#62 PA S T E L LO C O L L E C T I O N BY C U R I O U S A HOSPITALIT Y LIGHTING LIGHT 25 PREVIEW KRISHNA MISTRY
| 2/3
WELCOME
Sarah Cullen • Editor
Can you believe it? Here I am writing the last welcome note of 2025! I know, I know… people say it all the time, but honestly, where has the year gone? As the magazines start to quieten down here at [d]arc media, the energy (and stress levels) begin to ramp up as we head into LiGHT 25 – all hands on deck – preparations. With some fantastic new additions to the show this year, check out our in-depth preview, which includes a large selection of products from exhibiting brands, over on p.58. Bringing it back to the beginning, we kick this issue off with some stunning hospitality projects from across the UK, all of which have distinctive aesthetics. Read all about their design journeys and the importance of decorative lighting in each, starting on p.8, followed by a small selection of brand case studies. Our Materials feature, on p.34, looks at the brand new Corka collection designed by Samuel Wilkinson for Zero Lighting. The range, as the name suggests, is developed using cork as its main material, which brings a beautiful, earthy texture and palette to the fixtures. Following this, I got the chance to sit down with Krishna Mistry to put a spotlight on her lighting design studio’s fifth anniversary. We discuss her route into lighting design and the leap into becoming a business owner during the global Covid-19 pandemic. Read about her journey over on p.40. As for our regular features, we have an On the Board on p.46 from Juliette Interiors that explores the world of gothic aesthetics and highlights all things dark and opulent. Interior design studio 74 brings us a comment piece on p.49 about layered lighting techniques within a residential setting. Plus, part two of Design Evolution on p.50 completes the collaborative journey between Tala and Heatherwick Studio’s Wake lamp. Before the issue wraps up, we dip our toes into the world of luxury yachts, highlighting Articolo Studio’s new marine collection, The Vessel Edit on p.52, and Chapi Design’s superyacht project, Luminara, on p.54. To close the show, I caught up with Esther Patterson of Curiousa to talk about the brand’s latest launch, Pastello. A beautiful collection of porcelain lights in a mix of signature and new colours that are quickly becoming a signature aesthetic of the studio. Discover details of Patterson’s inspirations
COVER: PASTELLO COLLECTION, CURIOUSA
behind the collection and the manufacturing processes the pieces went through to create the desired finishes on p.66. Enjoy reading our last issue of the year, soak up its inspiration, and get in touch with the team if you would like to propose any editorial submissions for next year! I look forward to seeing you at LiGHT 25 in November!
/darcmagazine |
@darc_mag
04/05 | CONTENTS
CONTENTS FE ATURE D
Mpala
Jena
PROJECTS
INSPIR ATION
006
008
046
Focal Point
Hospitalit y Lighting: Galler y, Savoy Hotel
On The Board: Gothic Design
tex tured
Studio Shayne Brady recently carried out a full
Juliet tes Interiors highlight s a current trend of
decorative lighting throughout , by Trac y Kelly
Luxur y
Camp
features
renovation of bar and restaurant Galler y at the
gothic interiors, presenting a range of lighting and
Interior Design.
iconic Savoy Hotel in London, UK . The space exudes
furniture that suit s the dark aesthetic.
luxur y and warmth with a blend of traditional and 034
contemporar y design.
Materials
049 Comment: Rosie McDonnell
Known for collaborating with forward-thinking designers,
014
People f irst design: The impor tance of lighting
Zero Lighting champions innovation that balances form,
Hospitalit y Lighting: The Hall
when creating experiences in residential spaces.
function, and environmental responsibility. Its latest
Box 9, a London-based design studio that works
McDonnell, interior designer at 74, discusses
collaboration with British designer Samuel Wilkinson
holistically across architec ture, interiors, furniture
the power of layered lighting and flexibilit y for
exemplifies this ethos perfectly.
and st yling, recently unveiled it s highly anticipated
residential environment s.
restoration and reimagining of The Hall, a Grade 040
I-listed Georgian stately home at the hear t of
050
Interview: Krishna Mistry
Denton Reser ve in Ilkley, Yorkshire.
Design Evolution Part 2: Wake
Celebrating five years of Mistry Lighting, darc talks with
Discover the realised creation bet ween Tala and
founder Krishna Mistry to discover her journey into
020
lighting design that ultimately led her to opening her
Hospitalit y Lighting: Royal Nawaab
own studio.
Once an infamous local landmark and the but t of
066
many jokes, the long-derelic t Stockpor t P yramid
In Focus: Pastello Collection
Heather wick Studios - the brand new Wake lamp.
052
has been reborn in an architec tural tale of rags to
Find out more about the design inspirations behind
Focal Point: Cruise & Yacht Lighting
riches. Today, what was once a symbol of failure is
Curiousa’s new Pastello collection, which brings vibrant
Ar ticolo Studios launches a new lighting collec tion
now a landmark dining destination - a restaurant
pops of colour to bathroom and bedroom settings.
suitable for marine environment s.
where grandeur meet s genuine warmth, and where the clat ter of plates and laughter f ills it s vast ,
058
copper-toned halls.
On Show: LiGHT 25 Preview Check out a range of brands and products that will be on
054
offer at the upcoming LiGHT 25 exhibition this November
Cruise & Yacht Lighting: Luminara
at the Business Design Centre, London.
Toronto-based interior design studio Chapi Design has unveiled it s latest projec t , the Luminara, which is the third super yacht in The Rit z-Carlton Yacht Collec tion fleet .
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
FINANCE Finance Director | Amanda Giles a.giles@mondiale.co.uk
[d]arc media ltd | Strawberry Studios, Watson Square, Stockport SK1 3AZ, UK | +44 161 464 4750
Credit Control | Lynette Levi
Printed by Buxton Press, Palace Road, Buxton, UK
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ISSN 2052-9406
06/07 | FOCAL POINT | MPALA JENA CAMP
FOCAL POINT
M PA L A J E N A LUXURY C A MP VICTORIA FALLS, ZIMBABWE
Great
Plains,
the
iconic
African
eco-tourism
organisation founded by National Geographic filmmaker-explorers Dereck and Beverly Joubert, has announced the opening of the first of two new exclusive-use villas at Mpala Jena, near Victoria Falls, Zimbabwe. Designed by villa owners Kevin and Shannon Lang in collaboration with architect Julia Rotherford and award-winning interior designer Tracy Kelly, the villas maintain the charm of the original Mpala Jena camp, which has established itself as a sought-after destination experience with a prime location on the Zambezi River’s edge and offers countless wildlife viewing and activities both on and off the water. All the lighting on site was designed and fabricated by Tracy Kelly Interior Design Studio. The colours, textures and materials pair beautifully with the natural environment of the camp, and provide a calming, warm illumination across the hospitality areas and residential private villas. Commenting on the project, Kelly says: “Our vision for the Mpala Jena Private Villas project was to create something that is rustic and authentic, yet simple and functional. Clean lines, natural materials, and a neutral palette inspired by local stone evoke a feeling of peace, with accents in muted greens and terracotta that draw from traditional African crafts, adding warmth and character. Natural fibres, textured rugs, and subtle patterns enhance the space, while a seamless indoor-outdoor flow and relaxed outdoor seating complete a design that fuses Mediterranean elegance with the spirit of safari living.” www.tracykellydesign.com www.greatplainsconservation.com
08/09 | PROJECT | HOSPITALITY LIGHTING | GALLERY, SAVOY HOTEL
PROJECT
G A L L E R Y, S A V O Y LONDON Studio Shayne Brady recently carried out a full renovation of bar and restaurant Gallery at the iconic Savoy Hotel in London, UK. The space exudes luxury and warmth with a blend of traditional and contemporary design.
Located in the heart of London’s Savoy Hotel, the newly renovated Gallery restaurant and bar breathes new life into the historic space. Studio Shayne Brady was tasked with completing the ambitious project of reimagining the space into an all-day venue that caters for breakfast meetings, leisurely lunches, luxury afternoon teas, and elegant dinners with evening cocktails. darc editor Sarah Cullen caught up with Shayne Brady to discuss his team’s involvement in the project and the details behind the chic decorative lighting featured throughout the space. “We were approached by the Savoy to pitch to design this space,” he explains. “We were hopeful that we could win them over with a powerful pitch based on heritage and modernity combined. Thankfully, it worked, and so began the start of a wonderful collaboration. “We started work in early 2023 and opened in November 2024. It was an elongated programme due to hotel requirements for the best time to undertake works in a live hotel. With this tight deadline and the challenge of working around a fully operational hotel, this project was no small feat. But at Studio Shayne Brady, we’re well-versed in navigating listed buildings and complex schedules. Our team is incredibly proud of what we achieved - and it’s been a joy to see guests using and enjoying the space at every time of day. “The design brief set a clear challenge: to breathe new life into this grand space while honouring its heritage status and ensuring it resonates with today’s
10/11 |
“The design brief set a clear challenge: to breathe new life into this grand space while honouring its heritage and ensuring it resonates with today’s sophisticated, cosmopolitan guest.” SHAYNE BRADY
sophisticated, cosmopolitan guest,” Brady adds. “We managed to completely transform the space into an elegant environment that works day or night, enveloping guests with traditional hospitality in a contemporary setting. We all had a clear objective from the outset, and so the design process was about ensuring the design felt comfortable and infused with enough modernity. It was also about the wonderful next chapter in a storied past of a hotel of such stature and grandeur.” A unique challenge for the space was allowing it to accommodate a thoroughfare through the middle that gives access to The River Restaurant by Gordon Ramsay and the Beaufort Bar. Leaning into incorporating this physical divide in the room, the designers embraced a marble “catwalk” that allows guests to “glide through the space without compromising the atmosphere for seated diners”. Elsewhere in the room, adjustments were made to the ceiling’s daylight window. The dome skylight, once a source of unpredictable light, was covered (but not concealed) to prevent light from flooding in. “To counter the dull daylight, we closed off the light well above and installed a sophisticated lighting system; this allows full control over the room’s ambience, from the cosy depths of winter evenings to the warm, inviting glow of summer nights that linger long into the evening. Custom chandeliers and floor lamps were especially designed to reinterpret tradition with modern elegance. Afternoon tea concludes, silk curtains fall and the mood shifts. Bespoke lighting creates intimate pools of light; chandeliers nod to tradition; and plush furniture in blush, ochre and pink offer a warm embrace. Pale burl timber adds a refined modernity to Gallery.” Discussing the decorative lighting choices for the venue, Brady explains their close working relationship
PROJECT | HOSPITALITY LIGHTING | GALLERY, SAVOY HOTEL
with Atelier Lighting. “Like with many of our projects, we work closely with Atelier Lighting to create a fully bespoke suite of lighting. We wanted the lighting to have a modern feel; thus, the use of timber, metal, alabaster and stiff linen were chosen to create a modern take on traditional light. Our studio designed all the lighting from an aesthetic and design perspective and worked closely with the Atelier team to ensure the functionality and manufacturing processes were seamless. On projects of this calibre, a bespoke set of lighting ensures the design is elevated and truly one of a kind. “A design project is only a triumph with an incredible lighting designer. They bring the skill set to ensure the space can ebb and flow throughout the day. Working with Atelier for so many years now, we have a shorthand when we design together, knowing what’s important to each of us ensures a cohesive final result that not only looks beautiful but is flattering to the guests. A great lighting designer knows how to beautifully illuminate our design and ensure it sparkles through the day.” When it came to balancing the architectural and decorative fixtures in the space, Brady describes the two as very complementary. “The architectural lighting was designed to control the mood from morning to
12/13 | PROJECT | HOSPITALITY LIGHTING | GALLERY, SAVOY HOTEL
evening, while the decorative lighting was designed and made for the
most elegant and versatile hospitality destinations, and I am proud to
space to bring a sense of comfort and elegance. The decorative lighting
say we did just that.”
flatters and softens the environment, while the architectural lighting
“All of our projects are driven by attention to craftsmanship and
creates drama by playing with light and shadow.”
