DECORATIVE LIGHTING IN ARCHITECTURE

#15 MAR/APR 2016

THE GEORGE | EUGENI QUITLLET

HABERDASHERY'S LEAVES OF LUXURY
LE SHORE | MATHIEU LEHANNEUR

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ARCHITECTURE
AND DESIGN.

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DETAILS

COVER IMAGE
HABERDASHERYS LUXURIOUS LEAF - 2016

#15

Welcome
EDITOR PAUL JAMES
After the success of the inaugural darc awards in 2015 we will be officially launching the 2016 awards
at Light+Building in Frankfurt. The launch event will take place on March 15th at 6pm on the BYBEAU /
Climar stand in hall 4.2 E50 - a fitting way to kick everything off as it was BYBEAUs chandelier, Dimple,
that won the very first darc award in the best decorative lighting category during the incredible event at
Testbed 1 in September 2015. The next tranche of awards is different in one important aspect. We will be
splitting the awards into two different sectors and events - architectural and decorative. This will allow
us to dedicate more categories to both sectors and also means there will be two separate events taking
place. darc awards architectural will culminate in darc night 1 on September 15th 2016 in a very cool
venue in London soon to be announced. The darc awards decorative process will begin later this year
culminating in darc night 2 in May 2017, also in London. Both awards will continue with the revolutionary
process of peer-to-peer voting by qualified lighting designers and light artists ensuring that the best
schemes and products are chosen in a completely fair and independent way.
By the way, weve also teamed up with BYBEAU to create a mini version of the Dimple on our stand so
make sure you stop by and check it out. Youll find us at Hall 4.1 F0Y16 together with our sister title
mondo*arc, where well also have more details about how to enter the awards.
DEPUTY EDITOR HELEN FLETCHER
The tradeshow season is well and truly in its stride and the darc team has been here, there and
everywhere to bring you the best new decorative lighting launches, exclusive interviews and prized
projects from around the globe. Having been crowned Maison et Objets Designer of the Year, our big
interview this issue is with Catalan designer Eugeni Quitllet on pg.18, where he discusses inspiration and
ideas and the importance of working with good clients. Off the back of our Parisian affair, we also bring
you interviews with three other product designers as part of our Maison et Objet special report; turn to
pg.74 for Mathieu Lehanneurs Clover launch coverage. We also travelled to Stockholm for the Furniture
and Lighting Fair, where an abundance of new products were launched and Foscarini won Best Stand
for its creative installation, turn to pg.92 to read more. Continuing with the tradeshow theme, were
also going to be at Light+Building in March and as such weve put together a product preview on pg.102,
showcasing some of the decorative highlights that will be launched. If you would like us to call by your
stand and say hello, or you are hosting a press conference or drinks event, feel free to get in touch and
we will do our best to see you there!

Ugolino circular 90
photo Lorenzo Pennati

Via Vivarini 7 Milano

Tel. +39 02 89502342
info@lollimemmoli.it
www.lollimemmoli.it

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DETAILS

Contents

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NEWS
CROWNE PLAZA HOTEL NEWCASTLE
BROADGATE OFFICES LONDON
LOOK UP HQ BANGALORE
EUGENI QUITLLET INTERVIEW BARCELONA
THE GEORGE HOTEL EDINBURGH
CP HART SHOWROOM LONDON
ENRICO FRATESI INTERVIEW COPENHAGEN
REICHSHOF HOTEL HAMBURG
FUME RESTAURANT DUBAI
IN FOCUS: LEAF BY HABERDASHERY LONDON
FOLIO: CONCRETE DESIGN AMSTERDAM
HOTEL GRANADA GRANADA
FOODLOFT STUDIO MILAN
THE RABBIT HOLE TEA BAR SYDNEY
YVONNES RESTAURANT BOSTON
LE SHORE RESTAURANT LA BAULE
CLOVER PRODUCT LAUNCH PARIS
PATRICK NAGGAR INTERVIEW PARIS
MAISON ET OBJET REVIEW PARIS
CLARA LUX LAUNCH LONDON
STOCKHOLM FURNITURE FAIR REVIEW STOCKHOLM
ATELJLYKTAN LAUNCH STOCKHOLM
EDITORS CHOICE AWARD STOCKHOLM
BARBER & OSGERBY INSTALLATION STOCKHOLM
LIGHT + BUILDING PRODUCT PREVIEW FRANKFURT
NORTHMODERN PRODUCT REVIEW COPENHAGEN
NEW PRODUCTS
CALENDARC
IF...

EDITOR : PAUL JAMES : p.james@mondiale.co.uk DEPUTY EDITOR : HELEN FLETCHER : h.fletcher@mondiale.co.uk

EDITORIAL ASSISTANTS : FEMKE GOW : f.gow@mondiale.co.uk LAURENCE FAVAGER : l.favager@mondiale.co.uk
ADVERTISING : STEPHEN QUILIGOTTI : s.quiligotti@mondiale.co.uk
PRODUCTION : DAVID BELL : d.bell@mondiale.co.uk / MEL ROBINSON : m.robinson@mondiale.co.uk
darc magazine, Waterloo Place, Watson Square, Stockport SK1 3AZ, UK
Printed by Buxton Press, Palace Road, Buxton, UK ISSN 2052-9406

010

DETAILS

Hitting the Headlines

For the most recent decorative lighting news head to www.darcmagazine.com
and sign up to the designline newsletter.

Lambert et Fils and Coop

tabli unite efforts

Introducing The Sample

Sale

(Canada) Lambert et Fils welcomes

furniture designers and manufacturers
Coop tabli to its new showroom in
Montreal, Canada.
Read the full story online...

(UK) - Organisers of designjunction

present Londons first multi brand
furniture and lighting sample sale.
Read the full story online...

Lumenpulse acquires
Exenia
(Canada) Acquisition of Italy-based
manufacturer expands Lumenpulses
product portfolio, deepening
penetration into indoor LED lighting
market.
Read the full story online...

