses

challenges within interior design and the products I

on award-winning Danish design products. Energetic

was working with.

provides LED products (mostly lamps) with the

“Lighting has always been a fascination of mine,

newest technology.

and the impact it has on a

Speaking with darc, Lone

space. This prompted my

Bødker

Pedersen

at

Nordlux

discusses

her

journey into the design world and how she became Product Manager at the brand.

Bødker

Pedersen

grew

up in Aalborg, Denmark, where she continues to live with her husband and two

“We have also developed a design DNA that is established by key phrases we stick to in the process, ‘made to last’ being one... I look at materials that age well, that adapt to different settings and consider them based on the overview of CO2 emission as well. ”

move to Nordlux where I started in Press and Brand focus, which gave me a great understanding of the company culture and DNA. I would be asked my opinion on product launches, future planning

ideas,

trends

within the market, and it felt very natural for me to give

boys. Aside from her career

my perspective and ideas,

in product design, she has

which led me to my current

a keen interest in the world of fashion and interiors

position here at Nordlux.

while also taking pleasure in spending time with her

“I’m currently in charge of all the creative material

family, travelling, and CrossFit.

and design briefs for our external designers for

“I studied business but didn’t go on to university,” she

decorative lighting. I also visit the various shows

says. “[But] I think I knew from an early age my career

across the globe that cover lighting and interiors

would be in something creative. I grew up surrounded

to keep up to date and know what’s new. I work

by a family passionate about the arts, but I gravitated

closely with our technical manager, who helps with

most to my grandmother, who was a tailor. She

structural elements and the finer details. Also, I’m

taught me how to sew and about the differences in

working with our suppliers to follow the production

materials, patterns, and spotting trends. As I grew

and quality very closely from the initial design, to

up, my passion for interiors grew, and I knew I could

receiving material swatches, to the first product

uplift these skills to guide my career.

sample, if there are changes or adaptations needed,

“I started my early career working in fashion, where

right through to the final, ready-to-sell product. I

26/27 | INTERVIEW | LONE BØDKER PEDERSEN

“Light for me is a mood maker in a room, it’s the final touch, and without these light spots, there would be no feelings...

It’s how we can create light and shadow to give the space depth and atmosphere, and how the true effect and colour of the other elements like paint and fabrics are seen to our naked eye.”

also oversee the design protection and trademark

to use integrated LED if we feel the design requires

of product names.”

it.”

When it comes to trend predictions and market

Bødker Pedersen continues, explaining how a light

responses to product launches, Bødker Pedersen

is so much more than an accessory or piece of

takes inspiration from her travels. “A mix of many

furniture. “Light for me is a mood maker to a room,

things inspires me, but I would say travel inspires

it’s the final touch, and without these light spots,

me most; capturing how different cities make trends

there would be no feelings. There is a rule from Frida

their own, from architecture, interiors and fashion.

Ramstedt’s Interior Design Handbook that says we

I also take inspiration from the traditional styles

should have five to seven lighting points in every

from the past, walking through Milan or Paris and

room, more than what we initially think. It’s how we

observing the classic, vintage lighting and thinking

can create light and shadow to give the space depth

how it can be adapted to a more contemporary look,

and atmosphere, and how the true effect and colour

tastefully pulling the past into the present. For me,

of the other elements like paint and fabrics are seen

Italian designers from the 1950s and 1960s produced

to our naked eye.

some of the best design ever made, and that goes for

“For me, lighting should bring atmosphere and the

lighting, furniture, and perhaps even fashion.”

finishing touches to a space. We have a Danish term

When it comes to inspiration for a new design

called Hygge, which means cosy and content. For

at Nordlux, the team takes inspiration from the

example, at home I will always switch just my Talli

brand’s Danish heritage and contemporary view

floor lamp on in the corner of the living room, this

on lighting. “We have also developed a design DNA

light is just hygge for me, I really love the ambience

that is established by key phrases we stick to in the

it creates and what makes my home feel more than

process, ‘made to last’ being one. Lighting that lasts

just a home, but a cosy place for me to enjoy.”

for many years and is timeless in its design. I look

Reinforcing the idea of longevity, she goes on to

at materials that age well, that adapt to different

explain that a product’s “made to last” quality is one

settings and consider them based on the overview

of the key elements a well-designed product should

of CO2 emission as well. We also try to keep our

hold. “For me, it’s a mix of the design itself but also

decorative option retro-fit, but will base the decision

the way the materials work together and how they

IMAGES: THE STRAP COLLECTION, HIGHLIGHTING MATERIAL VARIATIONS.

EST. 2015

LONDON - BIRMINGHAM

ELEGANCE, ENGINEERED W W W. JA DA M SA N D C O . C O M

28/29 |

IMAGES: MINI GLOSSY TABLE LAMPS

are put together, which of course needs to maintain

seeing how our lights are used on such a variety of

functionality and look aesthetically pleasing in every

projects, both residential and commercial.”

setting.”

With reference to technology, like many, she regards

When asked whether she has a signature design

fixed LEDs as one of the best and worst developments

aesthetic and if that influences the brand’s direction,

within product design. “It has been so innovative to

Bødker Pedersen explains that she aims to route

create new designs and shapes, however, we have

everything back to the Scandinavian and Danish

found a market that still very much prefers the retrofit

way of working. “What is significant to us and our

option, and it’s finding the balance to meet the needs

best successes is when we work with the mixing of

of the end-user but not having to compromise on

materials, for example, the Strap series combines

great design.”

metal, leather and now felt. We also provide different

Reflecting on one of the most significant moments

colours of the leather so the end user can decide

in her career, Bødker Pedersen highlights her work

this on installation to complete the look. We see

on the Glossy table lamp, the first product she

this works well and will continue to work this way.

launched. “I worked with Danish designer Maria

We also mix the shapes we use, both organic and

Berntsen, who thought of a small acrylic table lamp

geometric, to create a counterbalance effect within

with a mushroom shade that was initially for outdoor

the collection.”

use. However, I found something within the shape so

Continuing, Bødker Pedersen explains that one of the

distinct and recognisable, so I wanted it to be more

most frustrating aspects of product design is realising

exclusive in the materials chosen and change it to

when a design cannot be brought to fruition as you

an interior lamp. We looked at what materials would

intended, despite many iterations and attempts.

work and have the right effect, which led us to look

“[This is especially true] with lighting, where we want

at marble for the base. We then added the small

the light output to be beautiful and uniform.”

brass detailing and developed the shiny, or should I

On the flip side, she adds: “The most rewarding part

say glossy, glass shade. Our Technical Manager also

is receiving the feedback from our internal team,

developed the inner side of the shade so there would

our customers, and the interior designers and then

be no dark spots or shadows. I feel the product is my

INTERVIEW | LONE BØDKER PEDERSEN

“The most rewarding part [of design] is receiving the feedback from our internal team, our customers, and the interior designers and then seeing how our lights are used on such a variety of projects, both residential and commercial.”

total darling. It has won a Red Dot design award, and

tones. I also think we will still see burgundy even

we have now developed it further, creating a mini

later in the year, as it has been dominated in fashion,

version using Pink Jade, which I found inspiration for

and I think it will follow in interiors. Chrome and

at Clerkenwell Design Week 2024, where I saw many

stainless steel were among the top trends at 3 Days

coloured stones with that almost translucent effect.”

of Design in Copenhagen last year, and I think we will

Summing up what it means to work with light, Bødker

continue to see these cooler metals. Wood has never

Pedersen describes it as “life-changing” yet retracts

been out of style, but we are seeing a shift from the

that for sounding too cheesy! “Light has such a big

lighter wood to the darker, which adds warmth and

effect on so many people, so I do stand by that,

richness to the products.”

even though it is just light. We are actually doing

Looking ahead, what can we expect from Nordlux?

something to change people’s lives. We are lifting

“We will continue with our current successes, but we

people’s quality of life with light.”

will be looking into new materials, moving away from

Catching up on current trends, we asked what Bødker

metals and looking more at stone and fabric and the

Pedersen is observing in the industry at the moment.

more organic materials. In terms of colours, we will

“I would say shape-wise, it seems to be chubby shapes

be continuing with the neutral none-white pallet,

and volume items that fill up a space. In lighting, we

such as beige and brown. We will also move away

are seeing bigger pendants that fit this, too. Materials

from the brushed and shiny brass and look more at

like fabric, in particular Linen and Tyvek, are also

the antique brass, which I feel is more timeless.”

popular. I feel the fabric gives the same experience

Catch some of the brand’s timeless pieces on show

as opal glass, where the light is warm, and we can

at Clerkenwell Design Week this May in the Light

appreciate it most. Regarding colours, it is the warm,

exhibition at the House of Detention.

earthy tones. Black is not as popular at the moment

www.nordlux.com

and is being replaced with more chocolate brown

IMAGE: NORDLUX HQ, AALBORG, DENMARK

30/31 | ON THE BOARD | WOW!HOUSE

ON THE BOARD

1

When I was invited to create a living room in collaboration with

2

Visual Comfort for the WOW!house, I knew from the beginning that the lighting would be the hero of the space. For me, lighting is not just about function - it’s about emotion. It sculpts the space, sets the tone, and above all, brings everything to life.

In this concept, every decision has been made to heighten the elegance and serenity I bring to my projects.