storytelling. And in the case of Gallery at The Savoy, each and every
Reflecting on the project, Brady describes the impacts that good lighting
element was custom-designed, including, for example, the hand-
design can have: “Lighting really sets the tone of a room. It’s not just
forged wrought iron gates, bespoke chandeliers and furnishings. These
about being able to see - it’s about how you feel in the space. The right
materials were chosen due to their ability to create an environment
lighting can make a room feel warm and welcoming, calm and relaxing,
that feels both luxurious and welcoming. A key stand-out feature is the
or bright and energising. Designers use it almost like a language, guiding
silhouettes of dancing couples illuminated across the space, almost like
how you experience the space at different times of the day. As a great
shadows—a modern nod to a bygone era. What sets this project apart
client once taught me, lighting is actually about what falls into shadow.
from others we have done is the historic significance of the site and the
“When working at a venue like The Savoy, it’s important to work around
love people have for this hotel. We felt honoured to be asked to be part
the constraints of the historic architecture of an English heritage-listed
of its next chapter, and we feel we really did it justice.”
building. When installing light fixtures, we made sure to follow the
Upon completing the project, Brady and his team feel truly satisfied with
building’s strict guidelines. It also provided a rewarding challenge to
the work they put into Gallery. “Like any project, there is always tinkering
enhance and spotlight the beautiful architecture with complementary
and finessing that can be done but knowing when to stop is key to being
lighting designs.
a great designer. This project, to us, feels beautifully resolved and one
“Our aim was to create a space that felt relevant for today’s discerning
we are incredibly proud of.
guests, while still touching on the hotel’s rich past. Gallery is more than
“It was a privilege and honour to work on this grande dame. To be given
a visual makeover - it’s a reimagining of an iconic space using mood
the opportunity to create the next chapter and future legacy of this
and narrative. We sought to create a flexible and transitional area. The
iconic hotel is a career highlight and true “pinch me” moment.”
mission was to elevate a once-overlooked space into one of London’s
www.studioshaynebrady.com
GALLERY, SAVOY HOTEL LONDON, UK Interior Design: Studio Shayne Brady Parent Company: Fairmont Savoy/ Katara Hospitalit y Lighting Specified: Bespoke design by Studio Shayne Brady x Atelier Lighting Images: Mark Scot t Collaborating closely with Atelier Lighting, Brady and his team created an array of luxurious decorative lighting fixtures that add a layer of sophistication and elegance to Galler y. “On projects of this calibre, a bespoke set of lighting ensures the design is elevated and truly one of a kind,” he says.
Adilo — unfolding an alluring glow Merging birch wood and geometric precision with an innovative fold-out structure, Adilo unfurls into a sculptural pendant lamp that draws the eye. Available in two sizes, unique from all sides. Designed by Ilkka Kauppinen.
www.sectodesign.fi
14/15 | PROJECT | HOSPITALITY LIGHTING | DENTON RESERVE
PROJECT
DENTON RESERVE , ILKLE Y Box 9, a London-based design studio that works holistically across architecture, interiors, furniture and styling, recently unveiled its highly anticipated restoration and reimagining of The Hall, a Grade I-listed Georgian stately home at the heart of Denton Reserve in Ilkley, Yorkshire.
Tasked
with
handling
both
the
restrained and radical elegance.
architecture and interior design on
“We
the project, the team were briefed on
reverence and discipline,” explains
rethinking luxury hospitality for a new
Lou Davies, co-founder of Box 9. “Our
generation, restoring a historically
mission was to quieten the building,
significant building, and embedding
to let it breathe and to create space
sustainability and circular design into
for pause and reconnection. Every
every detail, as part of an ambitious
design decision was weighed against
wider regenerative vision at Denton
its impact - environmental, emotional
Reserve.
and aesthetic.”
The Palladian-style Hall was originally
Box 9’s scheme for the venue drew
designed by John Carr and completed
a lot of inspiration from the natural
in 1778, and in recent decades has
tones of the surrounding Yorkshire
been used as a traditional wedding
Dales. They worked with the existing
venue. The new appearance for the
layout to comply with historic building
Hall involved carefully considered
constraints, leaning on the support
conservation with sensitive restoration
of heritage planning consultants for
and stripping back any distractions
guidance throughout. This involved
to
designing bathrooms and freestanding
reveal
the
building’s
original
approached
Denton
with
architecture.
furniture as sculptural insertions in
The resulting space is a complete
order to avoid fixed partitions or built-
departure from the traditional country
in joinery that would compromise
house aesthetic and instead presents a
original sightlines.
16/17 |
“We didn’t want to default to period fittings and instead, we saw lighting as a sculptural expression of the Hall’s new chapter, one grounded in nature, craft and atmosphere, rather than heritage mimicry or formality.” LUCY FRANKS, DIRECTOR AT BOX 9
Speaking in more depth about the decorative lighting considerations throughout, Lucy Franks, Director at Box 9, sat down with darc editor Sarah Cullen to discuss her team’s lighting decisions. “At Denton Hall, every decorative lighting decision was made with deep intention - rooted in narrative, place and emotion,” she explains. “We didn’t want to default to period fittings and instead, we saw lighting as a sculptural expression of the Hall’s new chapter, one grounded in nature, craft and atmosphere, rather than heritage mimicry or formality. “One of the most meaningful pieces is the giant heather light in the reception hall. Designed in collaboration with Studio Amos, it replaces the expected crystal chandelier with something completely site-specific woven from Yorkshire heather, foraged straight from the moors with the estate team. “It’s raw, it’s textural, and to us, it captures the spirit of the landscape in a way that’s both humble and quietly powerful. It challenges conventional ideas of what luxury or heritage should look like - centring craft, connection and material honesty over surface-level grandeur. “Throughout the Hall, we used lighting to help ‘quieten’ the building - pulling back layers of visual noise and allowing the spaces to breathe. That meant choosing natural materials like reclaimed stone, cork and timber - materials that carry their own quiet stories - and working with warm, diffused light sources that soften the rooms and mirror the gentle rhythms of the landscape outside. “Every lighting decision was made with care and purpose, always in response to the building. For us
PROJECT | HOSPITALITY LIGHTING | DENTON RESERVE
at Box 9, it was about shaping how the
to decorative lighting, there are a few
building feels as much as how it looks -
core principles we always return to,” she
creating a calm, grounded atmosphere
explains. “First, material honesty - we seek
that speaks to a slower, more regenerative
pieces made from natural or reclaimed
way of living.”
materials that reflect our commitment
Throughout the venue, there are several
to circular design. It’s important to us
luxury lighting brands specified, including
that each element feels authentic and
the likes of Foscarini, David Pompa, Pinch,
connected to its environment.
Santa and Cole, Michael Anastassiades,
“We also consider whether the lighting
Patricia Urquiola for Flos, Bocci, Penta,
tells a story or meaningfully connects
and many more.
to the site or concept. For us, narrative
A number of these fixtures were crafted
connection is essential. It is not just about
from natural and recycled materials,
appearance, but the meaning a piece
which add to the overarching nature-
brings to the space.
inspired vibe of the Hall. For example,
“Mood and atmosphere take precedence
Celine Wright’s sculptural piece, made
over flashy aesthetics. We focus on the
from Japanese paper, steel structure,
quality of light, on how it feels and how it
black cords and transparent electric cable
shapes the space.
and is located floating down the main
“Craftsmanship is equally important. We
stairway, Carthorpe room, two bedrooms,
love working with makers who share our
and in the reception area, featured as a
values of skill, care, and sustainability and
cluster of balls.
people who embrace the detail and the
Two of Pinch’s Pium pendants are crafted
process as much as we do.
from banana plant linen and are featured
“Lastly, lighting must be built to last,
in two bedrooms, while a third sits in the
not only physically but emotionally too
West Wing hallway.
- something that evolves with the space
Elsewhere, also featured in a guestroom
and dances with each season.”
is the Reclaim pendant made from
Davies adds: “We set ourselves an
discarded orange peels from The Host
incredibly high bar. Every single piece and
Store, timber Onu Duo pendants by Sabu
material had to leave a legacy of positive
Studio in the games room and East Wing,
change - whether through sustainability,
and stretched hemp wall sconces by Erik
supporting a maker, empowering an
Bratsberg in the upstairs hallway.
emerging
When it comes to specifying lighting for
innovation. If it didn’t have the potential
projects, darc asked whether Franks has
to restore landscapes, lives or our
a criterion the studio typically falls back
relationship with craft, it didn’t come
on, or whether each project comes with
through the doors. What we used was
its unique requirements. “When it comes
respected, applied with minimal waste,
studio,
or
championing
18/19 | PROJECT | HOSPITALITY LIGHTING | DENTON RESERVE
and always designed to inspire care and reconnection with craft and
Speaking more generally about the design considerations for a
nature.”
wellbeing-tailored environment, Franks concludes: “Wellbeing in
When working on hospitality projects, Franks regards decorative
hospitality is about more than amenities or spa treatments. It is
lighting as one of the immediate ways to shape “mood, rhythm and
about creating spaces that invite presence, connection and care.
connection to a space”.
For us, it means designing environments where people can slow
“At Box 9, we see lighting not as an afterthought, but as a sensory tool
down, reconnect and feel gently held by their surroundings. It is the
- something that fundamentally shapes how people feel in a space,”
emotional and sensory quality of a space that we believe truly matters.
she elaborates.
“At Denton, wellbeing came from restoring the building’s integrity. We
“Lighting adds character, but more importantly, it defines atmosphere.
stripped away visual noise, honoured its heritage without slipping
It guides people gently through a space, sets the emotional pace, and
into nostalgia, and used design as a quiet but powerful form of
reinforces the sense that they’re somewhere designed with care and
regeneration. We believe true hospitality begins with an environment
intention.
that feels intentional, grounded and connected.”
“At Denton, we used lighting to bring intimacy to grand spaces -
The Hall is now available for exclusive hire, from private celebrations,
softening scale, drawing the outside in through natural textures and
work retreats to intimate weddings, with 10 suites in the main building,
warm, earthy tones, and creating moments that invite pause and
five bedrooms in the West Wing and 15 additional rooms due to open
reflection.
in the East Wing in late 2025. The Hall sits at the centre of a phased
“One of the most fulfilling aspects of the project was collaborating
estate transformation - which includes short-stay accommodation,
with artists from other disciplines. Lighting became a way to invite
wood-fired wellbeing cabins, bothies, coach houses, The Penny Bun,
new perspectives into the design - to explore materials, craft and
wild swimming and a wider wellness and hospitality offering shaped
storytelling in unexpected ways. It’s a powerful medium for creative
by the same ethos of restoration and regeneration, and all entirely
exchange, and I love how it opens up space for dialogue between
designed and reimagined by Box 9.
design, art and emotion.”
www.box-9.co.uk
THE HALL , DENTON RESERVE ILKLE Y, UK Interior Design: Box 9 Lighting Specified: Amande Heagen, Bocci, Celine Wright, David Pompa, Devol, Erik Bratsberg, Flos designed by Patricia Patricia Urquiola, Foscarini, Michael Anastassiades, Nosta, Nosta x Toss B, Penta, Phloc, Pinch, Sabu Studio, Santa & Cole, Six Dots Design, Studio Amos, Studio Haran, Ted Jef feris x BOX 9 Collaboration, The Host Store, Trizo21, Ty Syml Images: Lucy Franks & Sean Knot t Box 9’s reimagining of The Hall takes local, natural inspiration to its hear t, with carefully selected products, materials, colours and textures that draw strong comparisons to the surrounding Yorkshire landscape.
EST. 2015
LONDON - BIRMINGHAM
ELEGANCE, ENGINEERED W W W. JA DA M SA N D C O . C O M
20/21 | PROJECT | HOSPITALITY LIGHTING | ROYAL NAWAAB
PROJECT
R O YA L N A W A A B STOCKPORT, UK
The transformation of the long-abandoned Stockport Pyramid into Royal Nawaab marks a remarkable rebirth. Turning a neglected office relic into a vibrant cultural landmark that unites dining, celebration, and architectural spectacle under one roof.