Nulty expands

Tyson Lighting unites

with Tala

(UK) - Nulty opens new Dubai office,

headed up by Director Mark Vowles.
Read the full story online...

(UK) - Tyson Lighting partners with LED

lighting manufacturer Tala to assist its
growth with contract market.
Read the full story online...

Flos targets US
(Italy) - Flos acquires Lukas Lighting
to boost North America custom and
manufacturing capabilities.
Read the full story online...

012

DETAILS

focal point
CROWNE PLAZA HOTEL & SPA
NEWCASTLE, UK

Michael Grubb Studio provided lighting

designs for the newly built Crowne Plaza
hotel and spa. Based in Newcastle, UK,
the 251 bedroom hotel anchors the up and
coming Stephenson Quarter, home of the
worlds first passenger train.
The scheme is warm and inviting with
contrasting levels of light that help create
an environment intended to calm. Lighting
is discreetly integrated into much of
the interior architecture with additional
decorative elements introduced to create
warmth and a tranquil backdrop for hotel
guests.
The main feature is a 25-metre chandelier
suspended within the main atrium, that
comprises over 100 internally illuminated
spheres, all of which have a section
removed, ensuring that light refracts and
provides sparkle. A specially designed fixing
plate with mirror and additional internal
lighting help creates the impression of a
never ending cascade of light.
www.michaelgrubbstudio.com

Pic: Sally Ann Norman

013

Pic: James Newton

014

DETAILS

focal point
BROADGATE WEST
LONDON, UK
This stunning bespoke atrium light
feature at the commercial offices of
Broadgate West in London, has been
manufacturerd and installed by The Light
Lab. Taking specialist installers and a
team of abseilers six weeks to complete,
ensuring each bespoke halo structure was
installed as designed, this is The Light
Labs largest atrium lighting project to
date, with it reaching almost the full
length of the 50m atrium.
Working to a detailed concept design
from lighting designers Cundall and John
Robertson Architects, the main challenges for The Light Lab involved the
structure of the feature; particularly the
balance of providing sufficient strength
to each illuminated ring while ensuring
there was no visible shadowing. At the
same time there was the requirement of
a very lightweight structure to fix to the
existing atrium support beams.
www.thelightlab.com
www.cundall.com
Pic: Ellen Murphy, The Light Lab

015

016

DETAILS

focal point
LOOKUP HQ
BANGALORE, INDIA
Alok Shetty of Bhumi Putra Architecture
has designed Lookups new offices based
on one core principle: the requirement
of flexible, open workspaces for a young,
dynamic team. The vision was to design
a space that was minimal yet confident
and most importantly efficent.
Workstations in the 5,000sqft space
range from standing desks to tables
that people can write on, to cosy wall
seats. A cluster of bright red old-school
telephone booths are used for Skype calls
and at the very centre, a semi-circular
amphitheatre - nicknamed The Pitch transforms from brainstorming arena
by day, to a recreational hub by night,
featuring a cascade of filament lamps to
bring a warm and pleasant ambience to
the space.
www.bhumi-putra.com
Pic: Nimish Jain

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018

INTERVIEW

019

The idea of light is a mystical one

Having been crowned this years Maison et Objets Designer of the Year, darc caught up
with Catalan designer Eugeni Quitllet to discover that sometimes, a signature style can
come in all shapes and sizes.
Pic: Cecile de Montparnasse

Catalan designer Eugeni Quitllet was

exposed to a diverse mix of influences
from an early age. Born in Ibiza in 1972,
his creative identity was formed by all that
descended on the island - from architects
and photographers to musicians, writers and
more - all with their own philosophies and
their own way of life.
Describing himself as a Disonador,
a Spanish contraction of designer and

dreamer, Quitllet first witnessed a rural

stretch of Ibizas beach become an informal
hub for ultra-modern electronic music,
before growing up in Barcelona, where he
studied interior architecture at Llotja Art
School.
I quickly realised I was more captivated
by product design, he tells darc. I was
doing a little bit of this, a little bit of that,
all at the same time, so I decided to focus

my attention on one area. I started to look

outside of Barcelona and even Spain, as to
what was happening in the world of design.
Barcelona was not the environment for me
to create all the projects I had in my head
as they were quite ambitious, so when I
got the opportunity to meet Philippe Starck
and show him my work, it was an amazing
experience for me. We collaborated on
designs for the next 10 years and this really

020

INTERVIEW

made me grow up.

Creating objects that lie somewhere
between drawings and sculptures,
mastering fullness and voids to reveal
elegant silhouettes hidden in the material,
Quitllets creative vocabulary surpasses
the simple relationship between function
and style. Out of his studio, which opened
in Barcelona in 2011, he introduces new
objects to the contemporary design scene,
always with unwavering enthusiasm. His
portfolio includes objects for numerous
high-end international design brands and
from the world of lighting he has designed
the Flos K-Ray lighting fixture and Kartells
Light Air range.
The idea of light is a mystical one, he
tells darc. There is something soulful
about it. When you put light in to an object
it automatically becomes magical. To obtain
Below LIGHT AIR for Kartell by Eugeni Quitllet.

magic from a chair is much more difficult in

the sense it is just a structure to put your
bum on at the end of the day.
A light is a magic box it is something that
is going to create an atmosphere in the
room all the reflections, the materials and
so on. Its a non material material that
you work around which is very nice.
Having been crowned Maison et Objets
Designer of the Year in January for his
Dream Catcher chair, Quitllet describes how
the accolade has given him new confidence
to move forward with his ideas: Its a
great honour and Im very happy, as its
confirmation that everything Ive been
doing so far is ok you know, Im not doing
too bad! I feel I can now explore new ideas
even further.
Talking inspiration For Quitllet, it is about
provoking an emotion to the user other

than the function of the product. While of

course, when designing, the function is the
main consideration, it is about how this
can be done differently while remaining
beautiful - offering more than just a
standard product.
This is what motivates and inspires me to
keep designing, he says, I still explore
different ways to produce different
materials and techniques. When Maison et
Objet gave me a space at the exhibition
in Paris to showcase my work, this made
me think, well lets do something new
and this is how Dream Catcher was born. A
chaise longue made entirely of aluminium,
this was entirely new work for me and an
opportunity to make a fantastic object.
The hardest moment for any creative is
when the ideas dont come so easily
writers block as its known in the world