The WOW!house is an immersive celebration of style, but it’s also an invitation to pause and reflect. I wanted the space to fill guests with warmth from the moment they step in, and that begins with the lighting. My design always starts with my purist philosophy and in this scheme, lighting acts as the punctuation - bold, refined, and quietly powerful. [1] The room is bathed in warm, ambient light. Nothing too bright, nothing clinical. I chose deeply layered lighting to achieve that rich, cocoon-like effect. [2] This means a harmony between 3

downlights, decorative accents, and hidden LED strips [3] that wash across textures, subtly accentuating everything from the opulent velvet upholstery to the gentle curves of the furniture.

One of the centrepieces is a Visual Comfort Canto Grande chandelier, designed by Thomas O’Brien [4] - a sculptural moment suspended in the space, drawing the eye upward and playing with dimension. The curving lines of the Oscar Large Sculpted floor lamp , designed by Barbara Barry [5] also adds a sculptural quality to the room. It’s less about brightness and more about mood. I always think of lighting as choreography. It should dance, not shout. So, everything is dimmable, intuitive, and precisely positioned to guide the eye and soften the space.

Particularly important in this project was the interplay between light, texture and material. Light connects all the different materials in the room. Against the neutral and earthy palette with accents of rich browns, warm terracottas and soft ochres, light bounces and reflects in beautiful, understated

L I G H T , D R A M A , A N D S E R E N I T Y: THE LIVING ROOM OF THE WOW! HOUSE Built on the Design Avenue of Chelsea Harbour’s Design Centre, WOW!house is a one-of-a-kind showhouse stretching 600sqm. 22 full-size rooms and outdoor spaces - each uniquely designed by world-class interior designers, working in collaboration with globally recognised design brands and suppliers - are on show 3 June - 3 July, 2025. Kelly Hoppen was tasked with creating a living room in collaboration with Visual Comfort. darc discovers her design intentions for the space below.

4

6

5

7

ways. I incorporated brushed brass fixtures to catch the light just

My overall aim for the Living Room was to create a calm

so, giving off a golden glow without it ever feeling too ostentatious.

and harmonious atmosphere, bringing together vintage and

In collaboration with Visual Comfort, we were able to use lighting

contemporary elements. Unexpected accents run through artworks

pieces that echo the design language of the room: bold lines, organic

to upholstered items to create the perfect sitting room.

curves, and effortless sophistication. Each piece stands alone as a

Ultimately, the lighting in the WOW!house isn’t just something you

design element while also contributing to the overall harmony of

see - it’s something you feel. It creates a sanctuary. A space to sit and

the room. Integrated wall lights sit within a panelled wall [6] while

experience design with every sense. And in a world that’s constantly

the library sconce is installed in a cut out niche within a wooden

rushing, that feeling is, quite simply, a luxury.

screen. [7]

www.kellyhoppeninteriors.com | www.dcch.co.uk/wowhouse

32/33 | ON SHOW | MILAN DESIGN WEEK - EUROLUCE REVIEW

ON SHOW

MIL AN HIGHLIGHTS T h i s A p r il , t h e d a r c t e a m d e s c e n d e d o n M il a n o n c e a g a i n t o d i s c o v e r t h e l a t e s t d e c o r a t i v e l i g h t i n g o f f e r i n g s. T h i s y e a r , t h e t e a m w e r e o u t i n f u l l i n o r d e r t o c o v e r E u r o l u c e , e x h i b i t s, a n d s h o w r o o m s i n t h e c i t y. C h e c k o u t s o m e o f o u r h i g h l i g h t s o v e r t h e n e x t f e w p a g e s.

To m R o s s a u At this year’s Euroluce, Tom Rossau

yet

showcased a large selection of its

refinements, the TR4 has been a core

new and existing designs alongside

feature of the brand over the last two

its signature craftsmanship; with live

decades. With an elegant, organic form

workshops on the stand, which was

and warm glow, the TR4 is formed in

designed in-house by Nicolai Haastrup

the brand’s signature birch veneer.

of the brand’s design and product

Also on show was the brand’s well-

development department.

recognised TR7 series, which was

What sets the brand apart is its

covered in depth by darc’s junior

dedication

journalist,

to

local,

handcrafted

enhanced

Ellie

with

contemporary

Walton,

in

our

production. Each fixture is built by

previous issue. Make sure to check

skilled craftspeople in its Copenhagen-

it out and discover the full design

based workshop. This was brought to

and manufacturing process of this

life on the stand with Rossau creating

collection.

unique,

www.tomrossau.com

paint-splattered

side-by-side

with

Richard

artworks Nanka-

Bruce from the production team, who assembled multiple ST906 mini table lamps.

Alongside this, sat the anniversary edition of its iconic TR4 pendant.

Rooted in the company’s heritage,

J. A d a m s & C o The UK-based lighting brand J. Adams & Co debuted three striking new collections - Apex, Talbot, and Strata Circular - during Milan Design Week. Blending materiality, craftsmanship, and innovation, each piece redefines contemporary lighting with a perfect balance of form and function.

The brand also featured at Fourfold exhibition, which brought together a curated selection of four lighting, furniture and accessory brands into one space.

At the exhibition, J. Adams & Co was joined by Bomat, creators of custom-made, exquisite rugs and carpets, Bieke Casteleyn, renowned for its meticulously designed, high-end furniture, and Designs of the Time, celebrated for its avant-garde, nature-inspired textiles. www.jadamsandco.com Images: Jake Curtis x Hannah Bort

In t r a Lig h tin g Designed for both residential and commercial settings, Pendulum - available in three shades, white, black, and brick red - seamlessly fits into homes, offices, cafés, hotels, and more, bringing elegance and functionality wherever it’s placed.

Designed by Matej Štefanac, the piece is precisely balanced with a counterweight that keeps the lampshade stable. The shade can rotate from +90° to -90° and swivel 360° around its vertical axis, offering complete flexibility.

Pendulum can be used as a focused task light for reading or working, or switched to ambient lighting for a relaxed atmosphere.

Its LED light source remains hidden regardless of the lamp’s position, and is softly diffused through the shade, minimising glare.

Pendulum is built for longevity, with each part designed to be easily disassembled, ensuring repairs are straightforward and affordable. www.intra-lighting.com

B r a n d Va n Eg m o n d The quiet strength of the smallest seed, awakening beneath the earth, reaching through the darkness towards the light, and ultimately blossoming. The Blossom collection embodies the remarkable power of transformation and growth. It captures the mystery of life, distilled to its purest essence.

Brand Van Egmond’s Blossom invites the natural world into an interior, capturing the delicate yet powerful essence of growth and renewal. Each light echoes the graceful unfolding of petals, offering both warmth and elegance to any space.

With its soft light, Blossom brings harmony and serenity.

With Blossom, lighting becomes more than just illumination, it gently embraces nature’s transformative power. “‘Just as light is a necessity for a flower to blossom, beauty is essential for an interior to truly flourish,’’ says William Brand, Founder and Blossom’s designer. www.brandvanegmond.com

Zafferano The anticipated Zafferano Lampes-à-porter portfolio has expanded with new cordless, portable, and rechargeable lamps that offer maximum freedom of use. These are practical and versatile solutions, suitable for both indoor and outdoor spaces, meticulously crafted and customisable.

Alongside these, the Zafferano AiLati Lights portfolio offers mains-powered lamps in various materials – blown glass, ceramic, metal, and polycarbonate – characterised by a synthesis of aesthetics, functionality, and modularity.

Pictured, is the Pina XXL by Zafferano Lampes-à-porter. Following the success of Pina, Zafferano expands this collection of battery-operated, portable, and rechargeable lamps with a floor version. Its tilting head allows for precise light direction. The touch control on top of the shade enables users to switch the lamp on and off, adjust the light intensity (dimmer), and select the colour temperature (2200, 2700, or 3000K). Available in matte white, titanium, bronze, and matte gold die-cast aluminium, with 12 to 13 hours battery at full power. www.zafferanoitalia.com

34/35 | ON SHOW | MILAN DESIGN WEEK - EUROLUCE REVIEW

Arctic Artemide Designed by BIG, Arctic consists of geometric components that break apart and reassemble into modular structures, creating a dynamic interplay of light and reflection. The final form is an Archimedean solid stripped of its outer faces, with a structure defined by projections from the centre of its pentagonal edges. At its core lies a diffusing sphere, onto which truncated pentagonal pyramids are mounted. www.artemide.com Image: Pierpaolo Ferrari

Vosco Ambientec

Cubo Articolo

Vosco, designed by Nao Tamura, is inspired by tools that have been part of everyday life for generations. In a forest, trees that are tall and straight are selected for furniture, while curved, knotted, or irregular wood often goes unused.

We seek to honour these qualities, giving new value to materials that have been overlooked.

By transforming these woods into something that integrates into daily life, the brand hopes to create objects that will be cherished for years to come. www.ambientec.co.jp

A collection of nine wall sconces and pendants unite in concentric, geometric form yet offer a diversity of configurations plus chromatic and textural light and shadow interactions. Molten glass is poured into a hand-chiselled wooden mould, producing a textural imprint on the surface of each block. Available in a choice of brass or bronze casing and five desaturated glass hues: ice, guava, honey, mint and smoke. www.articolostudios.com Image: Thomas De Buryne Photography

Under Pressure Brokis The moment when molten glass becomes a solid yet infinitely delicate is the inspiration for Under Pressure, a new collection that captures this transformation and the exciting tension it creates. This visual effect is further accentuated with technical elements, such as a centre-line threaded rod that penetrates the glass globe and brings a touch of geometric regularity and industrial elegance. www.brokis.cz Image: Martin Chum

Kando Bover

Pòta!