You’ve probably heard of the Pyramids of Giza, and some of you might even know a little bit about the Pyramid of Teotihuacan. However, I wager that very few of you are aware that Greater Manchester has its very own pyramid. Tucked away just off the M60 in Stockport (the homeland of darc HQ), stands the Stockport Pyramid. A four-sided blue-glass monument to 1990s ambition, it has loomed over the town since 1992 – residing for most of its existence in a derelict wasteland, the Pyramid is our very own “King of the Valley” despite only ever standing alone. Over the years, the building itself has split opinion: clunky, awkward, and ostentatious in every way. Yet, against all odds, the building that was once dismissed as an architectural eyesore has developed an interior to match its local iconic status. After its original developers went bankrupt, the Pyramid stayed lonesome before being repossessed by the Cooperative Bank, who financed the original development and moved in from 1995 until 2018. Since then, the Pyramid lay dormant and derelict – until now. Today, it has been reborn as the spectacular new home of Royal Nawaab, a vast restaurant and events venue blending cultural tradition with bold, contemporary design. At the heart of the transformation is Manchester-based design studio WDC Creative. Best known for retail and hospitality projects across the UK and Europe, the practice was tasked with reimagining the Pyramid’s cavernous interiors and creating a vision that could match the ambition of its owner, restaurateur Mahboob Hussain. From bespoke lighting installations to grand wedding halls, WDC’s design process was as much about storytelling as it was about space planning. The studio’s involvement on the project occurred after the client had come across their work at the Carden Park Hotel in Cheshire. The project was a key turning point in the company’s portfolio. WDC helped reposition the hotel within the luxury
22/23 | PROJECT | HOSPITALITY LIGHTING | ROYAL NAWAAB
market, redesigning facilities such as the gym, restaurant, and a new
basic layouts, but the client wanted WDC to create the overall vision
cocktail bar called Goldies. It was through their online presence that
and interior concept. To do this, WDC built an enormous 3D model of
the client was struck by their work and was compelled to contact them
the Pyramid, covering almost every space, from lobbies to wedding
directly.
suites. They started with mood boards and AI-generated imagery, then
“The client saw our work at Carden Park on Instagram and said, ‘We
developed full vitual 3D model walkthroughs to help the client, and
want what you’ve done, but bigger, bolder, and better.’ That’s how the
the wider team visualise the transformation. This vision was critical for
Pyramid project began,” tells Jason West, director of WDC Creative.
securing approvals, investment, and buy-in from stakeholders.
The project began with a site visit to the Pyramid, untouched for more
The transformation of the Pyramid started from the entrance. As a
than a decade. The building was in disrepair, occupied by the ghosts
multipurpose event venue, the building had to be striking from the
of its corporate past. “When we first walked into the Pyramid, it felt as
moment guests arrived. WDC designed a new gold-toned canopy to give
though no one had touched it for 10 years. There were old desks, cables,
the building a true sense of drama. Standing at two storeys high, the
a huge security reception from when it was an office, almost like people
canopy acts as a gateway for wedding parties and a theatrical threshold
had just walked out one day and left it. But beneath all that, we could
for restaurant guests. Visitors then pass through the compressed
see the potential. It’s an incredible space, with this vast atrium that
tunnel clad with laser-cut metal screens that are illuminated with
goes right up to the top of the Pyramid. You could instantly imagine
LED back panels before emerging into the atrium. Here, the design
the drama of transforming it into something extraordinary,” adds West.
team layered warmth and detailing with walnut panelling, a bespoke
The client already had architects involved in planning kitchens and
water fountain, and cascade statement lighting. However, the most
24/25 |
spectacular moment that draws any visitor’s attention is the atrium. Emerging from the soaring central atrium is a beautiful statement light installation, made from hundreds of glowing suspended pendants sourced from the client’s own network. West comments: “We didn’t want it to feel like an office that had been turned into a restaurant; it had to feel completely reborn. The ambition was always to create luxury and spectacle, but never in a showy or ostentatious way. It’s about atmosphere, about theatre, when guests walk in, they should feel a sense of arrival, but also warmth.” That balance between ambition and restraint defined the entire project. Owner and restaurateur Mahboob Hussain brought deep cultural insight and a clear vision of fivestar quality; WDC translated that into built form through mood boards, samples, and immersive 3D visualisations. Every decision was collaborative, shaped by ongoing dialogue and mutual trust. Cultural authenticity remained central throughout: the design team avoided obvious motifs or clichés, instead consulting the client to ensure every pattern and detail felt respectful and true. Wherever possible, WDC and the client specified local makers and suppliers, grounding the scheme in regional craftsmanship as well as cultural meaning. The entrance lobby, once an austere office reception, is now a hotel-style lobby complete with more bespoke lighting and coffers, rich curtains and comfortable furniture to boot – providing a calm and intimate space for restaurant visitors, while waiting for their booking. Inside, the dining hall is vast yet carefully zoned with banquettes and feature lighting by Chantelle Lighting. At its heart sits an open kitchen anchored by what is proclaimed to be the longest extraction hood in the UK. The material palette continues the language of warmth and refinement, walnut and gold paired with marble surfaces, lifted by subtle gold accents. Lighting plays a crucial role in setting the tone, striking a delicate balance between intimacy and exuberance. The atmosphere invites private conversation yet celebrates the energy of communal dining, echoing the spirit of South Asian hospitality that brings together guests of all backgrounds from across Greater Manchester.
PROJECT | HOSPITALITY LIGHTING | ROYAL NAWAAB
“When you go there now, you see such a
functions. Smaller suites on higher floors
wonderful mix of people from a wealth
echo this adaptability, positioning the
of different backgrounds enjoying it
Pyramid as a multi-purpose venue for
together. It’s brilliant,” says West.
weddings, banquets and business events
A dynamic staircase leads to the upper
alike.
levels, where weddings take centre stage.
Turning the vision into a reality wasn’t
Suspended above is a bespoke chandelier
always straightforward. Beneath the
of glass petals, again by Chantelle
glamour of the marble, gold, and light,
Lighting, a floral interpretation of modern
the
grandeur. The Royal Suite, the largest of
intervention and willingness to solve
the event spaces, orients around a stage
problems in real time. One of the most
for the bride and groom, and can host
dramatic moves was cutting through the
hundreds of guests. Its walls are lined
existing floor slabs to open up sightlines
with illuminated fabric panels that can
and create vertical connection with an
shift in colour or display graphics, allowing
elegant staircase – a bold operation in
the space to flex between traditional
a building defined by its geometry. “That
ceremonies and contemporary corporate
was a big one,” recalls West. “You don’t
project
demanded
significant
26/27 | PROJECT | HOSPITALITY LIGHTING | ROYAL NAWAAB
take a saw to the Pyramid lightly.” Lighting was also
Today, the process of refinement continues, with new
ROYAL NAWA AB
part of the heart and the headache of the project.
wallpapers, improved signage and subtle lighting
Interior Design: WDC Creative
While bespoke pendants brought sparkle to the space,
adjustments enhancing the experience. But the doors
there were moments where lux levels were off balance
are open, and the affection long held for the Pyramid
or simply didn’t behave as planned.
from afar can now be felt inside – perhaps best over a
Images: Louis Cannell
“In hindsight, we could have brought in a lighting
hot, spicy curry, if that’s your preference.
The transformation of the long-
consultant earlier,” admits West. “We fixed it in the
Beyond its transformation from local curiosity to grand
end, but I think there’s a lesson in that – big spaces
multi-functional venue, the Pyramid’s significance
remarkable rebir th. Turning a
need technical expertise.”
runs much deeper than its physical form and is more
neglected of fice relic into a
Yet for WDC, the project’s greatest technical
than just a restaurant. It has become a place where
achievement wasn’t just in its construction – it was
people of all backgrounds and communities come
the collaboration itself. The client, unaccustomed to
together – a shared space for celebration, family and
working with external designers despite having owned
connection. During an increasingly polarising time in
a number of successful restaurants already, was
British society, the rebirth of the Stockport Pyramid
forced to embrace a steep learning curve resulting in a
feels both timely and hopeful: a symbol of hospitality,
special working relationship.
inclusivity and new life for one of Greater Manchester’s
“We don’t create divides,” West explains. “We get under
most recognisable landmarks.
the skin of every client and work as part of their team.
www.wdc-creative.com
This is how the best ideas happen.”
Architect: NK Architects Lighting Specified: Chantelle Lighting
abandoned Stockpor t P yramid into Royal Nawaab marks a
vibrant cultural landmark that unites dining, celebration, and architectural spectacle under one roof.
28/29 | CASE STUDY | HOSPITALITY LIGHTING
ZICO LIGHTING F O U R S E A S O N S R E S O R T A N D R E S I D E N C E S AT T H E P E A R L- Q ATA R
With its enviable beachfront location on The Pearl-Qatar, the new Four
resulting in a space that feels both intimate and grand, contemporary yet
Seasons residence stands as a statement of refined sophistication amid
timeless.”
the island’s dynamic mix of shopping, dining, and leisure. True to the Four
A key component in achieving this delicate balance was the use of Zico
Seasons’ reputation for exceptional quality and superior design, every
Lighting lamps across all decorative fittings. Carefully selected for their
detail of this property has been crafted to deliver a sense of effortless
warm colour temperature, exquisite dimming performance, and candle-
luxury - and lighting plays a defining role in achieving that vision.
lit quality, Zico lamps bring intimacy and timeless elegance to every
Lighting Design International (LDI) was appointed to realise this ambition,
space. Their ability to create an enchanting atmosphere ensures that
creating a lighting scheme that would meet the expectations of the hotel’s
light itself becomes part of the guest experience - subtle, welcoming, and
discerning clientele.
unmistakably refined.
“The brief was to craft an immersive lighting scheme,” says Sandra Brookes,
Through the synergy of LDI’s design expertise and Zico Lighting’s
who led the project for LDI. “The design sought to weave light seamlessly
craftsmanship, the Four Seasons at The Pearl-Qatar glows with
into the architecture - enhancing ambience, celebrating craftsmanship,
understated luxury, where light quietly complements the architecture and
and enveloping guests in a warm, elegant glow. Among the challenges
enriches the guest experience.
were integrating lighting within intricate millwork, achieving balance
www.zico.lighting
across contrasting zones, and coordinating remotely through pandemic
Images: Gavriil Papadiotis
restrictions. These obstacles only deepened the creative process,
30/31 | CASE STUDY | HOSPITALITY LIGHTING
VIBIA C L A RO RE S TAU R A N T, U K
The interior design project created by DLSM Studio for London’s new Claro
The design gracefully addresses the spatial challenge posed by DLSM Studio
restaurant aims to generate an atmosphere of comfort and wellbeing that
within such a characteristic space thanks to the possibilities of bespoke
matches its sophisticated gastronomic offering and its auspicious location.
craftsmanship, especially with regard to the height. The main concept was to
Vibia’s Array pendants, suspended over the main dining space, set the scene
interfere as little as possible with space or the dining experience despite its
with their sculptural presence, which elevates the overall sensual effect.
generous proportions. Array manages to bring everything together, providing
The exclusive St. James’s neighbourhood in central London sets the tone for
visual dynamism and sensorial harmony.
the new Claro restaurant, located in the historic Waterloo Place building that
The sculptural silhouette designed by Umut Yamac, combines downlight
was once a bank headquarters. Its elegant façade accommodates a stylish
and up-light from its lofty position that envelops the space, simultaneously
interior, divided into different areas, where DLSM Studio has successfully
creating a vibrant and dynamic visual effect that draws in the diners below.
combined a sophisticated yet intimate design that lives up to the reputation
Fine threads stretched between aluminium rings define the three suspended
of its architectural location.
volumes, interacting with an ethereal light, reverberating with the architectural
The restaurant’s main dining area is particularly remarkable, a double-height
context, worthy of this historic London building.
space that preserves original elements of the building, such as the unique
The cylindrical shapes, matching the curves of the large arched windows,
ceiling mouldings and the impressive wrought iron balustrade. These elements,
together with the soft colour tones, cleverly integrate with the style of the
combined with the modern interior design finishes, create an elegant and
project, where natural materials such as wood, leather, and steel underline the
welcoming atmosphere, ideal for savouring the Eastern Mediterranean cuisine
industrial aesthetic of the space, contrasting with the traditional structural
prepared by renowned chef Ryan Schmueli.
elements. The resulting assemblage quietly integrates into the setting and
Upon entry the gaze is drawn upwards towards the ceiling, from which
sculpts a timeless interior that seems to have always been there.
three Array sculptural luminaires appear to float harmoniously. Their
www.vibia.com
grand proportions engage with the architectural space, creating a calming
Image: Stevie Campbell
atmosphere that subtly envelops diners.