LIT BY
GEOMETRY
The Parma wall light is a
study in clean, simple lines.
Only high-grade plaster
produces such a smooth
finish with edges that give
the crisp appearance of a
just-ironed shirt. Combine
this with its striking beam
pattern and the Parma
brings an architectural
purity to any interior.
Because good design
demands simplicity.
Model: Parma

Visit us at Light + Building, Frankfurt

13 - 18 March, Hall 5.1, Stand C90

SIMPLER IS BETTER

astrolighting.co.uk

022

INTERVIEW

Inspiration comes from the idea,

not the other way around.

of journalism. When you dont have an

idea, you are dead, says Quitllet. You
find yourself looking around for inspiration,
hoping the idea will come. I have in fact
discovered that inspiration comes from the
idea, not the other way around.
Once you have that initial idea, that is
when everything else falls into place, you
begin sketching, changing details, looking
at the project from different points of view
and so on That is when youre inspired.
While Quitllet doesnt consider that he has
a signature style he recognises there is a
little bit of him in every object he creates.
Yet he argues that it is more important
to find a joint identity with the client
working with them to understand where
they are coming from and what they are
looking for rather than impose his own
identity on to the product.
I give them a version of myself in a
different material, he says. I always try
to make a new product as if Im starting
from zero as if I have no experience. I
think about how I feel about the product
and the needs of the client. I suppose this
then becomes a signature style but its
almost a philosophical signature, because
youre searching for the perfect product or
the perfect way to produce it.
For Quitllet, designing is about putting the
function of the product into a frame every
function is different and so is every frame.
Referencing the Kartell Light Air range,
he tells darc that the lamp sits inside the
frame almost like a sculpture, that it is the
surrounding areas that are being framed by
the light. Define what the function is and
then put the frame around to accentuate
it, he says.
While it is important we understand the
role a designer plays in a products end
form, so is it that we understand the role
of the client. As Quitllet quite rightly
points out, each client has their own idea
of how they want the product to turn out
- whether considered good or bad - and
they will undoubtedly influence the way a
product develops.
Pic: Copyright Eugeni Quitllet

024

INTERVIEW

Pic: Claude Weber - Dream Catcher By Eugeni

Quitllet. The chair design won the product
designer Maison et Objets Designer of the Year
Award in January.

This is why I choose my clients very

carefully, he says. A product can take two
years to be produced and you have to keep
the relationship up with the client the entire
time so it is important you have those
strong relationships from the beginning.
Technology, as we already know, also plays
a huge part in how products are developed
but all the technology in the world wont
necessarily result in the perfect product.
Neither will, according to Quitllet, solely
relying on old school methods and designs
where perhaps just the colour or material
of an existing design is changed - it is about
striking the right balance between the two.
Using basic technology but not doing
any research will not produce anything
different, nothing will evolve, he says.
Those designers that are mixing creativity
with technology are the ones creating new,
quality designs in my opinion.
If I make a plastic lamp with Kartell, it is
because we have the technology to inject
the material into a perfect frame meaning
no welding is needed, you cant see the
lines of where it has been made it is just
magical, because you have this shape,
floating in a transparent way.
All the cables and everything required
to make the product work are fixed in a
way that couldnt have been done before
because the processes involved werent
available. This means you have a product
that isnt focused on the technology
involved but is telling the story of how it
was made, it wouldnt exist without the
technology behind it.
So what are the key elements of good
design?
Design today, more than ever, is the
technology behind it, says Quitllet, but

the human emotion behind it and the beauty

of its quality is also very important. We have
to put a lot of weight on the human emotion
side of design because if it is a good piece
it is going to be in someones life for a very
long time. You want to produce something
that is going to transcend through different
times in that persons life, as well as
different trends an object that reflects the
changes in humans has to be a very strong
piece.
Iconic designs are there for a reason, they
have stood the test of time and are still
creating a positive message 50 years on
they are still as relevant today as when they
were first designed.
Aside from being crowned Maison et Objets
Designer of the Year, there have been a
number of significant steps for Quitllet
leading up to this moment. Winning the
Red Dot Design Award twice for the Aedle
headphones and the Kartell Masters chair,
co-signed with Philippe Starck; as well as
the Talents du Luxe et de la creation Prize
for Innovation; and the Compasso dOro
Honourable Mention for the Alias Elle chair.
Having worked tirelessly to get to this point
in his career, it is clear that this latest
recognition of his work will fuel Quitllets
desire to produce exciting objects that
continue to push boundaries and evoke a
sense of the magical.
It is about the poetry of making an
object, concludes Quitllet. When I design
something; yesterday that object didnt
exist. Today we have the idea and tomorrow
it will exist. You have to ask yourself, where
was this idea? Where did it exist? As though
the idea was already formed but just needed
to be discovered
www.eugeniquitllet.com

026

PROJECT

Gracious George
With two centuries of gracious living behind it, The George hotel in
Edinburgh, Scotland received a luxurious refurbishment from UK
interior architects Goddard Littlefair.
Pics: Gareth Gardner

Hotel and hospitality designers Goddard

Littlefair transformed The George Hotel
in Edinburgh, Scotland, to create the new
Printing Press Bar & Kitchen, as well as a
new coffee shop, Burr & Co. With an urge
to nurture the human response to the
environments that guests find themselves in
within The George Hotel, Goddard Littlefair
focused on space, light and texture in
creating many pieces of bespoke lighting
and furniture for the hotel.
Following the acquisition of The George
Hotel by hotel specialist investment group
Starwood Capital, The Printing Press Bar &