Catellani & Smith

Introducing the Kando collection, a new line by Joana Bover that combines aesthetic allure and functionality. Named after the Japanese concept of ‘Kando’, which signifies profound emotional impact and satisfaction, this collection features luminaires that emit a soft, inviting light through unique materials ribbon fabric for indoor settings and nautical cord for outdoor environments - encased in a Teka wood structure that doubles as a handle. www.bover.es

The Pòta! pendant has a spheroidal structure, crafted in brass, and is available in two sizes - a 50cm diameter (with 18 ELV LEDs) or 85cm (with 36 ELV LEDs). The model comes with a white hemispherical base and a blue cable.

The pendant version with plug driver and ceilingto-floor installation shares the same dimensions and lighting elements; the difference lies in the distinctive anvil-shaped counterweight that adds balance and character. www.catellanismith.com

QN-BLAKLEY-M-BK

New Quintiesse Catalogue 2025 - Now Available enquiries@quintiesse.com | quintiesse.com Quintiesse is part of the Elstead Lighting Group

DARC FP - June 2025.indd 1

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Cilia David Pompa Cilia blends handwoven palma with precise industrial elements, creating a refined balance between organic warmth and architectural clarity. Light and texture interact to craft striking contrasts and ambient atmospheres.

With a timeless, sculptural quality, this collection seamlessly fuses tradition with modernity. In the future, the brand will offer different diffuser lenses to adjust the light’s angle, giving the user even more ways to play with the ambiance. www.davidpompa.com

OneOff Davide Groppi

Maap Flos

Designed by Omar Carraglia, OneOff is a mobile floor or table lamp that evokes the suspension between light and shadow. A special optical system focuses a perfect circle of light on the ceiling to create a precise, almost metaphysical effect. Light can be transformed, becoming colour and suggesting unique atmospheres.

An essential gesture that shapes new perceptions and designs space with the lightness of intuition. www.davidegroppi.com

Maap by Erwan Bouroullec is a wall-mounted lamp composed of a light element equipped with four LED sources and a cross-shaped iron support that magnetically secures the lamp body made of Tyvek. This casing is available in four sizes (Wall 1, Wall 2, Wall 3, and Wall 4), depending on the number of light modules mounted on the wall. At full extension, Maap can cover up to 4-metres in width, while its height remains at 160cm. www.flos.com

Allumette Foscarini Allumette by Francesca Lanzavecchia, is a project that focuses on the theme of the traditional chandelier with arms, redefining its aesthetic parameters. The luminous parts in transparent PMMA at the ends of the arms have been developed to create an effect of suspension in space. In juxtaposition with the solidity of the metal structure, the softness of the textile cables contributes to the dynamism of the design. www.foscarini.com

Mirror cube Formagenda The Mirror Cube is the latest addition to the Mirror Suspension family and has main character energy: bold, striking, and impossible to ignore. With its strong cubic volume and planar light diffusion, it blends classy elegance with modern futurism. Both geometric and reflective, it shapes the space around it, adding depth and dimension. The Mirror Cube comes in three different finishes: clear mirror, smoked grey mirror, multicolour mirror. www.formagenda.com

Campfire Grau During this year’s Euroluce, Grau presented its Plug & Play collection for lively vibes.

Following its showcase at Milan Design Week 2023, Grau transformed its celebrated art project Campfire into a market-ready product. Campfire is a unique luminaire in the shape of a 160cm tall glowing campfire a statement piece for foyers, shop windows, lofts, and lounges. www.grau.art

ON SHOW | MILAN DESIGN WEEK - EUROLUCE REVIEW

Hop LedsC4 LedsC4’s new launches follow its philosophy of “Light for better living,” with creations that stand out for their design, versatility, functionality, and sustainability. A notable highlight is Hop, designed by Nahtrang Studio, featuring pure lines that evoke fluid movement. “All the innovations represent our vision of light as a transformative element that defines each space’s identity,” says David Rodríguez, General Manager of LedsC4. www.ledsc4.com

Jasna Kuchnia Ingo Maurer

Tidal Lodes

The Munich-based lighting team reimagines the humble dish holder in an atmospheric context, detaching it from its utilitarian purpose and assigning it a new aesthetic role.

It consists of five simple white porcelain plates arranged vertically. Hidden behind them is a narrow, backlighting LED strip. The light is not merely diffused - it is absorbed, refracted, and reflected in subtle gradients of brightness. www.ingo-maurer.com Image: Giuliano Koren

Lodes completes its Tidal collection with a new suspension version. The main body has been redesigned with a double-shell structure that balances the direct and indirect light to minimise glare, while adding a dynamic twisting effect to the ring’s asymmetrical shape.

Available in two versions: the standard model with suspension cables approximately fourmetres long, and a rise and fall model equipped with a sophisticated winding mechanism. www.lodes.com

Osca LZF Lamps Bodo Sperlein transformed the historic All Saints’ Anglican Church in Brera into a space where design becomes a dialogue between tradition and modernity. In the lighting realm, LZF showcases its innovative creations in certified wood veneer, crafted through its exclusive Timberlite process. The brand presents the Voliere and Osca collections, alongside the premiere of the Arabesque light, inspired by Spain’s rich cultural heritage. www.lzf-lamps.com

Kurtain Luxxbox In a strategic partnership with Italian lighting icon Panzeri, Luxxbox unveiled new acoustic solutions at this year’s Euroluce.

Kurtain is an acoustic pendant inspired by the fluid movement of draped fabric, crafted from biodegradable wool for a soft, organic aesthetic. Designed for high-performance sound absorption, it is available in three sizes, 77 colours, and features dimmable LED technology. www.luxxbox.com

Grammoluce Martinelli Luce Grammoluce is characterised by the Lycra elastic fabric that covers the borosilicate glass structure, which, when deformed by glass spheres placed on it, acts as a switch and dimmer for the lamp. Depending on the number and weight of the spheres placed on the fabric, the lamp changes intensity and tone of the emitted light using a dynamic white LED source. This is the third collaboration with Habits Design, completing a trilogy of projects on the theme of light and gestural interaction. www.martinelliluce.it

38/39 | ON SHOW | MILAN DESIGN WEEK - EUROLUCE REVIEW

Colors Occhio The collection comes in 18 shades, creating virtually endless creative possibilities. Each nuance has been curated to give architects, interior designers, and clients the freedom to create extraordinary spaces through strong colour accents or harmonious compositions.

Colors by Occhio will be available to order for selected pendant and mobile luminaires from the Mito, Gioia, Sento, io and lui series in 2026. www.occhio.com Image: Laura Thiesbrummel

Gambosa Marset

Big Glow Rakumba

The new Gambosa fixture, available in two sizes, looks like a balanced sculpture in sophisticated colours. Its creator, Mathias Hahn, has provided a modern take on the table lamp, a design that challenges the product’s traditionally static and rigid nature. The shade is available in pale pink or black, opaque versions that provide a direct light, or in opal methacrylate for softer illumination. The stem is available in orange and moss grey and the base in stone grey. www.marset.com

In a fusion of heritage and innovation, Australian designers Studio Truly Truly partnered with Rakumba to launch Big Glow, a revolutionary take on the classic glowing sphere lighting archetype. Big Glow represents a shift in sustainable lighting design, utilising a blend of Australian wool and plant-derived compostable fibre. www.rakumba.com Image: Josh Robenstone

Hempla Sanctuary Sofia Hagen x Zumtobel Hempla Sanctuary - “Meditation Pit-Stop” was a unique interactive installation which blended mindfulness with advanced design, ancient craft, sound and light at Zumtobel Lighting’s new Milan headquarters. The Hempla seat made of clear 3D printed sugar comes with integrated LED lighting. When incorporating lighting within the structure, it emphasises the holistic experience, glowing smoothly through the translucent sugar shapes for a soft, ephemeral glow. www.sofiahagen.com | www.zumtobel.com

Ronex Roger Pradier

Igor Tooy

Brossier Saderne and Roger Pradier, members of the Rivalen collective, respectively presented the Ronex and Carex wall lights, created in collaboration with Pyrex as well as the Atelier pendant light, designed by Studio A.S.L Paris.

The Ronex wall light, designed by Stéphane Joyeux is available in aluminium, G9 LED, IP65-rating, and 15 colour options. www.roger-pradier.com

A lamp with a strong personality, defined by its dimensions and abstract form, which encloses each of its components within the simple, closed volume that characterises it.

“With this project I tried to combine the fascination for artificial structures and clear and decisive forms, evoking at the same time the movement that contrasts with the static nature of formal research,” says designer Duccio Maria Gambi. www.tooy.it

Visit us at Stand L5

Franklite-May-June_2025_Print.indd 1

hello@franklite.co.uk +44 (0)1908 691 818 franklite.co.uk

24/04/2025 14:52

40/41 | FOCAL POINT | DREAMAGINATION

FOCAL POINT

D RE A M AG I N AT I O N MILAN, ITALY

Inspired by the fusion of dreams and imagination, ‘Dreamagination’ transported visitors to a world of colour, innovative surfaces, and unique styles. Behind flowing curtains, dreamlike worlds unfolded, inviting you to explore.