Ellen Mini
Lifting people’s quality of life with light. Find out more at: www.nordlux.com/en-gb/
32/33 | CASE STUDY | HOSPITALITY LIGHTING
OCCHIO THE C LOUD, GE R M ANY
At BMW Welt in Munich, Käfer has created a place that combines culinary delights with lightness and sophistication. The fine-dining restaurant The Cloud by Käfer transports its guests to floating spheres of pleasure under the culinary direction of top chef Jens Madsen – staged with a finely composed lighting concept by Occhio that creates atmosphere and turns the space into an extraordinary experience. The “Dining Cloud” gives the room its name – a floating light sculpture that seems to have been formed from a single dream. Beneath it, a stage for the senses unfolds: Luna sospeso pendants accompany each table with atmospheric precision – floor-to-ceiling curtains and natural materials create a quiet, almost floating scene. At the centre: a five-ton stone monolith on which the dishes are finished live with artisanal care. An experience for all the senses – sensual, concentrated, perfect. At the counter of the Biophilic Bar, light, materials, and atmosphere merge into an aesthetic entity. Coro sospeso luminaires showcase the Perlino marble with precise directness – like floating markers that structure the space while creating an intimate lighting atmosphere. A projection creates sensual, fleeting, and fascinating visual worlds above. Luna sospeso clouds unfold their poetic effect above the long dining table. Gently floating, they glow with an atmospheric presence and create a scene that radiates calm and concentration on the essentials: the moment of pure enjoyment. Their soft, warm lighting accompanies every meal like a quiet performance – elegant, understated, and unforgettable. The Cloud by Käfer promises an experience that goes beyond the ordinary. High above the floors of BMW Welt, the architecturally suspended structure welcomes its guests with a visionary gesture. A place between the sky and the city – ready to open up new perspectives. www.occhio.com Images: Mark Seelen
EXCEPTIONAL LIGHTING for beautiful spaces WWW.ZICO.LIGHTING
| Decorative Lamps CRI95+ | Dimming & Controls
London | Amsterdam | Hong Kong
| Landscape Lighting
34/35 | MATERIALS | CORKA BY ZERO LIGHTING
MATERIALS
CO R K A BY ZERO LIGHTING I n a n e r a w h e r e s u s t a i n a b il i t y i s n o l o n g e r a d e s i g n a f t e r t h o u g h t b u t a d efinin g p rin cip l e, S w e dis h l ig h tin g b r a n d Z e r o c o n t i n u e s t o l e a d b y e x a m p l e. K n o w n f o r c o l l a b o r a t i n g w i t h f o r w a r d -t h i n k i n g d e s i g n e r s, Z e r o c h a m pio n s in n o vatio n t h at b a l a n c e s f o r m, f u n c tio n, and e n v ir o n m e n ta l r e s p o n s i b il i t y. Th eir l at e s t c o l l a b o r a t i o n w i t h B r i t i s h d e s i g n e r S a m u e l W il k i n s o n e x e m p l if i e s t h i s e t h o s p e r f e c t l y. When Zero Lighting approached Samuel Wilkinson to
it to be used in various applications, such as wine
design a sustainable pendant, the brief was refreshingly
stoppers, building insulation, and now pendant lights.
ambitious: create a lighting novelty that could be
Cork is a type of bark, specifically the outer bark of
“literally thrown into nature” and decompose naturally.
the cork oak tree, called Quercus suber. The material
From this directive, Corka was born – a compact conical
is harvested only every 12 to 14 years in the Montados,
pendant crafted entirely from cork.
Mediterranean oak forests, due to being a vital player
Corka’s journey began in mid-2023 and was completed
in supporting 325 animal and plant species, protecting
earlier this year, a remarkably swift turnaround for the
from erosion, regulating the hydrological cycle, and
design world. Having previously designed successful
absorbing carbon dioxide. This remarkable material
novelties for Zero Lighting, such as the Haze pendant
is one of the most sustainable resources available
and Thirty ceiling and wall lights, Wilkinson understood
due to its ability to naturally biodegrade without
the company’s ethos and reputation for unique lighting
releasing any harmful toxins, as well as this, nearly
fixtures with sustainability and high-quality at the
all its byproducts can be utilised for products such as
forefront. Yet, bringing Corka to life demanded a deeply
flooring, aggregates, or bioprocessed for cosmetics,
process-driven approach – one that involved extensive
pharmaceuticals, or water purification.
exploration of materials and manufacturing techniques
What sets Corka apart is not just its material but its
before arriving at the final, refined form.
method of production. While many sustainable lights
“We experimented with numerous materials before
rely on recycled composites or industrial processes,
concluding to go ahead with cork. Learning about cork
Corka reimagines a natural, centuries-old material
has been particularly interesting,” explains Wilkinson.
through modern moulding techniques, achieving
“At first, we assumed turning cork on a lathe would
consistency without compromising the cork’s organic
be the most cost-effective approach. But some pieces
charm. The production of the pendant is deceptively
oscillated during turning, making accuracy difficult.
simple yet deeply rooted in craftsmanship and material
Switching to pressing methods produced more
understanding. Each pendant begins with granulated
consistent forms with a finer surface finish.”
cork – either natural cork, black cork, or a mix of the
The buoyant, lightweight material is known for its
two – combined with a small amount of binder. This
unique impermeable qualities, making it an excellent
blend is carefully prepared to achieve the right balance
thermal and acoustic insulator. This versatility allows
between texture, density, and strength.
36/37 |
MANUFACTURING PROCESSES
The mixture is placed into two-part metal moulds made from Teflon-coated aluminium. The surface quality and pressure of these moulds are critical, initiating the natural binding reaction within the cork as it begins to set. Determining the precise treatment time is a matter of testing and refinement, as different cork combinations, particularly when mixing natural and black cork, react in subtly different ways.
MATERIALS | CORKA BY ZERO LIGHTING
Each pendant is then lightly sanded by hand to reduce the gloss and reveal the raw, tactile quality of the cork. This gentle finishing exposes the material’s natural grain and variation, making every piece inherently unique. Though the process is efficient, it remains highly craft based.
38/39 |
The mixture is then placed into two-part metal moulds made from Teflon-coated aluminium. The surface quality and pressure of these moulds are critical, initiating the natural binding reaction within the cork as it begins to set. Determining the precise treatment time is a matter of testing and refinement, as different cork combinations, particularly when mixing natural and black cork, react in subtly different ways. Once the mixture is sealed within the mould, it is left to cure for a carefully-timed period. During this stage, the cork reacts and binds, forming its distinctive, compact structure. When released from the mould, the Teflon coating leaves the surface with a soft sheen, a delicate contrast to the organic texture beneath. Each pendant is then lightly sanded by hand to reduce the gloss and reveal the raw, tactile quality of the cork. This gentle finishing exposes the material’s natural grain and variation, making every piece inherently unique. Though the process is efficient, it remains highly craft-based. As mentioned, no two pendants are identical; each reflects the subtle interplay of pressure, temperature, and time. “Once everything is added to the mould, the final result is out of our hands and left to the will of the cork,” says Wilkinson. The creation of Corka occurred as a relatively streamlined development with few challenges and trials aside from the manufacturing process. Wilkinson had to work within the parameters of a strict budget set by Zero Lighting that ultimately heavily influenced the design process. Wilkinson adds: “When machining from solid cork, the cost is directly affected by how many parts can be cut from a given sheet size, since the raw material is quite expensive. While tooling costs are much lower for machining, the outcome can be less consistent, so persuading Zero Lighting to invest in a moulding tool for the granular approach was important. The main criterion for the final shape was that it could be produced using a simple two-part male and female mould with sufficient draft angles to allow the part to release easily.”
MATERIALS | CORKA BY ZERO LIGHTING
Cork’s virtues extend beyond its renewability. It is extremely light – over 50% of its volume is air – and elastic, compressible without losing shape. It is impermeable to liquids and gases, thermally and acoustically insulating, fire-retardant, abrasionresistant, hypoallergenic, and possesses a tactile natural texture that is warm to the touch. Its inherent qualities make it perfectly suited for a lighting object, softening the glow. “The tone and texture of the cork are among the material’s greatest qualities. They help to soften the emitted light, creating a warm and gentle glow. During the day, the natural gradient that forms across the conical surface is particularly beautiful, enhanced by the cork’s subtle granular texture,” adds Wilkinson. Available in three finishes – natural, mixed, and black cork – and can be paired with either black or natural linen cables, with the linen option offering a lower environmental impact, similar to cork, completing a pendant that is entirely process-conscious and materially honest. Beyond its sustainable credentials, Corka offers a quiet sculptural presence to any interior, whether it is residential or commercial. Whether suspended singularly or as a cluster, the Corka offers a subtle, unique edge to any space through its tactile materiality and a soft ambient illumination, which evokes a sense of calmness through its natural warmth. The mission was clear: to create a light that could quiteliterally be thrown back into nature. Wilkinson not only rose to the challenge set by Zero but also continues to demonstrate the possibilities of how organic material from the natural world can coexist harmoniously with contemporary design. Corka is more than just a pendant – it is a statement of intent in a world overrun by synthetics and overproduction. Together, Wilkinson and Zero Lighting champion a more regenerative, material-conscious future for lighting design. www.zerolighting.com Images: SW Studio, Zero Lighting
40/41 | INTERVIEW | KRISHNA MISTRY
INTERVIEW
KRISHNA MISTRY This year, UK-based lighting design practice Mistry Lighting celebrated its fifth anniversary. Founded and led by designer Krishna Mistry, this small studio has grown extensively in its infant years, not so much in physical size, but in reputation and calibre of projects.
darc editor, Sarah Cullen, took the opportunity to sit down with Krishna Mistry
Lighting design had to be deeply integrated, every detail mattered, from
to discuss her career journey so far, her transition into business ownership,
coordination with ceiling systems to the precision of mounting positions and
and to understand her studio’s approaches to design within the hospitality
glare control.
sector – a field in which it excels.
“Those early years taught me not just about the technical side of lighting, but
Born and bred in Northwest London to immigrant parents – her mother from
also about patience and coordination.”
India and her father from Kenya – Mistry went against the family’s wishes for
In addition to her passion for design, Mistry is also a worldwide traveller who
her pursuing a career as a doctor, lawyer, or accountant. Rather, she went on
seeks adventure and inspiration from all corners of the globe. “In 2016, I took a
to chase her dreams to study interior design. “Telling them I wanted to study
sabbatical from work and backpacked around the world for a year. It was truly
Interior Design at university came as quite a shock! Though they soon came
the trip of a lifetime. Travelling is still my biggest source of inspiration; I love
around once I promised I’d get a “proper job” at the end of it.
experiencing food, culture, and how different places use and perceive light.