Kitchen is a 92-cover, 186sqm restaurant

and a 116-cover, 207sqm bar, which flow
into and adjoin one another in a fully
flexible setting. It emanates a grillbrasserie feel with an authentic Scottish
direction aimed at offering a culturally
rich dining experience from new head
chef Colin Fleming. Chef-restaurateur Des
McDonald played a key role in developing
the restaurant concept with Goddard
Littlefair. The design team worked closely
with McDonald, using his understanding
of brands and restaurants to help develop
the creative direction. Director of Goddard

Littlefair Martin Goddard commented: The

Printing Press aims at residents of, and
visitors to, the city of Edinburgh as well as
at hotel guests, with maximum flow and
adaptability throughout the day, so that bar
guests can eat from the bar or restaurant
menu for example, whilst Burr & Co offers
soups and salads to attract lunchtime
custom from passing trade and local office
and shop workers.
The overall footplate for the new restaurant
and bar was as per the existing hospitality
space in the hotel, whilst Burr & Co,
separate from The Printing Press, inhabits

027

a space formerly used for meetings. In

a slightly different, more contemporary
style, Burr & Co hosts a new timber shop
front fascia, recreating one of the original
Victorian-era shop fronts, designed by
architects 3D Reid with branding by Londonbased Plus Agency.
The hotel itself is a category A listed
building comprised of five townhouses,
which meant treading carefully around
existing surfaces and treatments. Our
overall approach was to be highly
respectful to the buildings original fabric
as well as to the late Victorian insertions,

ensuring a feeling of restored grandeur,

explained Goddard. We aimed to create
an environment that instantly feels
long-established, with a real sense of the
buildings naturally imposing proportions
and the highest-quality, authentic
materials. Goddard Littlefair Senior
Interior Designer Stuart Wilson also worked
on the project and described the overall
style of the interior design as industrial
chic, which required an effortless blend of
industrial style into the Georgian fabric of
the building.
Guests enter The Printing Press Bar &

Printing Press Bar & Kitchen dining area with

bespoke pendants and chandeliers working with
daylight to illuminate the space. The bar features
inset lighting to add an industrial chic sparkle to
glass and bottles.

028

PROJECT

Left Ribbed glass screens with inset LED light in

The Printing Press Bar & Kitchen dining area. This
space also features ribbed glass screens without
LED, allowing daylight to come through and
provide a semi-private dining experience. Above
Right Goddard Littlefair's modernised Victorian
glass lamp shade with twisted arm in Burr & Co's
intimate cafe space. Below Right Burr & Co's
Victorian style shop front.

Kitchen either directly from the hotel or

from the streets listed revolving door
entrance. The bar counter was removed
from its former location at the front of
the space where it tended to block and
impede restaurant access at peak times, to
a raised level to one side. The bar features
bespoke oak joinery with black metal and
brass gantries with inset light to set off the
displays of glass and spirits.
Wilson discussed with darc the importance
of the lighting scheme as a key feature
in creating this blend that respects the
buildings heritage while bringing it into
the modern age. The original building was
the inspiration for the lighting really; the
need for artificial light was quite important
because we didn't get a lot of natural light
in the space, he said. So the industrial
chic look was achieved by working with
the form of the lighting. Nearly all of our
lighting and furniture products are bespoke
designs, and we always get involved in
every part of the design process, working
with lighting manufacturers to help make

our design visions work.

The design team strove to take the
character of an industrial looking fitting,
and then soften it. For example the
wall feature light on the mirrors in the
restaurant the materials used effortlessly
suggest industrial but we added a turn in
the arm which softens it, blending it with
character to create a Georgian, traditional
feel, said Wilson. Nothing too heavy or
hard we just played with the shape and
angles of lighting and naturally allowed the
bespoke lighting to develop with the style
of the building.
The building itself was not only a point of
inspiration but also dictated where Goddard
Littlefair could place the light fixtures.
As a Category A listed building, Goddard
Littlefair could only place lights where
fittings already existed. This worked to
their advantage in that existing support in
the ceilings was already in place for the
weight of the lights, however they were
restricted at the same time in terms of
where they could fit them.

Wilson discussed how they worked with

these restrictions: Luckily the placements
of the two main pendants in the restaurant
were in spaces where we could be flexible
with our tables as they can be moved
around and pushed together for different
arrangements. Theres enough space around
both central pendants underneath to
centralise the long tables if needed to get
that symmetry which we pride ourselves on.
The regulations in how we could structure
the lighting scheme was both flexible
and restrictive in that it dictated where
we could put our fixtures, but it meant
we could be more creative with how the
furniture worked around the lighting. We
were then also able to be more flexible
with the wall lighting, and make features
using mirrors to reflect the light.
The restaurant also features tall, ribbed
glass screens with inset LED lighting
designed again by Goddard Littlefair, that
work to divide the dining spaces and give
diners some privacy. The idea developed
from the concept of industrial screening

029

that you see in old warehouses, said

Wilson. We wanted to create a semiprivate dining space to allow guests to
feel comfortable and to divide up the
space. Then we also have the screens that
dont have lighting inset which work with
natural light in the day coming in from
the big window in the back, creating some
beautiful colours, shadows and shapes.
Burr & Co, a separate venue from the
Printing Press Bar & Kitchen, then takes on
a slightly more contemporary aesthetic,
while maintaining the Georgian aspect
with modernised panelling and a fresh
approach. Right from the start, Burr &
Co was to have its own identity, said
Wilson. It had to work as an interactive
space. In coffee shops, there are people
running in to grab a quick coffee, people
who want a bright space to meet friends,
or just sit down on their own, so we had to
make it work in all these dynamics. Every
single element is new in the converted
and unlisted space, and follows a similar
colour scheme to the Printing Press, while