Occhio presented itself in a colourful way in the first part of the exhibit: colours by Occhio became a vibrant expression of creativity and design freedom. The focus was on luminaires from the Gioia series – presented in breathtaking nuances of blue, green, red, and violet. The colours lend the iconic luminaires a completely new expressiveness in a curated palette of 18 inspiring colours.

A few steps later, a powerful, mystical world opened up: dark chrome expands Occhio’s stylistic diversity with a fascinating surface that’s perfectly aligned with interior design trends.

The depth and brilliance of dark chrome lends any room a sophisticated touch – and for the first time, Occhio also presented its classic Mito in a high-gloss finish.

The ‘Red Saloon’ (pictured) in the centre of the glass pavilion created a statement – a ​​ powerful, monochrome display in deep red that embodied pure opulence. Here, the entire Luna series unfolded its radiance in an ambience that combined intensity and sophistication. Luna pura, Occhio’s first wireless light, created unique lighting moods – from cool moonlight to romantic candlelight. At the centre of this extraordinary presentation is Lunanova – a reinterpretation of the classic chandelier.

Coro and Coro moon in gleaming gold were the highlights of ‘Dreamagination’’s light apricot lounge. The new lighting series combines a clear, minimalist design with fascinating innovations. They are available as Coro with zoom optics or a fixed lens, or as Coro moon with Occhio’s fireball light source.

Their minimalist design incorporates the popular Occhio features – including “touchless control” and “colour tune” to Occhio air. www.occhio.com Image: Laura Thiesbrummel

| 5

42/43 | INTERVIEW | MILAN DESIGN WEEK - YABU PUSHELBERG

INTERVIEW

L A S V I T X YA B U P U S H E L B E R G Renowned creative duo George Yabu and Glenn Pushelberg, internationally known as Yabu Pushelberg, have released the latest evolution from their Miles Collection: a new table lamp released exclusively for Milan Design Week 2025.

Resonating with the same lyrical elegance and formal clarity as its

to organically reimagine the piece without losing its identity. “It’s

brothers and sisters in the original collection, the Miles table lamp

almost like working with a vertebra”, Yabu observes, referring to

has been created to add a more intimate scale to the composition.

the way individual forms can stack and shift, suggesting both

It invites a quiet moment of reflection, where light becomes both

rhythm and structure.

sculpture and source. Inspired by the parallels between music-

The simplicity and versatility of the single or double flared form

making and glassblowing, Miles strikes a harmony between

allowed the team to adapt the piece for different functions without

precision and spontaneity.

compromising the language of the series. “It all made sense,”

The latest iteration continues the successful collaboration

adds Yabu. “It came from one shape, not just a linear tube, it has

between Lasvit and Yabu Pushelberg, which began with the Cipher

movement.” The new table lamp captures that movement in a

collection in 2017. The collaboration arose through an admiration

form, underscoring Lasvit’s commitment to timeless design and

for the brand’s exceptional craftsmanship and their shared

modular evolution.

alignment with their design vision. Together, they felt empowered

Looking ahead, Pushelberg hinted that a pendant version could

to transcend the physical limitations of artisanal glassmaking and

be the next step for the Miles collection, he made note that it

imagine without constraints. A collaboration that the pair have

would be perfectly suited for vertical architectural spaces such as

described as “liberating”.

a stairwell. “An extended pendant would be really beautiful,” he

Like Cipher, which became a modular lighting staple in hotels and

notes. “It would bring elegance to spaces where light and height

residences worldwide, Miles is designed to be versatile, equally at

meet.” The pair also reflects on the nuances of proportion, noting

home in residential spaces, creative studios, or hotel lobbies.

how the singular flare functions differently depending on its

“It’s about giving light a voice, says Yabu. “With Miles, we wanted

orientation.

to tune that voice to something lyrical – something with a soul.”

“When it goes downward, it just feels more natural,” Yabu says,

Like a soloist emerging from an orchestra, the table lamp refines

suggesting that their approach to design is as much about intuition

the essence of the collection into a standalone statement. Its

as it is about form.

form, which is made from the elegant interplay of fluted glass

When asked what kind of soundtrack would best describe the

and metallic elements, is evocative of the silhouette of a brass

Miles collection, Yabu and Pushelberg didn’t hesitate to answer

instrument. The design of the Miles collection was informed

with the apt association with Miles Davis; however, they said not

by the visual and procedural similarities between glassblowing

just because of the collection’s name, but also likened the moody

and musical performance. Observing the controlled breathwork,

elegance and emotional nuance both the lighting and music of

timing, and physical coordination required in shaping molten

Miles Davis share.

glass, the designers drew visual parallels to the techniques

“There’s something about how Davis draws out the music,” adds

used in playing brass instruments, which guided the formal and

Pushelberg. “It’s sombre, it’s moody – it seduces you slowly.” The

conceptual development of the collection.

designers likened the experience of the light to visual jazz: shifting,

The Miles table lamp exudes rhythm and tactility. Its fluted

layered, and atmospheric. Just as Davis’s compositions meander

interior catches and plays with light, transforming the piece

between tension and resolution, the Miles table lamp plays with

from a functional object into a sculptural form. “We wanted to

gradients of light, starting to dim then moving brighter, however,

create something that doesn’t just sit quietly on a surface,” says

never quite revealing everything all at once, creating an ambience

Pushelberg. “We wanted to create something that engages the

like a great piece of music.

space and the person in it.”

Glenn reflected further on the sensual quality of the piece,

As the Miles collection continues to evolve, its latest iteration as

suggesting that the light truly comes alive after sunset. “It’s all

a portable table lamp felt like a natural extension of the original

about night, seduction, and sex,” he says. “Something is compelling

design language. The transition from the larger sculptural forms to

about it when the world goes dark, and the lamp starts to glow, it

this more compact version came easily to the designers; drawing

feels intimate.”

from the trumpet silhouette that defines the series, the duo

www.lasvit.com | www.yabupushelberg.com

found that mirroring or modifying the flared ends allowed them

Image: Lasvit

44/45 | INTERVIEW | MILAN DESIGN WEEK - ALESSANDRO MUNGE

INTERVIEW

CO N TA R D I X ALESSANDRO MUNGE The new Contardi Picchio collection of wall and table lights designed by Alessandro Munge were unveiled at Euroluce.

Read below an interview with darc’s editor about his debut lighting collection.

At Euroluce, Contardi presented Picchio, the new collection designed

freedom to direct light accordingly. And when the lamp is not in use,

by Alessandro Munge. Inspired by the biomechanics of the woodpecker

it is folded away to create a sculptural point of interest in the room.

it combines aesthetics and functionality in a perfect balance between

The resulting reading lamp is a dynamic and sculptural object that

nature and technology, transforming light into an intuitive and

encourages playful interaction from the user.

sophisticated experience.

The research of materials and finishes plays a key role in the

darc’s editor sat down with Alessandro Munge and Enrico Passeri,

customisation of the collection, which is available in aluminium

the studio’s Managing Director, at the show, to learn more about the

and leather, with colour variations that range from contemporary

inspiration behind the product and why the designers felt their was a

minimalism to warmer interpretations.

gap in the market for it.

Munge explains that it was an intentional decision to contrast a

Reinterpreting the concept of a reading lamp, the interior designers

woodpecker’s natural, soft, feathery aesthetic with the lamps’ chosen

aimed to create something they were keen to specify in their own

materials of aluminium and leather. The woodpecker’s silhouette

hospitality projects. Inspired by the posture and movement of the

and movement played a stronger role in the product’s inspirations,

woodpecker, the lamp features a jointed structure that recalls its

as the arm and head of the lamp mimic the hinged movement of a

iconic gestures. The diffuser, which resembles a beak, opens and tilts

woodpecker standing vertically on a tree.

to precisely modulate the light, while the essential and functional joint

Munge continues, elaborating on the leap from interior design and

ensures maximum freedom of movement.

architecture into the world of product design: “This new foray into

Out of admiration for the studio, Contardi approached Munge and his

product design has been nothing short of exciting. It’s a lot more

team with the opportunity to create a product for the brand. Munge

challenging than interiors.

viewed this as a great chance to develop a product they always seek

“It’s easy to draw a product, but a hell of a job to produce it and to

when specifying for hotels. The aim was to blend functional design

get all the mechanisms to work. You have to rely on your partnership

with stylish and sophisticated aesthetics.

with the manufacturers to ensure they’re getting it right. Contardi’s

“It’s an advantageous position to be in as the specifier,” Munge explains.

technology and engineering department is amazing.

“You see a gap in the market, and you fill it. It makes a lot of sense.