“I wanted to study Interior Design because I’ve always loved art, it’s something
And yes, sometimes you’ll find me jumping out of planes too!
that’s always come naturally to me. My grandparents were carpenters
“Nowadays, when I’m not travelling, I’m mothering a very energetic toddler
who would carve the most intricate designs into wood, so creativity and
who keeps me on my toes and shows me what real multitasking looks like.”
craftsmanship have always been part of our family. My sisters and I grew up painting all the time, it was how we expressed ourselves. My favourite hobby growing up and I’ve never let that go.” It was at this time that Mistry’s love for lighting design was sparked. “During my degree in Interior Design at the University of Portsmouth, I used to play with light and shadow a lot, focusing particularly on how shadows could create drama and depth within a
Reflecting on her earlier days as a designer, Mistry
“I realised that light has this almost invisible power to shape how people experience a space. A well-lit room could feel warm, intimate, or expansive, and I wanted to understand why. ”
reveals that she was fortunate to work with some of the biggest names in the architectural industry from an early stage. “I was lucky enough to work with architects such as Zaha Hadid, Richard Rogers, and Adjaye Associates, names I had studied and admired for years. To be involved in their projects so early on was a real honour. “It was Tadao Ando’s work that truly caught my
space. That experimentation fuelled my fascination
attention; his use of daylight is so powerful yet
with lighting. I realised that light has this almost
executed with such simplicity. That balance between
invisible power to shape how people experience a space. A well-lit room
light, form, and emotion was where my inspiration really began.
could feel warm, intimate, or expansive, and I wanted to understand why.
“I was quite lucky to have joined a team at Buro Happold that was already
That curiosity led me to Buro Happold, an international integrated consulting,
working on some incredible, high-profile projects. One of the first was the King
engineering and advisory firm, where I discovered both the technical and
Abdullah Financial District (KAFD) Metro system in Riyadh with Zaha Hadid
creative depths of architectural lighting.
Architects, an extraordinary building with complex, organic forms. It was a
“I started as a junior lighting designer at Fagerhult. That was my first step into
real challenge to light a space like that, especially at a time when flexible LED
the world of lighting. I worked on a range of retail projects and the company
technology didn’t yet exist. It pushed us to be inventive and precise.
really spent time training me, but after a couple of years, I was ready for a
“With Richard Rogers, I worked on the Maryah Plaza development in Abu
change and found an opening at Buro Happold. I knew the projects would be
Dhabi, where we were involved in the lighting for the penthouse, façade, and
larger and I was ready for that next step up in my career. I started working
external landscape, all of which demanded a balance between architectural
there in 2012 and it was from that point, I was hooked; lighting became my
integration and visual impact.
language.
“One of my personal favourites was the Latvian Museum of Contemporary
“Working at Buro Happold exposed me to large, complex projects that
Art with Adjaye Associates. I had never lit an art gallery before, so I spent
involved multiple disciplines and often took years to move from concept to
time visiting galleries around London to study how artwork was illuminated.
construction. It was an incredible training ground, I learned very early on how
The building had pitched ceilings, which made lighting the art particularly
essential teamwork and clear communication are when so many specialists
challenging. We modelled the space extensively and produced numerous
are involved.
lighting calculations, using different products to find the best solution.
“Every project required close collaboration with structural engineers, MEP
“Today, I’m inspired by collaboration, whether that’s architects, artists, or
consultants, acoustics team, architects, and, of course, the client team.
even chefs. I love how each discipline has its own rhythm, and lighting has this
42/43 | INTERVIEW | KRISHNA MISTRY
“It was Tadao Ando’s work that truly caught my attention; his use of daylight is so powerful yet executed with such simplicity. That balance between light, form, and emotion was where my inspiration really began.”
unique ability to tie them all together. Travel continues to
“I still have moments of imposter syndrome, but looking
be a huge influence, too. I’m endlessly fascinated by how
back at everything that’s been achieved - the projects,
light takes on a different character wherever you go, the
the collaborations, the growth - I feel incredibly proud of
gentle warmth of daylight in Asia versus the cooler, more
how far I’ve come.”
restrained tones that play across London’s architecture.”
Discussing this pivot in her career to becoming a
Following her time at Buro Happold, Mistry went on to be
studio owner, Mistry tells darc about her initial goals,
Senior Lighting Designer at Light Corporation Group for
expectations, and realities. “When I started, my goals
a couple of years before the world changed drastically
were simple: to build meaningful relationships, create
for all.
work I’m proud of, and keep learning. I didn’t set rigid
“In 2020, I was working on a series of restaurant projects
targets, but I did hope to reach a point where people
(lots of Nando’s) when I was made redundant due
came to Mistry Lighting for its distinctive approach. I’m
to widespread restaurant closures during the global
proud that we’re at that stage now, and are recognised
Covid-19 pandemic. It was such a surreal time with the
for a thoughtful, personal way of working.
industry at a standstill; I didn’t think anyone would be
“The learning curve has been steep, and I’m still learning
hiring. So, I decided to take a leap of faith, set up on my
every day! When you run a small studio, you wear every
own, and see what happened.
hat: designer, project manager, business developer,
“It was a life-changing two weeks. I lost my job, got
social media manager, and accountant. It’s a lot to juggle.
married, and then set up Mistry Lighting!
“One big realisation for me was that a business isn’t truly
“Work came very organically, mostly through word
sustainable if it can’t run without you. I’ve learned to
of mouth. I reached out to everyone I knew, setting
lean on freelancers and collaborators more, bringing in
up Zoom calls when we couldn’t meet in person. I’m
support when needed. You really can’t do it alone, and
extremely grateful to all the clients who trusted me
that’s been a huge shift in how I operate.
with their projects; their support is what got me here -
“Running your own business can also be quite lonely
along with my family, especially my husband, who’s my
at times, but I’m grateful to be part of an industry
constant sounding board.
where people are genuinely supportive and generous
“One project led to another, and within two years, I was at
with their advice. Having that network makes such
full capacity, even turning down work. I eventually started
a difference; it reminds you that even if you work
working with a business coach because, truthfully, I had
independently, you’re never really on your own.
no idea about the business side of running a business.
“We’re really lucky to work in such a social and
It has been a steep learning curve, but a rewarding one.
supportive industry. There are so many opportunities to
IMAGES: CUT AND CRAFT MANCHESTER, STUDIO TWO INTERIORS, STEVIE CAMPBELL PHOTOGRAPHY
LEAVES Bespoke installation Biscuit porcelain, stainless steel rods
Enhancing Spaces with Porcelain and Light www.cordulakafka.de
44/45 |
“The unknown is the exciting part; I put no limits on where we can go next. I want to keep the studio small enough to stay personal, but ambitious enough to keep evolving. Anything is possible.”
IMAGE: SOMEWHERE BY NICO, STUDIO TWO INTERIORS, STEVIE CAMPBELL PHOTOGRAPHY
stay connected, through communities like Women in Lighting,
rhythm, and lighting helps orchestrate that. Functionality
the SLL, and the ILP, as well as events hosted by Light Collective.
underpins everything, but storytelling gives it soul. The best
The [d]arc awards and LiGHT expo are also brilliant occasions to
results happen when those two aspects are inseparable.
catch up with fellow designers and celebrate great work.
“It also comes down to really understanding the space, how it
“It’s not just about the lighting industry, either. Attending wider
makes you feel, and how you want others to feel within it. That
networking events is so important, especially when you run
emotional connection guides every design decision.
your own business, you never know who you might meet or
“I believe lighting should feel effortless. In hospitality, people
where the next collaboration or client opportunity will come
remember how a place made them feel, not what fittings were
from.”
used. I aim to create atmospheres that are warm, authentic, and
Looking through Mistry Lighting’s portfolio, it’s clear to see
aligned with the brand identity, where lighting enhances mood,
that hospitality projects are a strong offering. “Some of my
complements food and music, and shapes a complete sensory
hospitality projects capture what I love most about lighting
experience.”
- spaces where light supports the brand story without
Working across both architectural and decorative lighting
overpowering it. One that stands out is Cut & Craft Manchester,
design and specification, Mistry sees the two components
a Grade II-listed restaurant where we layered soft, concealed
as equals in a project setting. “Architectural light defines the
architectural light with decorative fittings to create warmth and
structure and function, while decorative light brings intimacy
rhythm within the heritage fabric.”
and character. The key is restraint, using decorative pieces
When asked whether Mistry Lighting has a particular design
with purpose, not as embellishment. It’s about layering what’s
identity when it comes to hospitality projects, Mistry says the
revealed, what’s hidden, and what’s left in shadow.”
studio doesn’t necessarily have “a single signature style”. “Each
Noting one particular project in which decorative lighting made
space is different, and that’s what keeps it exciting. I take the
a transformative impact on the overall design narrative, Mistry
time to understand the client’s vision and the story they want
reflects on her work for Gina, a small restaurant in London,
to tell, then tailor the lighting to suit. It’s always a collaboration.
which was completed earlier this year. “I worked closely with
“Our approach is architecturally sensitive and emotionally
the clients, who are also the chefs, to shape the lighting
driven. Every project begins with understanding how the space
narrative. The interiors were stripped back and crying out for
should feel, the story it wants to tell, and then we build layers
feature pendants, so we collaborated with designer Naomi Paul
of light to support that. It’s all about balance: atmosphere and
to create beautifully hand-woven lights that complemented the
function, beauty and efficiency, creativity and control.”
space without distracting from the artwork on display. Without
When it comes to balancing storytelling, functionality, and
them, it would have looked more like an art gallery!
guest experience, Mistry Lighting implements a state of
“The decorative lighting was crucial in creating a rich, intimate
hierarchy. “Every space has a heartbeat, a focal point, and a
dinner-time ambience, paired with handmade wall lights. Using
INTERVIEW | KRISHNA MISTRY
tactile, crafted materials brought warmth, texture, and depth to the interiors,
advice she would pass on to anyone considering starting their own lighting design
transforming what was a simple space into one that feels layered and inviting.
studio. “There’s so much potential in smaller, experience-led spaces, independent
“In general, clients today are more design-literate and value-driven. Guests expect
hotels, cafés, and cultural venues that prioritise intimacy and storytelling over
environments that feel considered and personal, not just “Instagrammable.”
scale. Working with a small bakery chain recently, for example, showed how good
There’s a real appetite for warmth, tactility, and authenticity, and lighting plays a
quality lighting can transform everyday spaces, creating warmth and a genuine
huge role in creating that.”
sense of home.
Looking ahead, Mistry delves into the current industry trends that are influencing
“I’m excited about continuing to collaborate with passionate clients and exploring
design. Examining the roles of technology, wellness, and sustainability and their
new sectors while staying true to what we love. The unknown is the exciting part;
abilities to shape the future of design, Mistry says: “These are no longer separate
I put no limits on where we can go next. I want to keep the studio small enough
conversations; they’re intertwined. Technology allows us to be more precise;
to stay personal, but ambitious enough to keep evolving. Anything is possible.”
sustainability keeps us accountable; wellness reminds us why it matters. The
If the sky were the limit? “I’d love to design lighting for a boutique hotel. I’m a
future lies in subtlety, designs that are smarter but quieter, where technology
sucker for a good hotel, so lighting one would be an absolute dream! And, if I’m
serves human experience rather than spectacle.”
really dreaming big, a superyacht is also on the bucket list. I love a challenge.
Innovations and attitudes that Mistry is particularly looking forward to for
“For me, success isn’t measured in money. It’s about the projects I get to work
hospitality design touch on the controllability of lighting and local craft. “I’m
on and the people I collaborate with. As a British Asian woman running my own
excited about the growing accessibility of tunable white and adaptive lighting
business, with a steady stream of meaningful work, all while raising a small family,
systems in hospitality, tools that genuinely enhance mood, comfort, and energy.
I feel proud. That balance, however imperfect, is success to me.”
At the same time, I love seeing a return to craftsmanship in decorative lighting.