030

PROJECT

including more obviously contemporary

elements such as a bespoke lighting display
of ceramic pendants in varying sizes in the
same blue-green colours as the ceramic
tiling. A long bespoke oak refectory sits as a
central feature underneath the centre piece
lighting. Wilson continued: We wanted to
keep a contemporary feel to the design,
adding little details to bring it into the 21st
century. The lighting was developed from
the idea of traditional glass decorative wall
lights, and we just made simple adaptations
like straightening the arms and using
coloured glass, which instantly modernised
the original take on the glass lamp shade.
As a testament to the importance of light
in interior design, Wilson spoke of their
main challenge as being able to get the
amount of light needed. The lighting is the
most important aspect of the design. We
didnt have much natural light to play with.
We had to make sure there was the right
balance between accent and direct lighting,
which I think we achieved well in the end.
We used a small amount of architectural
lighting in our favour to dictate how we
wanted to preserve the original beauty of
the building and make it work in harmony
with the decorative design.
Goddard Littlefair has created a series of
spaces that go above and beyond one era
or one style. These spaces transport guests
to a contemporary Georgian time that sits
with ease in today's world, where they can
dine comfortably in style, whether theyre
in a morning rush or settling down for the
evening. The best part about the whole
thing, said Wilson, was seeing people
using and understanding the space that we
had created. Surely that is the dream for
interior designers, to see people choosing
their space, for people to want to be
surrounded by their vision. So with that in
mind, The George is nothing short of the
interior designers dream.
www.goddardlittlefair.com

PROJECT DETAILS
The George Hotel, Edinburgh, Scotland
Client: Des McDonald
Interior Design: Goddard Littlefair
Lighting Specified: Goddard Littlefair bespoke fixtures

Top Right Goddard Littlefair's modernisation of

the Victorian glass lamp shade in Burr & Co. Right
Goddard Littlefair's bespoke ceramic pendants
above central shared table in Burr & Co caf.

032

PROJECT

033

At the far end of the CP Hart showroom a copper

pipe maze with LED filament lamps creates a
dramatic chandelier over the caf bar, drawing
customers through the space.

Archway Ambience
studioFRACTAL worked with Morrow Lorraine architects to transform
designer bathroom retailer, CP Hart's new showroom into a space that
subtly emphasises its existing architectural character while highlighting
the products on show.
Pics: James Newton

With aspirations of creating an environment

that was more than just a showroom for
designer bathroom products, CP Hart turned
to the talents of Morrow Lorraine architects
to create a space that could be used for
product displays, launch parties, and as a
working environment for designers to meet
clients.
Having worked previously with Morrow
Lorraine, lighting design practice
studioFRACTAL was invited by the architects
to be involved in the new London-based
showroom. With a focus on creating
a memorable customer experience,
this provided the practice with a great
opportunity to create something really
special. However the team was aware
that a space with such theatre and drama
would be a big step away from their more
typical showrooms with high levels of retail
lighting.
studioFRACTAL worked closely with CP
Hart and Morrow Lorraine to develop a
lighting strategy that created a series of
customer zones within the open plan space.
The strategy looked to subtly emphasise
the existing architectural character while
highlighting the range of products, new
and old materials and textures, as well as
deliver ambient lighting appropriate for
the range of uses. A combination of lighting
layers create a fantastic atmosphere,
defining individual spaces within an overall
visual landscape and encourages visitors to
explore.
Each customer zone has very specific
characteristics and functions, varying from
a high-end bathroom gallery to a caf bar
area. During the initial lighting strategy
work, studioFRACTAL proposed the use
of warm white and cool white lighting to
fully enhance the visual impact of each

zone. Warm white lighting has been used

to create relaxed environments within the
entrance lobby and caf bar and also to
emphasise the colour and texture of the
existing brickwork. Cool white lighting has
been used for ambient lighting within the
Work Zones and also for accent lighting onto
the variety of porcelain and metal products
on display. This combination of warm and
cool, texture and sparkle helps create focal
points within each space and helps pull
visitors through the entire showroom, while
still providing excellent illumination for the
range of work and relaxing activities that
take place.
The overall lighting design creates
a seamless journey throughout the
showroom, leading guests on to the next
zone. To help punctuate and enhance
this journey, three specially designed and
manufactured decorative light fixtures were
included. Suspended over the entrance
lobby, undulating copper pipes are softly
illuminated by an LED fibreoptic system,
creating a relaxed and sophisticated
welcome. At the far end of the showroom
a copper pipe maze with LED filament
lamps creates a dramatic chandelier over
the caf bar, drawing customers through
the showroom. Then, in the centre of the
space, a waterfall feature draws the eye to
the range of brands CP Hart provides. Each
feature has been designed to provide a very
specific level of visual impact and character
to ensure that they all work together to
create a strong identity to the showroom.
Commenting on the final outcome of the
lighting design, studioFRACTALs Design
Director, Ian Payne told darc: Were
extremely happy with the design and how it
has been realised. The whole project team
worked really hard to create something

034

PROJECT

special and we think that this has been

achieved. The client is extremely happy,
but even more satisfying has been the
positive response they have had from their
customers.
The design of the showroom as an open
plan space requires the lighting to provide
visual modulation, definition and character,
continued Payne. There are several aspects
of the original strategy that have been
extremely successful, one of which is the
use of warm and cool white light. The use
of soft washes of warm light on the brick
arches creates a calm, but rich, background
ambience that contrasts to the focused cool
white lighting onto product displays.
The location of the showroom underneath
the brick railway arches leading to London's
Waterloo station provides an atmospheric
volume to the showroom, with high vaulted
soffits and textured brickwork throughout.

Because of this, there is very little daylight

within the showroom, which has actually
contributed to the lighting scheme in a
positive way; the levels of ambient lighting
have been more controllable and have
created more dramatic, theatrical effects.
While impressive, the showroom's location
provided a challenge to ensure that the
architecture didnt overwhelm the space
and there were also some structural issues
to consider, as the lighting practices Ian
Payne explained: The railway arches of
Waterloo are owned and maintained by
Network Rail. As part of the design process
all fixing locations had to be approved by
Network Rail and the design had to allow
for regular visual inspection of each fixing
location. This proved to be a challenge
for some of the large lighting features as
it restricted the number and positions of
permitted fixings.