“It’s easy to envision the product and see it, but then to understand

It’s easy to come up with a design, but to put something unique on the

how it got here [pointing at the product on the stand] is part of the

market - that’s very difficult. When you’re at a show and moving from

fun.”

booth to booth to booth, you begin to spot similarities but with subtle

During the research and development stages, Munge took 3d printed

differences. But we don’t want to be slightly different. We want to be

prototypes to his studio and asked for direct feedback and constructive

different.

criticism from his team – which they did. “It was amazing. So from that,

“As artists, you always want to be unique, but the world is so big, and

we went through a couple of iterations and as a result, they could see

product is such a massive part of the design industry. In our work, we

themselves specifying it, which is a real positive.”

just don’t believe in the philosophy of doing the same thing over and

Picchio combines aesthetics and functionality, offering practical,

over. When a project is done, it’s done in our eyes. We just won’t repeat

durable and adjustable lighting thanks to its ergonomic design and

it.”

advanced LED technology.

An interesting observation Munge had picked up on while staying at

It comes in different versions – wall lamp and table lamp – designed to

various hotels is that fact that a lot of desk lamps are placed awkwardly

adapt naturally to residential, contract and hospitality contexts.

on a table underneath the television. His aim was to create a task light

www.studiomunge.com

that was adaptable to these inflexible spaces, allowing the user more

www.contardi-italia.it

46/47 | INTERVIEW | MILAN DESIGN WEEK - FRANCISCO GOMEZ PAZ

INTERVIEW

V I B I A X F R A N C I S C O G OM E Z PA Z At Euroluce, Vibia unveiled Veil, a groundbreaking lighting system designed by Francisco Gomez Paz, that reimagines the relationship between illumination, architecture, and the human scale.

Moving away from the often rigid, large-scale lighting systems tied to

themselves. Gomez says: “Ideas don’t come from sitting at a desk, they

architecture, Veil introduces a more intimate, object-like approach.

come from working with your hands, experimenting until a simple

Essentially, Veil is a toolkit for shaping light with freedom and

solution suddenly appears, almost unexpectedly. Veil’s revolutionary

simplicity. “Lighting systems are typically designed at an architectural

cable concept was born from this tactile process, demonstrating that

scale, but Veil shifts toward the human being,” explains Gomez Paz. “It’s

the simplest ideas are often the most powerful.”

a system that behaves like an object that is dynamic, approachable,

Designed to be dynamic, Veil allows its users to create and customise

and adaptable.”

their own configurations via an upcoming app-based configurator,

At its heart, Veil is ingeniously simple: its slender profile conceals

making it accessible to both designers and homeowners seeking a

positive and negative cables, allowing electricity to flow discreetly.

tailored lighting experience.

Lighting elements, including spotlights, diffused spheres, linear

Reflecting on the collaboration, Gomez Paz speaks warmly about his

lights, and cylindrical paper shades, seamlessly clip onto the profile

experience working with Vibia: “It’s been a beautiful dialogue, full of

exactly where needed, are easily adjustable and rotatable for full

trust and creativity. Seeing the final pieces here for the first time is an

personalisation.

emotional moment. I can’t wait to bring [Veil] into my own home.”

Crafted from lightweight yet durable aluminium, the profiles are

Launching Veil at Milan’s Euroluce, the beating heart of the design

finished with a soft, matte texture that blends seamlessly into any

world, was a natural choice. “For me, Milan is everything in design,” he

architectural setting. The diffused spheres offer a warm, ambient glow,

says. “Every other year, Euroluce sets the rhythm for our industry. I’ve

while the linear lights provide precision and direction – all designed

been designing for Euroluce for years, so this moment is both personal

to rotate effortlessly along the Veil’s rail, adapting to the user’s every

and professional. It’s an incredibly strong platform to introduce a new

need.

collection.”

The name Veil itself alludes to the delicate way the system conceals

In a world increasingly drawn to personalisation and modular living,

its inner workings. “It’s just a simple aluminium profile, with a cleverly

Veil offers a new way to interact with light. No longer a static fixture,

veiled cable inside,” says Gomez Paz. “The concept is almost naive in its

light becomes an adaptable companion, shifting with mood, need,

simplicity, but it opens up infinite possibilities.”

and space, inviting users to create their luminous environments. In

Initially driven by a desire to create a flexible, minimalistic lighting

Veil, Gomez Paz and Vibia have created something truly rare: a lighting

toolkit for the home, Veil has evolved into a fully modular system

system that feels both profoundly technical and deeply human.

suitable for residential and commercial settings alike. Its minimal

Gomez Paz concludes the interview, summing up his passion for light

expression, in structure, scale, and visual language, makes it feel

saying: “Light, to me, is a strange kind of energy, both material and

almost invisible in a space, giving centre stage to the light itself rather

immaterial. It has the power to completely shape a space. You can

than the fitting.

change the entire atmosphere of a room with the right lamp. That

“The real challenge,” Gomez Paz shares, “was finding the minimum

duality is what drew me to lighting design in the first place. It allows

expression of a lighting system. Once you achieve that, the system

people to experience and inhabit spaces in different ways. Light isn’t

disappears, and you allow light to sculpt the space instead of the

just functional, it’s emotional, architectural, and deeply expressive. It’s

object.”

a complex idea to sum up, but for me, it’s essential to how we live and

Working between his studio in Argentina and his adopted home in Italy,

feel in the spaces around us.

Gomez Paz approaches design through a deeply hands-on methodology,

www.vibia.com | www.gomezpaz.com

putting a huge emphasis on the importance of prototyping everything

Images: Vibia

48/49 | ON SHOW | MILAN DESIGN WEEK - L’APPARTEMENTO BY ARTEMEST

ON SHOW

L’A P P A R E T E M E N T O

BY A R T E M E S T

Blue Chandelier by Bottega Veneziana serves as a striking focal point, effortlessly bridging the classical and the modern.

The Grand Salon by Meyer Davis [3] Dubbed ‘La Sirena’, this living room embodied allure and seduction, a space

MILAN, ITALY

suspended between ancient myth and contemporary design. “We wanted to create a space that invites guests to not just observe, but to engage, discover, and be

One of the darc team’s highlights of their trip to Milan was the L’Appartemento by

transported. Through layers of texture, light and form we created an experience

Artemest. Celebrating its 10th anniversary at this year’s Milan Design Week, Artemest

that blurs the line between past and present, fantasy and reality to evoke a timeless

presented its third edition of the residential installation that sees a variety of rooms

allure,” says Will Meyer and Gray Davis.

eclectically transformed by six acclaimed international interior design studios.

The Dining Room by Romanek Design Studio [4]

The installation aims to celebrate the world of Italian craftsmanship and design

The grandeur of convivial Italian gatherings was expressed by a dynamic mix of

through the lens of these globally renowned designers in an exclusive venue that

textures and materials to create a sophisticated atmosphere. “I wanted to meet the

opened its doors to the public for the first time.

room’s grandeur with a sense of uniqueness and calm, a space where one can finally

Located at the Palazzo Donizetti, a stunning 19th-century traditional Italian manor

exhale and truly relax. To transform a room that initially feels overwhelming into

house, the six rooms were transformed using a selection of extraordinary furniture,

one of serene beauty - a room designed to be enjoyed and lived in, not just admired

lighting, home décor and art from Artemest’s finest artisans, brands, and artists.

from a distance,” says Romanek.

The Foyer by Simone Haag [1]

The Entertainment Room by 1508 London [5]

This space was an elegant prelude to the experience where natural textures met

This room was a reinterpretation of the 19th-century salon as an eclectic space

bold compositions, and colourful accents stand in perfect harmony with the

inspired by the most prestigious members’ clubs and designed to foster connection

palazzo’s original charm. Engaging with its architectural and design language, Haag

and creativity. Despite its relatively small footprint, the space presented 15 distinct

drew on the palazzo’s Italianate resonance, allowing the beauty of its historic fabric

vignettes, meticulously curated, creating an experiential journey filled with

to sing against the intentional juxtaposition of contemporary collectible art and

moments of joy and playfulness.

design crafted by Italy’s modern-day design vanguards.

The Bedroom by Champalimaud Design [6]

The Reading Room & Studio by Nebras Aljoaib [2]

An artistic retreat where colourful glass, contemporary sculptures, and hand-

A refined and inviting space that merged classical architecture with bold, modern

painted wallpapers create a new world of elegance. “The whimsical, cinematic

designs. Aljoaib chose to move away from the typical desk-centered layout often

appeal of the vanity room leads into the elegant and relaxed bedroom where we

associated with home offices or libraries. Instead, the seating is placed at the centre

carry on the palette of reds, creams, and metallic tones,” explains the design team.

of the space, creating a more inviting and relaxed atmosphere. The Marina Light

www.artemest.com

1

2

3

4

5

6

50/51 | INTERVIEW | MILAN DESIGN WEEK - MAXIM VELČOVSKÝ

INTERVIEW

L ASVIT X M A XIM VE LČOVSK Ý Lasvit’s latest creation, Loomo, is where tradition meets innovation, and light becomes a tactile, sculptural experience. Conceived by Lasvit’s Art Director Maxim Velčovský, Loomo invites people into a world where fabric is fossilised in glass and light dances across woven textures.

At this year’s Euroluce at Salone del Mobile 2025, Lasvit

the glass becomes an active participant; it holds the light,

unveiled Loomo, a new lighting collection that combines

bends it, and reflects it back with texture and warmth.

tradition, innovation, and the transformative power of

The collection debuted in two sconce sizes, designed

glass. Designed by Maxim Velčovský, who is known for his

for residential, commercial, and hospitality spaces.

ability to reinterpret objects with a sense of irony and

Whether placed individually or composed into larger

historical reference, Loomo captures the delicate, tactile

wall installations, Loomo offers architects and interior

spirit of woven textiles, fossilised forever in luminous

designers a new way of animating surfaces, replacing

glass.

static artworks with dynamic, ambient compositions.