If you want to start out on your own, “know your why”, she states. “It’s easy to get
“We’re working with clients who really value handmade light pieces and
caught up in what you think you should do, but the most sustainable path comes
understand the meaning they bring to a space. There’s something so special
from being authentic. Be patient, stay curious, and build genuine relationships;
about that; it creates a deeper connection between the design, the maker, and
that’s where the best work comes from.”
the atmosphere of the room.”
www.mistrylighting.com
Regarding what we can expect from Mistry Lighting over the coming years, Mistry discusses her dream job, growth opportunities, her measure of success, and the
IMAGES: TOP LEFT: THE BOATHOUSE GUILDFORD, RAW CLAY, GAVRIIL PAPADIOTIS; BOTTOM LEFT: GINA CHINGFORD, MISTRY LIGHTING; RIGHT: AZOTEA LEEDS, STUDIO TWO INTERIORS, STEVIE CAMPBELL PHOTOGRAPHY
46/47 | ON THE BOARD | JULIETTES INTERIORS - GOTHIC DECOR
ON THE BOARD
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Gothic Interior Design Trends in Luxury Homes At Juliettes Interiors, we’ve always believed luxury interiors should reflect the true character of the homeowner, and recently, more of our clients are embracing their darker side. The allure of the gothic has never really left the design world, but we’re now seeing it re-emerge with a distinctly luxurious but contemporary edge. No longer pigeon-holed to haunted houses or Halloween, gothic interiors are being reimagined in a grand, sophisticated and opulent way. Popular culture has played its part. Netflix’s Wednesday sparked what’s being called a ‘Whimsigoth’ fascination, darkly romantic, 5
whimsical and feminine interiors. But beyond the screen, there’s a growing appetite among our high-net-worth clients for drama, depth and a little mystery in their homes. For us, this means creating spaces that marry indulgent materials, bold silhouettes and refined craftsmanship. The Power of Statement Furniture At the heart of a gothic-inspired design, the look begins with a dramatic centrepiece. For some clients, it’s a jet-black velvet sofa [1] that immediately commands the room. For others, it’s a sculptural dining table [2] or an imposing four-poster bed [3]. Increasingly, we’re asked to design or customise pieces that nod to a client’s alter ego, a way to express personality and have something that is the perfect fit. The key, in our view, is balance: sumptuous fabrics such as velvet, lacquer and leather [4] bring the drama without ever tipping into looking too theatrical. A Dark but Luxurious Palette Black will always be the cornerstone of gothic design, but the palette has become much more layered. Clients are asking us to weave in monochrome elements, as well as deep jewel tones, blood red, amethyst [5], emerald, and sapphire to add intrigue and warmth. When combined with bronze or gold accents, the result is unapologetically decadent, a modern interpretation of the moody glamour of Gothic architecture.
JULIET TES INTERIORS
Juliettes Interiors is a leading name in luxury furniture and interior design, renowned for transforming homes with bespoke creations and timeless elegance. With more than 20 years of expertise, it blends classic craftsmanship with contemporary innovation, offering everything from single statement pieces to full turnkey design services. With Gothic-inspired interiors on the rise, Juliette Thomas, founder and creative director, explains how to achieve this opulent aesthetic.
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Lighting with Mystery and Magic
Gothic Glamour, Refined
Lighting is one of our favourite ways to bring gothic glamour to life.
What excites us most about this trend is its refinement. Today’s gothic
The statement chandelier still reigns supreme; often updated with
interiors aren’t about shock value, they’re about sophistication, depth
smoked glass or Swarovski crystals [6] for a modern, luxurious feel.
and character. By introducing carefully chosen details and luxurious
Layered lighting is a must, adding a candelabra-style table or floor
finishes, we can create homes that feel both timeless and daring.
lamps [7][8] to add to the gothic styling, but giving perfect control over the atmosphere of a space. The right lighting can transform an interior,
At Juliettes Interiors, we’re seeing more clients than ever embrace this
creating just the right mood, elegant, enigmatic and utterly captivating.
darker side of interior design and a more dramatic aesthetic. Whether through a statement piece of luxury furniture or a full-scale interior
Finishing Touches with a Dark Edge
design transformation, gothic design trends are on the rise. We love
For those not ready to commit to a full gothic makeover, accessories
helping our clients to express individuality, unleash their darker
are a wonderful starting point. A jewelled glass centrepiece, an ornate
side, and we’re thrilled to help them do it with all the elegance and
baroque mirror [9] or a sculptural black vase can bring a touch of
refinement that luxury living demands.
darkness to an otherwise neutral room. And of course, candlelight, whether from traditional candelabras [10] or dramatic lamps, is always essential for that gothic sense of mystery.
www.juliettesinteriors.co.uk
12 – 14 January 2026
Dubai World Trade Centre
REGISTER TO VISIT
MENA’s leading event for lighting and building technology
COMMENT | ROSIE MCDONNELL | 48/49
COMMENT
ROSIE MCDONNELL People first design: The importance of lighting when creating experiences in residential spaces. Rosie McDonnell, interior designer at 74, discusses the power of layered lighting and flexibility for residential environments.
At 74, our work is centred around the people
to seamlessly transition from day to night and lighting
who use the spaces we design. Once the
is crucial in achieving this. By layering different types of
functional and operational elements of a
lighting that can be user-controlled, it gives maximum
project have been defined, we are left with the fun stuff;
flexibility and optimal use of the space.
designing meaningful and appropriate experiences to
The most successful spaces introduce multiple lighting
enhance residents’ appreciation of the settings that
types that contribute to the overall atmosphere and
effectively make up their homes.
can be adapted to suit the intended use. For working, a
The creation of opportunities in which to experience
balanced lighting level with the temperature adjusted
different things relies on curated spaces that weave
to emulate daylight is most effective for calm and
together many elements to create a mood. As
focus. In the evening and for social events, it may be
designers, we have a vast array of forms and materials
more appropriate to dim the ambient lighting and rely
that we can use, but often the trick to creating spaces
more on the accent lighting to set a more intimate
that people love comes down to the lighting.
ambience. This could be LED strip lighting to joinery or
Lighting is about more than just what you can see. It
a warm glow from feature wall lights.
forms the mood, the atmosphere, the emotion. It can
It is also important to consider the time of year and how
play an integral role in elevating a client’s brand and
much direct sunlight is received in a space to be able
leaving a lasting impression. It can influence how a
to set the correct and most effective level of lighting
person reacts when entering a space and how they
for a comfortable experience. These adjustments make
enjoy it.
a huge difference to the overall feeling of a space and
Often when we feel connected to a place, we describe
increase the level of engagement from residents.
it as evoking a certain feeling. It is a combination
The spaces we create are designed to last. Every detail
of factors, which when used effectively, draws us in
we draw and every decision we make is derived from
and makes us really value the environment we are
a carefully considered narrative, which underpins the
immersed in. The right level of lighting among other
scheme and all works together to tell a story.
design tools subconsciously activates our senses and
The style of a light fitting is so much more than what
therefore defines our experience of a space.
initially meets the eye. For us, it should form part of the
Our design process starts with the operational aspects,
narrative of the space, drawing inspiration from the site
by mapping out the user journey and considering how
context, architectural language or brand story; whether
we want people to feel within a space. Is it a clubhouse
this is achieved though materiality, style or form.
lounge where people want to feel like they can kick
Lighting is a crucial layer of many design elements that
back with friends? Is it a quiet workspace that feels
form the overall narrative of a space. In the buildings
tranquil and uplifting for residents working from home
we design, this storytelling is integral to creating a
all day or getting their head down to study? Having a
unique identity and a sense of belonging, which people
considered lighting strategy that is cohesive with the
feel that they are part of in order to create the feeling
design of the space and that is fit for the intended use
of home.
is essential to it’s success.
Home means different things to different people but
When designing interiors to provide for a wide
at its core and at its best, home means a sense of
demographic of people, it is important to think of these
belonging, being able to be yourself, feeling protected,
spaces as transitional. Often, we design spaces that are
supported and encouraged.
intended for multiple uses, therefore they must have
Throughout our design work, across multiple types of
an element of flexibility in order to be most viable. A
residential buildings and boutique hotels, we strive
bookable meeting room with a TV and kitchenette can
to create a sense of home, where the orange glow of
double up as a private dining room by evening, or a co-
dimmed lights welcome us back after a tough day.
work space can be also be used to host resident events.
www.weare74.com
To cater for multiple uses, these spaces need to be able
50/51 | DESIGN EVOLUTION | TALA X HEATHERWICK STUDIO
DESIGN EVOLUTION
TA L A X H E AT H E RW I C K STUDIO THE MAKING OF WAKE
In this Part 2 of Design Evolution, discover the realised creation between Tala and Heatherwick Studios: Wake. The new table lamp presents a heavily researched concept of the relationship between light and sleep. Taking a new technical direction for the brand, Wake is a sleek yet sophisticated addition to its lighting portfolio.
Wake began as a shared idea with Heatherwick Studio, to bring calm
We focused on stripping away complexity while keeping control
back into the bedroom through light, touch, and sound. The goal
intuitive. Wake supports both app-based routines and seamless,
was simple but hard to achieve: a bedside light that helps people
phone-free use. The rotating dial replaces buttons and menus with
wind down and wake up naturally, without feeling like another piece
something simple and human. Developing the firmware and user
of plasticky tech.
experience demanded months of testing to feel effortless.
The manufacturing processes were far from typical for consumer
Creating a low-voltage, repairable yet high-quality omni-directional
electronics. Crafted from glazed ceramic and pressed glass, every
light was another hurdle. The result exceeded our hopes: a broad
component was refined to feel tactile and honest. Making the body
1800–3100K Kelvin range, 98 CRI colour accuracy, and beautifully
of the lamp the moving dial was a major challenge, working with
soft diffusion. This is by far the most advanced light we have made
natural materials that have wide tolerances required immense
to date and something the studio is really proud of.
precision and lots of testing. The ceramic form pushed our limits
www.tala.co.uk
but gave the lamp its warmth and character.
www.heatherwick.com
52/53 | FOCAL POINT | ARTICOLO STUDIOS
FOCAL POINT
ARTICOLO STUDIOS THE VESSEL EDIT AUSTRALIA
Articolo Studios unveils The Vessel Edit - its maiden collection of light fittings designed exclusively for yachts and nautical environments. This curated series of signature pieces brings together sculptural elegance with the technical precision required aboard vessels, affirming Articolo’s position at the forefront of Australian design innovation. Meticulously engineered, The Vessel Edit features interior and exterior fittings that balance beauty with functionality. Concealed anchors, custom arms, and discreet fixings secure pendants and sconces through the rhythm of open waters, while preserving the studio’s aesthetic intent. Several designs within the edit are inherently suited to the demands of a nautical environment, requiring no additional accessories due to their robust construction. From moody salons to expansive open-air decks, the collection proves that elegance need not be compromised by environment. Each piece is both anchored and transcendent, an enduring companion for voyages across seas. This new collection cements Articolo’s dedication to light that endures - unwavering in design, refined in detail and tailored for the most exacting contexts. www.articolostudios.com Images: Renders provided by Articolo Studios
54/55 | PROJECT | CRUISE & YACHT LIGHTING | LUMINARA
PROJECT
L U M I N A R A S U P E R YA C H T INTERNATIONAL
Toronto-based interior design studio Chapi Design has unveiled its latest project, the Luminara, which is the third superyacht in The Ritz-Carlton Yacht Collection fleet.
Launched in July 2025, the Luminara superyacht is a radiant evolution of the
feel both intimate and infinite at the same time.
brand’s design-forward identity. Inspired by the Latin word for ‘light’, Luminara
“Designing on land is about grounding; designing at sea is about balance.
reimagines what it means to travel by sea, pairing avant-garde aesthetics with
Everything aboard a yacht must consider motion, scale, and the way light and
the brand’s signature hospitality to create an experience that’s as emotionally
material behave within a constantly changing environment.
resonant as it is luxurious.