Suspended over the entrance lobby, undulating

copper pipes are softly illuminated by an LED fibre
optic system, creating a relaxed and sophisticated
welcome.

ph. b. saba a.d. emiliana martinelli www.martinelliluce.it

13-18.03.2016 | Frankfurt
HALL 1.1 | STAND D50

DARC - marzo 2016 - cyborg.indd 1

16/02/2016 11:43:02

036

PROJECT

Left The use of soft washes of warm light on the brick arches creates a calm but rich background ambience, contrasting to the cool white lighting on the product
displays. Top A series of customer zones were created within the open plan space. Cool white lighting has been used for ambient lighting within the work zones.
Above The showroom's location under the brick railway arches provides an atmospheric volume with high vaulted soffits and textured brickwork throughout.

Working within these restraints and

to simplify the installation process,
studioFRACTAL developed each lighting
feature as a series of modular components
that could be easily assembled on site.
The 5.5m diameter entrance lobby feature
comprises eight elements that were fixed
together on site and winched into place via
a permanent hydraulic winch. If access is
required above to inspect the fixings, the
feature can be lowered to the ground.
For Payne, one of the standout features
of the project was the clients conviction
that lighting should be fundamental to the
environment that they wanted to create.
The client team instantly responded to
the proposed lighting concept with great
enthusiasm and understanding of how

important the lighting would be in creating

a positive experience and while there was
a capped overall construction budget,
studioFRACTAL was asked to provide what
they thought the lighting budget should be.
This was a very rare opportunity to input
how much of the overall budget should be
allocated to lighting, said Payne. While
I am sure that our proposed budgets
would have come as a bit of a shock,
compared with what would have been
spent historically on a CP Hart showroom,
it wasnt challenged and we were allowed
to produce a scheme that is worth every
penny.
www.studiofractal.co.uk

PROJECT DETAILS
CP Hart Showroom, London, UK
Client: CP Hart
Architect: Morrow Lorraine Architects
Lighting Design: studioFRACTAL

LIGHTING SPECIFIED
Bespoke decorative lighting features in reception lobby and bar
/ cafe manufactured by Universal Fibre Optics
Made Chicago floor lamps
Flos F-80 recessed LED spotlights
Flos Easy KAP 105 recessed spotlights
Flos suspended Light Bell LED pendants
iGuzzini Palco track mounted LED spotlights
Deltalight Spy on 83033 surface mounted LED spotlights
Projection Lighting Alpha LED Micro 70 recessed LED spotlights
Architainment LED Linear VarioLED Flex Hydra HD15 LED
lighting tape
Architainment LED Linear VarioLED Flex Side View HD20 LED
lighting tape]
Architainment Dynalite lighting control system

038

INTERVIEW

039

Light directs people

Design studio GamFratesi, founded by Italian architect and designer Enrico Fratesi with his
partner Stine Gam, holds curiosity and culture at the heart of its design. Fratesi tells darc about
the inner workings of the studios collaborative design processes.
Pic: Tuala Hjarn

Developing an approach from a fusion of

tradition and renewal in an experimental
blend of their own backgrounds, Italian
architect Enrico Fratesi and wife Stine
Gam, a Danish architect, work together in
life and craftsmanship to create intelligent
and thoughtful designs for comfortable
living. Together they founded GamFratesi
design studio in 2006. Based in Copenhagen,
Denmark, Gam and Fratesi continuously
travel between Italy and Denmark for
development and research of new projects.
At Danish design supplier Gubis
Copenhagen store, sipping coffee from
GamFratesis TS Table, Fratesi tells darc
the story of how architecture and design
came together for GamFratesi to create
a family of products that enrich peoples
lives, and led them towards light.
How did this journey of design with your
partner begin for you?
We met while we were studying
architecture. It was our first love. My
partner was interested in craftsmanship and

woodwork, and I always thought I would be

an architect. So I think we met somewhere
in between these two areas. It came in a
very natural way and it felt right for us. A
focus on design came from an interest in
smaller details.
Architecture is very much part of our studio
but it is not something you can just produce
yourself at the start. There are so many
rules, but with lighting and furniture you
have so much more freedom in what you
make. You can attract people in the way
that you communicate through detailed
objects. So to us, architecture, furniture,
lighting and accessories are all linked. They
fill the spaces that architecture creates.
In a combination of our interests and
skills, we very quickly found an interesting
combination of large and small-scale
design. We were very open and curious with
each other and our countries. And I think
because we were so interested in each
other we then became a couple, which
was interesting because it then wasnt just
about work and we could be honest in the

way that you are with your partner. Its not

just about being formal; its about being
honest about what youre making and what
youre doing.
So this opened up the door collaboratively
in a much stronger way. It was more
intimate than just practically setting up a
studio. It was more emotional and poetic
than that. This is how we reached our
status in design quite early on because we
were spending so much time together and
we werent afraid to talk. It was a very
interesting process.
Do your backgrounds play a part in your
creativity?
Were very lucky in that both Italy and
Denmark have strong traditions in design;
both places are amazing and are each a
strong movement in the creative world. So
we have brought our backgrounds with us
and shared these backgrounds with each
other. It became very natural to have our
own expression, our own sense of style, not
based on any rules where we have to go one