The origins of Loomo lie in Velčovský’s ongoing

Though rooted in technological precision, Loomo is

experiments with imprinting fabric textures into molten

deeply emotional. Velčovský notes that Loomo sits

glass. Following a large-scale installation at Palazzo

somewhere “between moonlight and technical lighting,”

Isimbardi for Milan Design Week 2024, where he explored

merging the soulful softness of natural light with the

the potential of three-dimensional surfaces, Velčovský

craftsmanship of contemporary design. Visitors to

began to develop a method he calls “textile fossilisation”,

Euroluce found themselves instinctively drawn to the

which embeds the intricate weave of cloth into flat sheets

tactile surfaces, running their hands along the glass,

of glass. This is achieved by placing a glass sheet over a

trying to grasp the elusive source of its glow.

textile structure and imprinting it, so that every thread

“People don’t expect it,” Velčovský tells darc, with a smile.

and every dot captures the light. As one moves around

“They try to grab the light itself.”

the Loomo, the glowing ring becomes more apparent,

Velčovský also channels a broader historical reference in

and the structure reveals itself, playing with the user’s

Loomo one which is informed by the ancient relationship

perception of light and surface.

between textiles and architecture. When early humans

The result is quite frankly mesmerising due to Loomo’s

moved out of caves and began building shelters, they

circular glass forms with a golden hue, its surface

often used branches to create woven frameworks, which

appearing woven and tactile from the front yet smooth to

were then covered with mud – a kind of primitive wall

touch. As the viewer moves, the perception of the lighting

construction.

changes – the ring of light fades, replaced by the intricate

“In that sense, weaving was one of the first architectural

pattern of the weave, blurring the line between light and

techniques,” he reflects. “In Loomo, we return to that

sculpture.

primal idea, weaving structure, capturing light, building

Beyond its immediate visual impact, Loomo addresses

atmosphere. The techniques and legacy of ancient times

a deeper design challenge: how to structure light itself.

continue to inspire me. “

Rather than relying on exposed light sources or diffuse

Though Loomo currently exists as wall-mounted sconces,

sources, Velčovský has embedded them above and

Velčovský hopes that the concept could evolve into ceiling

behind the glass plates. Light is drawn into every crevice

applications or larger sculptural installations. “We’re

of the woven imprint, softly emanating outward and

testing different interpretations, perhaps a chandelier

creating a glowing halo effect on surrounding walls.

version,” he says. “This is just the beginning.”

“You need a structure to capture light,” says Velčovský.

www.lasvit.com

“Without it, light just passes through. But with Loomo,

Image: Lasvit

52/53 | INTERVIEW | MILAN DESIGN WEEK - ILKKA KAUPPINEN

INTERVIEW

SEC TO DESIGN X ILKK A K AUPPINEN Adilo, the latest pendant from Finnish lighting brand Secto Design, was revealed for the first time in April in its full sculptural form after years in quiet development. Visitors to both Euroluce and the LaCividina showroom in Milan’s Fashion District witnessed the transformation first-hand: from an unassuming flat-packed disc to a graceful, spiralled luminaire that seemed to bloom in mid-air.

Designed by Finnish artisan and industrial designer Ilkka

“Instead of sending 200-litre boxes across the world, we’re

Kauppinen, Adilo is more than a light fixture – it’s a study

sending a fraction of that,” says Kauppinen. “That reduction

in movement, material, and intentional design. Its elegant

in logistics has a real environmental impact.”

mechanism allows the lamp to unfold with a single, fluid

This aspect aligns perfectly with Secto Design’s long-

motion. The result is an object that merges the poetic with

standing

the practical – a visually striking pendant that redefines

and local craftsmanship. As with all Secto pieces, Adilo

how we think about lighting, sustainability, and form.

is manufactured in Finland using FSC-certified wood,

Though Adilo may have debuted as a prototype this April,

assembled by hand, and designed to be both durable and

its origins stretch back 14 years. Speaking with darc at

timeless.

Euroluce, Kauppinen described the product as “a journey

Adilo’s launch marks a pivotal moment for Secto Design –

that never stopped giving.” Originally conceived as a side

not just because it introduces a new product, but because

project exploring geometry and natural patterns, the

it marks the first commercial light designed by Kauppinen

design lay dormant for over a decade while Kauppinen

in collaboration with the brand. The partnership was

pursued work in furniture and product development.

sparked at Finland’s Habitare fair, where Kauppinen met Tua

“It wasn’t until I left my full-time job that I had the space

Björklund, a longtime Secto advocate and industry figure.

to revisit this idea seriously,” he explains. “The form,

“We instantly shared a value system – respect for craft,

the mechanism, the light behaviour – they all evolved

form, and functionality,” he recalls. “From there, it just

organically over time. The breakthrough came with the

made sense.”

folding system. People struggled to open the early models,

The lamp debuted at two landmark locations during Milan

so I designed a new mechanism that made it intuitive.

Design Week: Euroluce, the biennial lighting exhibition at

Watching it open for the first time, fully formed – that was a

Salone del Mobile, and the LaCividina showroom in Milan’s

moment I won’t forget.”

Fashion District alongside Secto’s award-winning Kumulo

Staying true to Secto Design’s Nordic DNA, Adilo is crafted

pendant, recipient of the iF Design Award 2025, and a

from certified Finnish birch, a material synonymous with the

technically reimagined Owalo pendant.

brand’s signature architectural slats and warm minimalism.

The response to Adilo has been more than aesthetic. With

What sets Adilo apart is its innovative use of 3D-printed

its modularity, easy installation, and adaptable character,

components that allow the complex yet seamless folding

it holds clear appeal for both residential and commercial

action.

settings. While final production models are still in the

For Kauppinen, wood is more than a medium – it’s an

works, interest from architects and interior designers has

ethos. He tells darc, “I’ve worked with wood all my life. It’s

already begun.

the language I speak; however, combining it with technical

For Kauppinen, this debut marks his first commercial

components lets me push the material further to create

lighting product, a deeply personal milestone. He finishes

things that weren’t previously possible.”

telling darc: “It’s been an unexpected journey, but now that

Sustainability is a key tenet not only in the material but in

it’s out in the world, I’m excited to see where people take it,

the very philosophy of the product. Adilo ships flat-packed

what spaces it ends up in, and how people experience it.”

in a slim, efficient profile, a quiet rebellion against the bulky,

www.secto.com

wasteful packaging often associated with lighting.

Images: Secto

commitment

to

eco-conscious

production

54/55 | INTERVIEW | MILAN DESIGN WEEK - LEE BROOM

INTERVIEW

LL ADRÓ X LEE BROOM Cascade is a lighting collection created in collaboration with renowned British designer Lee Broom, who brings a fresh perspective to porcelain lighting. His concept merges porcelain craftsmanship with a contemporary vision.

Lee Broom was inspired to create Cascade after being

Broom observes that some of the simplest designs

invited by Lladró to visit the porcelain factories in

are hard to perfect telling darc: “Additionally, we had

Valencia, Spain, where he learned the traditional process

to consider how the various components connected

of crafting porcelain. It was here where he was transfixed

without compromising the delicate porcelain, as well as

by the beautiful craftsmanship and saw the similarities

how to integrate materials like acrylic. The Lladró team

in porcelain to Japanese rice paper. The idea of rice paper

are experts in porcelain, but they also found the Cascade

then consequently conjured images and memories of

one of the most challenging fixtures despite its simple

paper lanterns, one of the oldest and most enduring

appearance.”

lighting designs in history, which then became the

Euroluce not only saw the first collaboration between

foundation for Cascade.

Lee Broom and Lladró but also the first Broom has done

Paying homage to the cultural and material heritage

outside of his brand. The collaboration itself began when

of these iconic creations, Broom set out to test the

Lladró invited Broom to work with them – an offer that

boundaries of porcelain. His vision was to create

he readily accepted. Having long admired the brand

a contemporary light fixture that expresses the

and its evolution over time, Broom was particularly

seamlessness and ethereal quality of translucency.

drawn to their progressive spirit and knowledge of past

The result is a collection composed of two pendants

collaborations with peers like Jaime Hayon.

and a wireless table lamp, each defined by minimalist

“Working with Lladró offered a fresh opportunity,” says

geometry – clean spheres and cylinders articulated by

Broom. “I’ve had brands ask to collaborate on a project for

crisp horizontal and vertical lines.

years, but at the time it just wasn’t right to do something

Broom envisioned Cascade as an object with dual

outside of my own studio. However, the timing eventually

identities. When unlit, it stands as a sculptural form in

became right, and I saw this as an opportunity to keep

classic, pure white porcelain, serene and understated.

the practice fresh and to immerse myself in a material

When illuminated, however, Cascade undergoes a

and process outside the familiar realm of my own studio.”

remarkable transformation where the porcelain’s natural

When asked about the atmosphere Cascade creates,

translucency comes alive. A luminous shift to a warm,

Broom reflects on the inspiration of paper lanterns. He

amber-toned glow, evocative of candlelight, comes alive

notes that lanterns often evoke feelings of celebration

with porcelain layering and LED technology.