“But beyond the technicalities, the emotional register is different. On land, a
darc spoke with Chapi Design’s founder, Tatiana Sheveleva, to discover her studio’s
guest’s experience is framed by architecture and landscape. At sea, it’s framed
design approaches for the luxury yacht.
by horizon and atmosphere. You’re designing for contemplation – for the way
“I have a long-standing creative relationship with The Ritz-Carlton brand, having
sunlight drifts across a wall at sunrise or how moonlight glimmers on a brushed
worked together on several of their land-based properties,” she explains. “When
metallic surface at night. The sea, in many ways, becomes our collaborator.
Luminara began taking shape, there was this beautiful ambition – to translate the
“Other than that, though, the design process itself is the same – it’s about
brand’s refined sense of place and its emotional connection to guests into a new
designing something beautiful and bespoke.”
realm: the ocean.
When it came to specifying decorative lighting for the vessel - of which all fixtures
“When we were invited to join the Luminara project, it felt like a natural evolution
chosen by Chapi Design came from Lasvit - and the role it played in the overall
of that dialogue. The idea of designing for motion, for reflection and for horizon
scheme, Sheveleva explains how it was of core importance: “Light was truly the
– it was irresistible. Luminara became an opportunity to explore how luxury can
soul of this project – the very idea of Luminara was born from the notion of
IMAGES: LEFT: THE LIVING ROOM. THIS PAGE TOP LEFT: RECEPTION DESK; BOTTOM LEFT: IN-SUITE SERVICE; RIGHT: PRIVATE DINING ROOM
illumination, both literal and emotional. We wanted light to become language: to
Room, there is a piece that reflects the form of stingrays. For me, it was about
narrate the guest’s journey throughout the yacht.
creating energy that feels alive yet effortless.”
“Decorative lighting was the connective tissue between architecture, texture
Integrating sculptural fixtures into the superyacht naturally came with its
and mood. It’s what gives form its poetry – the shimmer on a curved wall, the
structural challenges. “Every element on a yacht must perform beautifully while
softness that draws you deeper into a space. Every fixture was chosen for the way
meeting strict marine safety and engineering standards. Fixtures need to be
it interacted with surface, reflection and the rhythm of the sea.
secured in ways that can withstand subtle movement and vibration, without
“In the dining areas, lighting carries a certain theatre – a quiet choreography of
compromising elegance.
glow and shadow that frames the ritual of gathering. There’s a gentle golden hue
“We worked closely with the shipbuilders and lighting consultants to ensure that
that enhances the tones of food and conversation, almost like candlelight on a
every piece – no matter how sculptural or delicate it appeared – was as robust
Mediterranean evening.
as it was refined. That duality is at the heart of luxury design at sea: grace built
“The private dining room is anchored by a sculptural chandelier that floats above
on precision.”
the table like a constellation of glass jellyfish – each hand-blown form capturing
Part of what made this project so successful was its collaborative efforts.
the fluid grace of the sea itself.
Sheveleva elaborates: “This was our first major collaboration with dpa lighting
“In the lounges and social spaces, lighting shifts to a more ambient, diffused
consultants, and it was a truly symbiotic process – as it was with the whole
mood, but with statements – sculptural pieces that seem to hover. In the Living
design team, including AD Associates. From the beginning, there was a shared
56/57 | PROJECT | CRUISE & YACHT LIGHTING | LUMINARA
IMAGES: LEFT: THE LIVING ROOM; RIGHT: MISTRAL, BOTH BY EDGARDO CONTRERAS
understanding that lighting was a protagonist in the
“The public areas are organised so the lighting,
story of Luminara.
and the guest’s experience of the space, changes
“Working with a dedicated lighting design studio
throughout the day. There is a bright and fresh feel
brings an extraordinary layer of nuance – they think
to the public areas during the day, and then as the
in gradients, in emotions, in the subtle choreography
evening starts, the lighting softens to provide a warm,
of how people experience light. Together, we explored
relaxing atmosphere. The outside decks deliberately
how each space could evolve throughout the day,
have low levels of light so people can see the stars
responding to natural conditions, to guest mood, to
and the moon reflecting off the water at night. The
rhythm.
experience continues in the sumptuous suites where
“It became a dialogue between architecture and
the lighting enhances the guest’s time on board by
atmosphere, between function and feeling. That kind
creating elegance and functionality with intuitive
of collaboration is what transforms a space from
lighting controls.”
beautiful to transcendent.”
The
Deeksha Surendra, dpa lighting consultants, adds: “The
accommodates up to 452 guests. In addition to 226
Specif ying a range of stunning
lighting inspiration was instantly there for us. Creating
spacious suites, each boasting a private ocean-view
sculptural lighting pieces from
the atmosphere of a luxury residence of the highest
terrace, a higher percentage of upper-suite categories,
quality, reflecting The Ritz-Carlton Yacht Collection’s
and superior guest amenities, the onboard experience
ethos, was key to the overall lighting design approach.
features world-class dining, a wine vault, The Ritz-
“It was important for us to bring out the quality of the
Carlton Spa and an expanded marina providing direct
idea of Luminara was born
design, artwork, materials used, and detailing of the
access to the water.
from the notion of illumination,
furniture using carefully planned lighting. The layered
www.chapidesign.com
lighting enhances visual interest, while the decorative
www.dpalighting.com
lights add a blend of soft ambiance, sparkle, and vibrancy to each space.
superyacht
LUMINAR A SUPERYACHT INTERNATIONAL Interior Design: AD Associates / Chapi Design (public areas) Lighting Design: dpa lighting consultants
measures
242-metres
and
Lighting Specified: Lasvit
Lasvit, Chapi Design created a luxurious environment for the latest Ritz-Carlton Yacht Collection. “Light was truly the soul of this project – the ver y
both literal and emotional. We wanted light to become language: to narrate the guest’s journey throughout the yacht,” explains Chapi Design’s founder, Tatiana Sheveleva.
Glaze by Arteriors
See these products and much more on the Elstead Lighting booths this Autumn LiGHT25 - Stand 32 | HIX - Stand A87 Scan for PDF Catalogue or
VISIT: QUINTIESSE.COM PART OF THE ELSTEAD LIGHTING GROUP
DARC FP - November 2025.indd 1
21/10/2025 14:34:56
58/59 | ON SHOW | LIGHT25 PREVIEW
O N SHOW
T h e U K’s o n l y t r a d e s h o w d e d i c a t e d t o h i g h - e n d l i g h t i n g s p e c if i c a t i o n , r e t u r n s t o t h e B u s i n e s s D e s i g n C e n t r e o n 1 9 -2 0 N o v e m b e r . E x p e c t t h i n g s big g e r a n d b e t t e r t h a n e v e r b ef o r e, p r o misin g t o b e i t s m o s t a m b i t i o u s e d i t i o n y e t, b u il d i n g o n t h e r e c o r d - b r e a k i n g s u c c e s s o f l a s t y e a r ’s e v e n t.
New For 2025 This year’s event will see the introduction of
experience and the evolving relationship between
three clearly defined zones, reflecting the full
light and wellbeing.
spectrum of today’s lighting industry and making
Beyond the main stage, the Associations Lounge,
it even easier for visitors to navigate the wealth of
supported by Studio Due, will host a parallel
brands, technologies and innovations on display.
programme featuring the return of LIGHT
Among the most exciting developments is the
LUNCH on the Thursday, where there will be a
launch of the brand-new Technical Zone, located
discussion led by David Atkinson, DALD, followed
in the Gallery Hall. This dedicated area shines
by a networking opportunity accompanied with
a spotlight on the backbone of the lighting
refreshments.
world – the components, control systems and
With its new CPD status and a line-up designed
technologies that power outstanding design.
to challenge, inspire, and inform, [d]arc thoughts
Showcasing
leading
names
in
urban
and
cements its place as a vital forum for professional
commercial lighting, control systems, OEM
growth and creative exchange.
components, lamps and gear, and emergency
Here, we outline some of the talks visitors can
lighting, the Technical Zone recognises that great
expect from the [d]arc thoughts programme that
design begins with great engineering. As the
we think will particularly appeal to darc’s readers.
industry embraces sustainable, human-centric,
All talks on this schedule will take place in the
and increasingly intelligent systems, this new
[d]arc thoughts space on the Gallery Level – next to
addition offers a vital platform for discovery and
the Decorative Zone and the Associations Lounge.
dialogue.
Talks are free to attend for registered LiGHT
LiGHT’s much-loved talks programme, [d]arc
25 visitors.
thoughts, also returns with renewed purpose and
www.lightexpo.london
a significant new credential – CPD accreditation,
Images: Olivia Ross
delivered in collaboration with Lutron. This marks an important milestone for the programme, which continues to champion thought leadership within the global lighting community. Across two days, the stage will welcome an inspiring line-up of international designers, industry leaders and creative thinkers tackling the issues shaping lighting design today – from sustainability and inclusivity, to AI, multisensory
TA L KS H I G H L I G H T S W e d n e s d a y, 1 9 N o v e m b e r
T h u r s d a y, 2 0 N o v e m b e r
1 1:3 0 – 1 2:1 5 Darkness
1 1: 0 0 – 1 3: 0 0 | L i g h t I n s i d e Out
| U n d e r s ta n din g
Moderator: Matt Waring
Join the SLL for 6 x 15-minute presentations focused
Speaker: Zoe Faulkner, Troup, Bywaters + Anders; Carolina Florian,
on the luminaire and its components to enable it to deliver light
Qiddiya, Dan Oakley, DarkSky International
as desired.