040

INTERVIEW

way or the other. We started and continue

to work with more of a combination of us as
people, and our philosophies.
What is it about lighting that interests
you and how do you approach it?
Lighting is very close to the cultural
philosophy of Denmark. There is a lot of
respect for light in the way that it reflects,
how it illuminates a room. The lack of
direct light has been a main principle in
our designs. For me this is very interesting
because I come from a culture where light
is extremely strong and direct, so for Stine
it was more in her background to seek light.
We kind of embraced the Danish respect for
light in a space.
When we work architecturally, we always
try to incorporate a home environment
where you have a few small lights rather
than one big strong light. This helps to
create ambience, and it helps people to
find their own space rather than being
placed somewhere. Lighting directs people
around a room so you can put the lighting
where you want people to go. There is a
very natural element about the light in a
space and where people will be.
What have been some of your most
notable lighting projects?
We were very happy about our Cheshire
table lamp for FontanaArte. Based on the
Alice in Wonderland cat, the idea is that
its always there for you in your home, like
a peaceful cat. It also produces a beautiful
quality of light because its a combination
of screening and diffused light, so around
the lamp you get a really nice atmosphere
thats not too strong. The shape is nothing
too revolutionary, but its very much us. It
goes back to tradition and it was actually
quite complicated to make.
We also did the Volume table lamp for
Lightyears. This was based on the principal
of using the lamp as you feel it, rather than
just turning it on and off. You can interact
with this lamp depending on how you feel
by turning the head and dimming the light.
Every time your behaviour needs to be
adjusted, you need to adjust the quality
of light as well. But often the dimmer is
put somewhere youll never use it, so we
wanted to have something that you could
really use, something interactive. These
two lamps are very different but theyve
both been well received commercially.
What has been a significant moment in
your career?
A strong step for us was the first time
we were at Stockholm Furniture Fair in
2014. We were the youngest designers

Cheshire pendant lamp by GamFratesi for FontanaArte

041

to be invited and it really was an honour

to be there. I think people were very
surprised to see how we based our designs
on philosophies that we both have in our
backgrounds and ways of work. As well as
being an important moment in our careers,
this was also a time when we learned to
develop a balance between family and
work. It can be difficult in artistry to
know when to stop working and how much
you should do. That was something very
important that we settled into around that
time.
Also our on-going relationship with Gubi
has been really good, with our products
still growing in sales. We have also worked
with Hermes in Japan on window displays,
which was a huge honour. This was an
interesting project thinking about how to
communicate with people outside the shop
to bring them in. Every time you collaborate
with someone from a different country you
learn to understand how things are made
differently through different personal
processes.

Volume table lamp by GamFratesi for Lightyears

Do you think you have a signature style?

People say that they can see GamFratesi in
our designs. They see something. For us, it
is an honest combination between the idea
of the natural material, the round shape,
and the use of furniture that we have in
Scandinavia. We like to use classical Italian
materials such as stone and glass but we
work with them in a Scandinavian way and I
believe you can really see that in different
ways.
Are you seeing any trends in lighting
design right now?
There is a return to decoration but in a very
subtle way. Pure minimalism can be difficult
to achieve sometimes. If the decoration
is made in a subtle and gentle way, it can
really enrich the product. But its very
difficult to find the balance because if you
push it too much, it can easily become
vulgar. So you have to find the limit and
know where to stop. There is a trend
towards minimalism with a small amount of
decoration. Its the relationship with small
detail and a craft, and I think this is coming
back in lighting.

Cheshire Tavolo lamp by GamFratesi for FontanaArte

Any idea what we can expect from you

next?
For now we know that we will design one
lamp range for Lightyears. Its going to
include a pendant and a floor lamp and we
aim to launch it in the summer. With all of
our influences, we never know what the
next project will be.
www.gamfratesi.com

042

PROJECT

Pic: Markus Felsch

Marble Muse
Felsch Lighting Design has developed a classic and sophisticated lighting
scheme to match JOI Design's grand interior of the Hotel Reichshof, Hamburg.

German practice Felsch Lighting Design

planned and executed the new lighting
scheme in Hiltons first European hotel of
the Curio Collection in Hamburg, Hotel
Reichshof. Working closely with Event Hotel
Group, German interior designers JOI Design
and Felsch Lighting Design worked with the
buildings historical interior and physical
structures comprised of rich materials and
colours, to create a lighting scheme to
match and accentuate the hotels grand
interior.
Event Hotel Group required a lighting
scheme for the interior and exterior that
would blend coherently with adjacent listed
heritage buildings such as the Hamburger
Kunsthalle museum and the Schauspielhaus
theatre. The design brief was to create a
spectacular understatement, as Felsch
Lighting Design's founder Markus Felsch
called it, typical of Hamburg mentality.

It was to be luxurious and traditional, yet

modern and timeless.
Two groups of luminaires were
incorporated in the lighting design of the
hotel, explained Felsch. Luminaires that
support the 1920s style included visible
fixtures with distinctive and expressive
form, and that clearly blend with the
interior design concept. The second group
included luminaires that emphasise the
architectural features, which were almost
invisible fixtures, there to create a calm yet
spectacular lighting.
Felsch Lighting Design used its practical
yet slick style to work with the glamorous
yet understated 1920s style of the hotel.
Using their expertise to make strong
decisions in highlighting the real hidden
treasures of the hotel, or choosing to
drop odd design features of the past.
The basic light level throughout the

hotel is achieved through track-mounted

spotlights, which are recessed in the
ceiling and invisible to the viewer, allowing
the decorative pieces to steal the show.
Entering through the hotels lobby, the
team set out to illuminate the vertical
surfaces in the lobby of the hotel to
emphasise the spaciousness of the area,
thereby elongating the room by drawing
light from top to bottom. The floor of the
entrance hall was illuminated to provide a
comfortable and safe walk through, while
the seating areas and core architectural
elements were illuminated to accentuate
the structure of the area.
The main decorative lighting feature of the
Reichshof lobby is the custom manufactured
chandeliers by Felsch Lighting Design
glowing a striking purple. Alongside the
sleek white and chrome marble interiors,
this modern colour and contemporary