or mark significant life events, such as birthdays

When collaborating with a brand, Broom approaches

or commemorations of loved ones. This emotional

design differently than he does with his own label. With

resonance is amplified when multiple Cascade pieces are

his brand, there is no brief; his design simply begins

hung together, creating a visual effect that brings a sense

with a blank canvas. Working with a brand like Lladró

of joy, celebration, and pleasure. In the past, Broom’s

still offers creative freedom, but exploring those ideas

previous works tended to be influenced by brutalism and

within its factories. The materials themselves introduce

modernist aesthetics, and have carried a darker tone,

limitations; working with porcelain, for instance, imposes

but Cascade represents a shift towards something more

its own unique challenges due to it being a living material

jubilant – a tone more aligned with the Lladró brand

that shrinks unpredictably, by about 10%, during the firing

ethos.

process. Achieving the balance, precision, and symmetry

www.lladro.com | www.leebroom.com

that Broom’s designs demand became far more complex

Image: Lladró / Lee Broom

when working with a medium that is so inherently fluid

56/57 | ON SHOW | MILAN DESIGN WEEK - A DIALOGUE AMONG WEAVING, LIGHT, AND DESIGN

ON SHOW

A DIALOGUE AMONG W E AV I N G , L I G H T, AND DESIGN MILAN, ITALY

Making its Euroluce debut in April, Pet Lamp is an integrated and global project based on the reuse of plastic bottles.

It connects environmental action, craftsmanship, and the principles of industrial design in a constant dialogue with artisan communities from all continents.

As certified by the B Corp seal, Pet Lamp responds to the most advanced sustainable and regenerative business model. Unlike companies that only pursue profit, Pet Lamp meets the highest standards of transparency and social and environmental responsibility.

In 2012, the Pet Lamp project took shape in Colombia with artisans from the Cauca region, displaced by the guerrilla war in Bogotá. PET bottles are transformed into lamps through the application of traditional basketry techniques. This first collection (as well as those that followed year after year), was exhibited at the Rossana Orlandi gallery, Milan, to great international acclaim for its fresh and innovative approach, becoming one of the gallery’s flagship projects.

Without losing its initial focus on environmental awareness, the product’s development has led to a deeper exploration of its anthropological dimension. Each new collection is based on a set of technical requirements and the use of the plastic bottle as the core of the product, which maintains the connection between the lampshade and the electrical components.

Pictured is craftspeople holding the Gurunsi pendant, a collection that emerged as an interpretation of the traditional architecture of northern Ghana, crafted by the master weavers of The Baba Tree. The adobe and branch structures that form the Frafra family compounds, typical of the region, inspire each lamp, where every curve and knot tells a story of organic growth and familial connection.

This fixture was featured on the brand’s Euroluce stand, creating a stunning point of interest while providing a soft illumination. Each lamp is equipped to meet modern needs, featuring electrical installations that support both 110V and 220V, and a foldable design that simplifies transportation and assembly. www.petlamp.org

58/59 | INTERVIEW | MILAN DESIGN WEEK - MICHAEL VASKU

INTERVIEW

P R E C I O S A X M I C H A E L VA S K U At Euroluce, darc caught up with Michael Vasku, Creative Director of Preciosa, to delve into Crystal Links, a striking new collection that redefines decorative lighting through curated designs and boundless possibilities for custom composition.

Crystal Links is a new lighting concept designed to bridge the

cut out by hand, with intricate facets carved manually by skilled

gap between architecture and interior design. Speaking about

artisans. For the bubbled crystal, a chemical reaction involving

the collection, Vasku describes how Crystal Links blends linear

soda is introduced during the blowing process, embedding

precision with creative chaos, offering a modular system that

tiny air pockets within the crystal mass. These bubbles play a

caters to a wider variety of spaces and moods.

crucial role in enhancing how light travels through and reflects

The inspiration behind the new collection is informed by the

off the material, making the entire structure shimmer and glow

structure and fluidity of urban landscapes and the geometric

uniquely.

precision of modern architecture, such as the glowing windows

One of the biggest challenges during the development was

and bustling streets of metropolitan life. The metal tubes

achieving the desired lighting effect. Vasku and his team had a

denote a bustling city’s intersections of roads, places, and

vision to create an original and sophisticated glow that would

people, whereas the bicones are inspired by the light that

not be achievable by simply placing an LED behind the crystal,

glows from apartment windows amidst the city’s rush.

which led to the development of the right chip and internal

“We call it Crystal Links”, began Vasku, outlining the project.

structure. This development took months to perfect and was

“It’s a mix of orthogonal design and chaotic design. At its core,

only completed a few weeks before Crystal Link’s debuted in

Crystal Links features a series of crystal bicones, either sharply

Milan. The entire process from concept to production spanned

cut or organically bubbled and arranged along slim rods.”

around nine months to complete, a timeline the team mastered

The design allows for different compositions from strict,

to unveil at least two major designs a year.

geometric grids to spontaneous, flowing installations. The

The fixture offers a modular approach, hands creative control

crystals themselves glow with soft, internal light, thanks to an

to the client while maintaining a thoughtful, developed

ingenious system where LEDS inject light into the edges of each

aesthetic foundation. When asked about the atmosphere that

crystal, enhanced by the inner silvering technique that creates

the Crystal Links creates, Vasku highlights its versatility: “It can

a rich halo effect without revealing any technical components.

be structured and disciplined, or it can be wild and creative.

The motivation by Crystal Links was clear: there was a

It’s a simple design at heart, but it’s extremely versatile, which

noticeable absence in the market for crystal installations that

allows interior designers to craft something unique without

fit with contemporary and minimalistic interiors. The result is a

starting from scratch.”

system that offers hard-edged, modern forms while preserving

Reflecting on the significance of presenting Crystal Links in

the intricate beauty of Bohemian glass craftsmanship.

Milan, Vasku didn’t mince his words: “Milan is the centre of the

“Crystal is traditionally decorative and is often dismissed by

design world. Many cities have tried to compete, but none have

architects who prefer clean and structural forms. We wanted

succeeded. Milan is the place to be for design, there is no way

to change that – to create something that would speak to

around it.”

architects and designers alike,” explains Vasku.

www.preciosalighting.com

The production process itself is rooted in traditional

Image: Preciosa

techniques. Each crystal component is mouthblown and then

60/61 | INTERVIEW | MILAN DESIGN WEEK - UMAT YAMAC

INTERVIEW

L U C E P L A N X U M A T YA M A C During Euroluce 2025, Luceplan unveiled its latest collaboration with British multidisciplinary designer, Umat Yamac, revealing the Posi table lamp, a portable table with rearrangeable light-up flowers.

The name Posi derives from the word ‘a small bunch of

five elements. The vase base and individual flowers will be

flowers, which essentially is where the concept for Posi began.

available to buy in both and to purchase individually, allowing

Yamac conjured the idea for Posi with the desire to create an

the user to reconfigure the arrangements depending on how

emotional object where someone would have to add objects

they are feeling.

to a vase to create light, taking inspiration from Ikebana, the

The Posi is available in three finishes, silver, aluminium, and

Japanese art of flower arrangement - “living flowers”.

black, with the stems matching the corresponding colours. In

The stems, which are offered in various heights, are finished at

terms of the shades, given the design’s small and lightweight

the ends with elegant diffusers made of satin-finished opaline

nature, it was crucial to find the right balance in material.

techno-polymer. These are available in three geometric

Although prototypes performed well on paper, practical use,

shapes: cylindrical (in two heights), conical, and circular.

especially for an object meant to be handled frequently,

When connected to the base, the stems light up with an LED

presented challenges. In the end, Yamac and Luceplan selected

filament that comes to life. These stylised forms evoke the

a polymer material for the shades, ensuring greater durability,

delicate outlines of flowers, giving the stems a sense of natural

easier cleaning, and better resistance to dust accumulation.

lightness.

When asked about the atmosphere the Posi aims to create, the

The development of the Posi took four years to complete as

designer explained that the intention was to evoke a sense of

Yamac found the balance between the form and shape. In the

warmth and familiarity. Yamac hopes the lamp will spark the

end, it was clear that the design needed to be abstract yet still

feeling of playfulness within a space, something that could

familiar, hence the final choice between forms like cones and

emotionally connect with people through the familiarity of its

cylinders, all of which are suggestive of a flower.

forms.

Discussing the challenges faced during the development of

“We all need bits of joy in our day-to-day lives,” Yamac says.

Posi, Yamac tells darc: “I think one of the biggest challenges

“Objects can play an important part in bringing that emotional

was finding the right balance between creating something

resonance into everyday environments.

decorative and ensuring it remained practical and functional.

Regarding future developments of the lamp, Yamac remains

“There was also a major technical hurdle, which we worked

open but cautious, acknowledging that extending the Posi

through with the team at Luceplan, specifically, figuring out

collection would require maintaining the original spirit – the

how to make the connections both secure and seamless. There

balance of natural references and lightness, while thoughtfully

aren’t any other table lamps that allow you to rearrange the

evolving the typology. “The challenge,” he explains, “is how you

elements in this way, so it required developing an entirely new

retain the essence but expand the language.”

technical solution. It’s been quite a challenge, but then again, I

Posi is more than just a lamp, it is about “activating an object”.

think all the best projects come with a bit of difficulty.”