1 2:2 5 – 1 3:1 0 | O u t o f o u r L a n e: W h a t L i g h t i n g D e s i g n e r s M u s t L e a r n f r o m M e dicin e
1 3:1 0 - 1 3:5 5 | B e s p o k e S o l u tio n s in Lig h tin g Moderator: Matt Waring
Speaker: Willie Duggan, Lighting Designer
Speakers: Faye Robinson, Unibox; James Sherman, Foster + Partners; Ellie Cozens, Foundry; Miguel Aguado, Lutron
1 3:2 0 – 1 3:5 0 | I s Tr u e I n c l u s i v i t y A c h ie v a b l e ? Speaker: Guy Kornetszki, Nulty+
1 4: 0 0 – 1 4:4 5 | B e y o n d L i g h t: M u ltis e n s o r y D e sig n in P r a c tic e
1 4: 0 5 – 1 4:3 5 | L i g h t - T h e F o u r t h M at e r i a l - Digita l C r a f t s m a n s hip at B e n t l e y Speaker: Naomi Saka, Bentley
Speakers: Tricia Smikle, RNIB; Roy Imeson, RNIB; Alexandra Hoste,
1 4:4 5 - 1 5:1 5 | Tr u e L u x u r y i s H a n d m a d e: C r a f t e d f o r C o n n ois s e u r s o f Lig h t
RNIB; Rob Burrell, Buro Happold
Speakers: Surbhi Jindal, Da Light Hub / Women in Lighting India
Moderator: Dr Shelley James
Ambassador
1 4:5 5 – 1 5:2 5 | Y o u r D a t a I s n ’t ‘G o o d ’: It ’s J u s t D a t a
1 5:2 5 - 1 5:5 5 | M o r e o r L e s s
Speakers: Kael Gillam, Hoare Lea; Max Robson, Recolight
Speakers: Nikos Moskofidis and Lee Sweetman, dpa lighting consultants
1 5:3 5 – 1 6:2 0 | S h a p i n g At m o sp h er es Moderator: Judith Patiño, Vibia
1 6: 0 5 - 1 7: 0 0 | B r il l i a n t o n Pa p e r, B r o k e n o n Site
Speakers: Sanjit Bahra, Design Plus Light; Nathan Hutchins, Muza
Moderator:: James Siddle, Ideaworks
Lab; Sebastián Mealla, ProtoPixel; Barbara Ventosa, Vibia
Speakers: Joshua Bourton, Westgreen Construction; Luke Cook, Darke & Taylor; Sandra Babini, Lumino; Caroline Jonsson,
1 6:3 0 – 1 7: 0 0 | F r o m S p a r k to Spectr u m: H o w AI A u g m e n ts Lig h tin g D e sig n e r s
Ideaworks
Speaker: Daniel Green, Into Lighting; Kuldeep Vali, Rise With AI
plus the full Association Lounge programme via
Discover the full schedule, including detailed talk descriptions, www.lightexpo.london/talk-programme/
1 7:1 5 – 1 7:4 5 | R e:V i s i o n – M e e t t h e D e sig n e r s Moderator: Matt Waring Speakers: Benz Roos & Kit Thavaseelan, Speirs Major Light Architecture
60/61 | ON SHOW | LIGHT25 PREVIEW
Zoe Cangini e Tucci Zoe is a collection of hanging, table, and wall lamps in blown glass, 100% Made in Italy. Available in various sizes, it offers refined finishes, metallic details, and vibrant colors that shape light into unique effects. Elegant design and craftsmanship enhance its versatile decorative value in any environment. www.canginietucci.com | Stand D8
Marnie Quintiesse
Hayle Industville
Like a gorgeously beaded garment, the Marni collection includes ceiling and wall fixtures as well as table lamps, which can add luxury and interest to any interior. Meticulously cut-acrylic shades create glittering beams of illumination throughout the design. These integrated LED fixtures are finished in natural brass. Designers can create a unique installation with multiple pendants. www.quitiesse.com | Stand D32
Hayle captures the essence of considered design. Its frosted glass diffuser softly disperses light, creating a calm, inviting atmosphere that feels both timeless and modern. Crafted with care and offered at an attainable price, Hayle embodies Industville’s belief that exceptional lighting should balance quality, value, and design integrity. www.industville.co.uk | Stand D21
Ghostfeed 2.0 Esse-Ci Ghostfeed 2.0 by Esse-Ci redefines the concept of suspended light: an essential single-cable system spanning up to 15-metres with just two anchor points. Direct and indirect LED strips, adjustable micro-spots and the new silicone Trilly with paintable aluminium finishes provide creative freedom for retail, hospitality and residential spaces www.esse-ci.com | Stand U12
Ice Ilmas
Ribby AQ Form
Ice is a slim, cylindrical pendant that embodies minimalist elegance. Like many Ilmas products, it comes in a range of customisable finishes, allowing it to harmonize perfectly with any interior. Elegant and versatile, it works beautifully as a stand-alone feature over reception desks, tables, or accent areas, or in groups to create sophisticated compositions that elevate contemporary spaces. www.ilmas.com | Stand U37
The Ribby luminaire family has earned both the Red Dot and iF Design Awards 2025 for its clean aesthetic, visual comfort, and adaptability. With suspended, linear, and wall-mounted options, Ribby offers dual-directional lighting, multiple sizes, and elegant consistency making it ideal for offices, hospitality, and residential interiors. www.aqform.co.uk | Stand D31
Explorer, Rust finish cast aluminium portable table lamp. Featuring a dimmer setting memory function. Charged with a USB Type-C cable. Rated IP65.
VISIT US
franklite.co.uk • hello@franklite.co.uk • 44 (0)1908 691 818
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62/63 | ON SHOW | LIGHT25 PREVIEW
Wake Tala Designed to align with your circadian rhythm, the Wake Light redefines restorative illumination. Its sculptural ripples, inspired by sunset reflections, cast a serene glow that transitions effortlessly from evening calm to morning vitality. Mimicking the natural fade of dusk and the gentle rise of dawn, it promotes deeper rest and brighter awakenings. www.tala.com | Stand 5
Borealis Italamp
Ali di Luce OliveLab
Designed by Nava Arosio, Borealis is a suspension lamp that seems to dance in space like the incredible lights of the northern sky. Inspired by the designers’ travels in Lapland, the piece combines amber and brown glass with a fluid structure in glossy midnight grey. A poetic design - simple, functional and rich in meaning - that enhances Italamp’s craftsmanship. www.italamp.com | Stand D25
Ali di Luce is a modular lighting system offering total creative freedom. With rotating light sources in either diffused glass or directional metal, you can customise layout, colour, cable length, and beam effect. Sculptural yet functional, it’s a flexible solution for expressive lighting schemes across residential, retail, and hospitality spaces. www.olivelab.it | Stand D31
Igor Tooy Igor presents itself as a flying luminous entity suspended in space, a simple but sophisticated geometry that finds its synthetic beauty in its proportions. A lamp that can live alone or as a cluster with compositions where the rule is not sought but appears as consecutive moments in motion within its volume; with a strong personality in terms of size and abstraction that encloses each of its components in a simple and closed volume. www.tooy.it | Stand D34
Circus Vibia Circus, designed by Antoni Arola for Vibia, redefines light as a living element that shapes emotion and space. Like a choreography of light, it blends accent, diffuse, and reflected effects to compose scenes that evolve throughout the day. Freed from architectural constraints, Circus offers designers a creative language of balance and flow that nurtures wellbeings. www.vibia.com | Stand D19
Voyd Intra Lighting Office lighting doesn’t have to be dull or uninspired. Voyd blends technical precision with aesthetic identity. Its soft, organic form and comfortable light quality create a pleasant working atmosphere. The light source is designed to ensure optimal visibility on work surfaces, balanced overall brightness and soft contrast. Optional acoustic panels turn Voyd into a multifunctional element of interior design. www.intra-lighting.com | Stand D12
Liquid Line Series Lightnet Liquid Line embodies Lightnet’s vision of maximum flexibility and technical sophistication. The system adapts effortlessly to any spatial concept – both in design and functionality – creating fluid transitions between architecture and light. Lightnet presents new Liquid Line surfaces, including elegant wood finishes that add a warm, natural materiality to the luminaire’s precise design. www.lightnet-group.com | Stand U14
Kinno Lodes
Taiten SAAS Instruments
Kinno is a bollard that enhances the beauty of outdoor spaces by blending harmoniously into the landscape. Its design features biomorphic shapes and curves inspired by plant forms, which convey a sense of comfort and wellbeing. The elegant silhouette evokes the shape of a mushroom – hence the name Kinno, which means ‘mushroom’ in Japanese – and plays with visual perception to suggest the imperfect harmony of the natural world. www.lodes.com | Stand 15
Made from brass and acrylic, Taiten has a minimal design that feels both light and airy. The acrylic creates a subtle floating effect, allowing the light to hover gently in space. Designed by Mikael Mantila, the pendant uses very few components and is crafted with the utmost precision. www.saas.fi | Stand D17
Poldina Reverso Solar Zafferano Poldina Reverso Sola is a cordless, portable LED floor lamp for indoor and outdoor use. It features a solar panel and USB-C charging, with two multipurpose base containers for decorative use. Dusk and motion sensors automatically turn the light on and adjust brightness. The lamp offers four brightness levels and four colour temperatures (2200K–4000K), controllable manually or via remote and is available in a selection of refined finishes. www.zafferanoitalia.com | Stand D28
Kurtain Luxxbox The Kurtain acoustic pendant is a harmonious blend of tranquility and style for open spaces. Inspired by flowing curtains, this eco-friendly, biodegradable wool pendant absorbs sound, transforming noisy environments into peaceful havens. With high-performance, dimmable LED lighting and an optional indirect wash, Kurtain fosters focus and comfort, enhancing modern interiors with a sense of calm and connection. www.luxxbox.com | Stand 58
Harp Franklite The Harp wall light features a gracefully curved design that brings an elegant flow to any interior. The aged brass frame is adorned with slender, clear glass rods that capture and refract the light, creating a radiant, layered glow across the wall. The blend of sculptural form and shimmering transparency adds a touch of sophistication, making it as much a decorative statement as a source of illumination. . www.franklite.co.uk | Stand 22
AD INDEX
Architonic
65
Light Middle East
48
Secto Design
13
Lucis
64
Cordula Kafka
43
Niche Modeern
27
David Village Lighting
68
Nordlux
31
Elstead Lighting
57
Schwung
02
Franklite
61
Vibia
05
Intra Lighting
67
Zafferano
29
J. Adams & Co
19
Zico Lighting
33
Larose Guyon
23
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66/67 | IN FOCUS | CURIOUSA
IN FOCUS
Pa stel l o E s t h e r Pat t e r s o n C u rio u s a
What is the concept behind this new collection?
Tell us more about the materials and how you work with
Drawing on the studio’s signature colour palette from the
ceramics and glass in your studio.
award-winning Maya and Carnival collections, Pastello
What’s great about slip-casting is that you can make many
pairs hand-crafted ceramic and semi-opaque glass
pieces from one mould, and I can keep experimenting
shades in a spectrum of pastel tones.
with each one. I’ve started painting some of the surfaces
The inspiration behind the range’s palette harks back to
too. For instance, for the Hola, I decided to paint a layer
the playful, optimistic colours of 1950s and 60s melamine
of colour on the inside of the shade while it was still in
tea sets, picnic scenes and coloured bathroom suites — a
the mould. I was just playing, but it turned out so well
celebration of bravery, joy and the desire to brighten life
that I decided it would become part of the Pastello
after dark times.
range, creating a simple two-tone shade. I’ve also started
We’re inviting homeowners and designers to channel that
hand-painting designs on the shades and I’m thinking of
same boldness, creating bathrooms that lift the spirit
bringing out a range of these next year. Because I make
and inspire the day ahead. This range embodies my love
the models myself on the wheel, the final shades still
of colour, texture and playful form, bringing a sense of joy
carry the maker’s marks and impressions. I don’t want
and individuality to any bathroom.
them to look factory made, but handmade.
How long have you been working on Pastello for?
What inspired you to introduce new colours into the
I’ve been experimenting with the shade shapes for the
collection?
last 18 months. I make the original shape on the wheel;
It often starts with the colour and I work from there,
in ceramic slip-casting terms we call this the model or
sketching silhouettes in my pad first. Most of the palette
master. I create a solid shade shape in brown clay, then
stems from the previous Maya Collection, but I’ve added
cast from this using plaster. I use this plaster mould to
one more - Eggplant. The deep purple is an interesting
slip cast my ceramic shades using a beautiful porcelain
mix with the diffused glass and ceramic pieces.
clay called Parian. This clay was originally used for
For me, colour is the stuff of life. It brings me joy, and I
Victorian doll heads in the 18th century as it self-glazes
love the art of combining colours in a daring way. It’s a
and has a smooth, slightly translucent glowing finish.
challenge sometimes to bring so many colours together, but when it works, I love it. We’ve even created a new
What challenges did you face when producing this
strapline for ourselves: The Colour Lighting Company.
collection? The first shades I made were cone-shaped, but when
What makes these products different to other lighting
lit, there was a horrid shadow at the top and the shade
pieces on the market?
wasn’t evenly lit. The lamp holder was creating a shadow,
All the prototype lights are made in my ceramic studio
so I decided to start again and create a space at the top
in Wirksworth, Derbyshire. For larger orders, I work with
to allow room for the holder and to light the shade more
George Woolley (DINK), who used to work for Curiousa but
evenly.
now runs his own ceramic studio in Sheffield. I love that
It worked. I made a simple dish and bowl shape - the Ciao
we keep things local and handmade to order.
and Hola - in this style. Originally, I experimented with
There are a lot of white porcelain lights out there, and
using these for our Siren wall lights but then realised the
some of them are very beautiful, but not many coloured.
potential for a simple spotlight-style light, so I created
My gut tells me we’ll see more of them soon, as I think
one with a swivel to make it directional.
this style will catch on. But for now, I believe we’re one
I could really see the potential for these in bathrooms or
of the first among my UK design contemporaries to offer
bedside lighting - a simple and versatile visual addition to
porcelain shades with such a broad colour choice, all
a room, using colour to create a pop of interest without
made to order.
taking up much space.
www.curiousa.co.uk
Pixy AU T H E N T I CA L LY
Not only light
It’s playfulness
M A GNETIC
Asteea designed by Sofie Refer
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