The vision was to create something that not only lights a space

How the Posi works is through the simple touch of the lower

but also interacts with it and its inhabitants. By enabling users

part of the base, allowing the user to easily switch on or off

to place, move, and rearrange the stems, the object becomes

and adjust the light intensity while preserving its clean and

more generous, more personal, and more alive.

minimalistic aesthetic. This visual harmony enables Posi

Yamac finishes saying: “Flexibility is key, individual elements

to seamlessly integrate into any environment, showcasing

are intended to be available separately, allowing users to

its refined character even when turned off, thanks also

replace, add, or modify their arrangements over time.”

to the premium materials of its structure, including brass

www.luceplan.com | www.umatyamac.com

and aluminium. The smaller variants of the Posi offer three

Images: Vibia

elements within the base, whereas the larger allows up to

62/63 | INTERVIEW | MILAN DESIGN WEEK - MICHAEL ANASTASSIADES

INTERVIEW

M I C H A E L A N A S TA S S I A D E S : SUSPENDED IN LIGHT In a rare gesture of both reverence and rebellion, the Cypriot-born London-based designer unveiled his latest collection within the hallowed walls of the Jacqueline Vodoz and Bruno Danese Foundation, during Milan Design Week. This year’s collection marked a significant moment for Michael Anastassiades, not only in form but in narrative.

Tucked away from the frenzy that is Milan Design Week, Michael Anastassiades’

Moving through to the Sala Doppia, Frame reinterprets the window not as an

latest exhibition unfolded inside the now defunct Jacqueline Vodoz and Brune

aperture, but as an idea. The series evokes three seminal moments in 20th-

Denese Foundation, a mid-century Milanese palazzo, which has since disappeared

century art, such as Marcel Duchamp’s Fresh Widow and Renè Magritte’s surrealist

from public access. The building, once a hub for radical postwar design, became

frames, but also the more architectural experiments of Ellsworth Kelly. Here, the

the unlikely but poetic host for installations that were much more about memory

“window” becomes both object and absence – something to see through and

than their form. Anastassiades is blessed with the good fortune to have a close

something to see.

affiliation with the foundation as well as its owners, having first visited the space

The installation features open square configurations of aluminium grids (1x1, 3x3,

as an up-and-coming designer in the 1990s.

and 7x1), imbued with fine LED light strips. These minimal structures transform

Anastassiades tells darc magazine: “It was the first time I had been back in that

into luminous thresholds, portals of reflection and possibility. Hung above a

space since I first visited as a young designer. It felt like the right moment.”

table, the Frame does not assert itself as a traditional light fixture but rather, it

Understanding the architectural and symbolic weight of the building’s

becomes an atmosphere, a shifting suggestion of space and form. Its reflective

importance, Anastassiades approached the installation with a philosophy

surfaces interact subtly with the room, fading into its environment while quietly

of minimal intervention where each room was engaged, not overwritten. He

reorienting it.

allowed the space to breathe, to resonate with artefacts of its past while subtly

The exhibition concludes in the Sala Ovale, where a single Floor Mobile Chandelier

guiding visitors through his own unfolding of the story. For the welcoming of

punctuates the domed fresco. This is an extended version of the original in a

archival displays to the vaulted Sala Ovale, every transition was both spatial and

patinated deep Prussian blue, a colour choice dictated by the room’s ethereal

emotional.

palette. The fixture walks the fine line between monument and mirage; balanced,

The installation began in the first Salone with the Cygnet, a series of luminous

yet dynamic, its form evokes movement even in stillness.

forms inspired by the geometry of Alexander Graham Bell’s tetrahedral flying

In contrast to the installations around it, Halesia, Anastassiades’ co-branded

machines. Each Cygnet is built from equilateral triangles of Japanese washi paper,

portable lamp with Italian-based lighting brand Alessi, operates on an entirely

internally lit by hidden sources. Cygnet’s design is informed by the designer’s

different register. Named after the snowdrop tree, the rechargeable table lamp

childhood memories of flying kites in Cyprus – spending days in the sun crafting

is both functional and gestural. Two mirrored bell forms nest into one another;

and chasing delicate paper constructs into the sky. The connotations of lightness

twisting the upper half dims or brightens the light. The polished steel reflects

and flight were important to Anastassiades to translate in the installation piece,

its setting and its users, creating a fluid interplay between object, table, and

however, constraints with the foundation meant the lights couldn’t hang from

conversation.

any frescoes or ceilings. By using a bamboo structure and an invisible wiring

Although Anastassiades had previously designed for Alessi, this project marks

system, the team could achieve the illusion of the kites flying. The bamboo

the first co-branding between the two. The collaboration allows the designer

structure became a necessary functional element but also transpired into part

to explore new markets and scales without compromising the design language.

of the wider narrative.

“It’s still me,” he says. “It’s the same philosophy, just adapted to a new context.”

Anastassiades elaborates: “Bamboo offered a lightweight, modular solution. It’s

What binds Cygnet, Frame, Halesia, and the Floor Mobile Chandelier is not merely a

a sustainable material, and we used traditional lashing techniques – just rope, no

consistency of aesthetic but of intention. These are not lights in the conventional

screws or nails – so everything could be disassembled, reused, and repurposed.”

sense; they are objects of quiet provocation – architectural kites, conceptual

He adds: “Of course, this isn’t a new invention. Bamboo scaffolding has been used

windows, flowering plants. Each piece is designed not just to illuminate space but

throughout Asia for centuries, even for the construction of skyscrapers. What we

to activate it, to offer viewers a glimpse into a more poetic mode of perception.

did was reinterpret that tradition – strip it back, refine it, and allow it to function

“Everything has a reason,” Anastassiades reflects. “Whether it’s paper, bamboo,

not only structurally, but sculpturally. It frames the space without dominating it.”

aluminium, or patinated steel, materials are never decorative. They carry the

The result is delicately luminous sculptures that hover, refract, and disappear

weight of memory, of message, of method.”

depending on one’s vantage point. “They’re always flying,” says Anastassiades,

www.michaelanastassiades.com | www.alessi.com

“and at a certain angle, they catch the light and remind you they’re still there.”

Images: Nicolò Panzeri

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66/67 | IN FOCUS | NEBLUA

IN FOCUS

Nebula gio va n ni l u c a f e r r e ri Pat r izi a Vo l pat o

What is the concept behind the Nebula collection?

specifically to decorate spaces indirectly through

Nebula is born from the ‘light’ of nebulae that

the use of light and shadow. We believe this is

contemporary telescopes are able to capture. These

why the collection has achieved such remarkable

are evocative images that we sought to simulate

success in such a short time. In fact, in addition to

through the reflections created by blown glass.

winning the [d]arc award, just one month after its market launch, it also received two LIT Awards and

How long have you been working on Nebula for?

the Master Prize Award.

The collection was developed over approximately one year, during which various light and optics tests

What does it mean to you to win a [d]arc award?

were carried out. We also created at least three

Winning a prestigious award like this represents

prototypes before reaching the final outcome.

far more than a simple accolade for a lighting company - it is a mark of excellence and innovation

What was the most challenging aspect of producing

recognised by the international design community.

this piece?

The [d]arc awards, judged by a panel of some of

The fact that we were not sure we could reproduce,

the most influential lighting designers in the world,

by analogy, the ‘light’ that nebulae convey.

celebrate creativity, technical expertise, and the emotional impact of lighting projects and products.

What materials and technologies have been used,

For a company like ours, receiving such an award

and can you describe the design process?

means that our commitment to pushing the

Nebula is mainly composed of two materials: Murano

boundaries of design, quality, and craftsmanship

blown glass and metal, which form its structure.

is not only acknowledged but also celebrated on

During the prototype production phase, we realised

a global stage. It validates the work of the entire

that blown glass alone did not fully satisfy our

team - from the initial creative concept through

design vision for the lighting fixture. Therefore, we

engineering, prototyping, and final production -

decided to “pull” the glass by hand, a technique that

demonstrating that our vision resonates with both

plays a fundamental role in the result we achieved.

experts and the broader market.

Another important element is the light source itself,

Moreover, the [d]arc awards boost brand visibility,

which serves a purely technical function.

strengthens our reputation, and builds trust

The design process of our collections - as well as our

with clients, architects, and designers who seek

bespoke creations - always starts from a concept.

excellence and originality in their lighting choices.

Once the brand’s artistic direction approves a

It serves as a powerful motivation internally,

concept, the technical team begins the engineering

inspiring us to continue innovating and investing

phase, followed by prototyping. Our products are

in our passion for creating pieces that are not only

only launched on the market after they have been

functional but also profoundly artistic.

fully produced at least once, ensuring the highest

Winning the [d]arc award is not just a victory

quality standards.

for a single collection - it is a recognition of our company’s ability to shape the future of decorative

What makes this product different to other lighting

lighting.

products available on the market?

What truly sets our Nebula collection apart is the

Please describe the product in three words.

reflection that spreads across the walls in a play

Unique, surprising, cosmic.

of light, shadow, and unexpected colours. Until now, there was nothing on the market designed

www.patriziavolpato.it

One product, many looks.

LYSABEL

Lysabel was used in the renovation of Notre-Dame.

www.intra-lighting.com/#Lysabel

www.tomrossau.com