043

Pic: Markus Felsch

Pic: Marlin Oeing

Left Tom Dixon's Beat Fat Black pendants in open plan library / lobby area, with Felsch Lighting
Design's custom made purple chandeliers in the lobby. Above Heathfield & Co.'s Derwent
rectangle oiled bronze wall lights and Astro Lighting's Ravello Table lamps at reception. Below
Felsch Lighting Design's custom manufactured red luminaires in lobby tea lounge, with Astro
Lighting's Ravello Floor lamps and Heathfield & Co.'s Elenor Graphite table lamps providing
intimate lighting.

design immediately presents an intriguing

contrast that sets this interior design and
lighting scheme apart. Alongside these
custom designed focal points, the lobby
is well lit through a number of decorative
lighting pieces working together to create
a harmonious and welcoming entrance.
Several SlimLite CS LEDs from German
lighting specialists Hera feature through
the space and elsewhere in the hotel as a
linear LED luminaire framing the squared
ceiling areas. This draws attention to the
architecture of the building and provides
subtle lighting from overhead.
Approaching the lobbys check-in desks,
the hotels staff work with light emanating
from Heathfield & Co.s Derwent rectangle
oiled bronze wall lights that shine brightly
from behind the desk to provide specific
illumination for discerning tasks. In the
lobbys tea lounge area, standing tall
are Astro Lightings Ravello floor lamps
and Felsch Lighting Designs custom
made suspended red luminaires. Further
illumination is provided by Heathfield &
Co.'s Elenor Graphite, and Yves Antique
Brass table lamps placed on larger and
individual tables throughout the space,

044

PROJECT

Pic: Marlin Oeing

adding decorative lighting for intimate

lounge spaces.
In the adjacent open plan library area,
guests can enjoy a drink while reading in a
classic setting under Tom Dixons Beat Fat
Black pendants suspended above tables to
provide a gentle glow for quiet readers.
After checking in and getting acquainted
with the hotels amenities, guests can enjoy
dinner in Hotel Reichshofs restaurant.
In keeping with the sophistication of the
hotels interior, the restaurant features
Felsch Lighting Design and JOI Design's
collaborative custom designed chandelier as
the centre piece of the room, providing the
bulk of the lighting. Additional lighting is
provided by Felsch Lighting Designs custom
manufactured square ceiling luminaires,
without detracting attention away from the
stunning chandelier.
Throughout the design process, the team
faced inevitable challenges with functional
requirements and safety obligations. As
Felsch explained, heritage regulations

required them to either hide luminaires

well or match heritage style, while fire
safety regulations demanded that the lobby
also serve as an escape route. The materials
for the chandeliers had to be perfectly
safe. Due to these regulations, close
attention had to be paid to properties of all
materials.
Despite any inevitable challenge, in our
humble opinion, the original vision has
been achieved, said Felsch. The lighting of
Hotel Reichshof is crafted to complement
the building's elegant marble interiors
and grand spaces in a timeless design.
Without trying to override the building's
classic interior, Felsch Lighting Design's
scheme intelligently sheds a modern light
to seamlessly integrate contemporary and
classic design within Hamburg culture.
www.felsch.de
www.joi-design.com

Above Felsch Lighting Design and JOI-Design's

custom chandelier in the restaurant, with
Felsch Lighting Design's custom manufactured
squareshaped ceiling lamps.

PROJECT DETAILS
Hotel Reichshof Hamburg, Germany
Client: Event Hotel Group
Architect: JOI Design
Lighting Design: Felsch Lighting Design

LIGHTING SPECIFIED
Astro Lighting Ravello table and floor fixtures
Eutrac Stromschienen 3-Phasen-Stromschiene surface track
Felsch Lighting Design custom manufactured chandelier, LED
recessed downlights, ceiling luminaires and pendants
Fine Art Lamps Black + White Story ceiling luminaires and
pendants
Heathfield & Co Derwent Rectangle Oiled Bronze wall lamps,
Elenor Graphite table lamps
Hera SlimLite CS Seamless T5 luminaires
Megaman LED lamp replacement for historical luminaires
Molto Luce Illumini 2 linear LED
Sattler Circolo 1320 suspended luminaire
TDX Twist spotlights
Tom Dixon Beat Fat Black pendants

[romeoegiulietta]
Light + Building
Frankfurt 13-18 March 2016
hall 1.1 stand F41

e
federicodemajo.it

046

PROJECT

Made From Scratch

With spider-like chandeliers and lights made from recycled bottles,
Dubai's Fum restaurant is one of a kind in design and homely cuisine.

Working with Dubai-based lighting solutions

company Acoulite, hospitality development
company JAS Group has created an
industrial, vintage interior for Fum, a
restaurant offering a global appeal to food
at the Dubai Marina Pier 7.
Fums interior, inspired by an avant garde
neighbourhood eatery in Tasmania called
Garagistes, works with industrial, rugged
influences along with purposely mismatched
flatware, unique pieces of artwork and
custom designed decorative lighting, all
made from a variety of materials to create
an industrial yet sophisticated dcor.
JAS Group, which doubled as client and
designers of the restaurant, worked closely
with Acoulite on the lighting and complete
design vision, which was conceived by JAS
Group CEO Elmar Pichorner. Together, they
created a space to celebrate traditional
culinary preparation methods that recollect
childhood memories of comforting home
style cooking.
The partners of JAS Group had worked with
the Acoulite team on previous projects in
Dubai making the collaboration a natural
one. The lighting design was a natural
extension of the interior design process,
explained JAS Group Managing Director Joy
Ghossoub. It was very much a matter of
ensuring we had enough light for guests to
feel comfortable, for architectural features

in the space to be highlighted and work

spaces to be sufficiently bright.
The lighting, developed by Acoulite
according to JAS Groups direction, was
driven by the dcor and unique objects and
furniture placed around the restaurant.
Acoulites Technical Project Manager Anil
Lopez commented on the need for the
bespoke fittings to complete the interior
design and ambiance of the venue: As the
dcor in Fum is built around industrial
and rudimentary materials, we had to
manufacture customised light fixtures using
similar materials that would complement
the dcor.
The restaurants stairway features a
chandelier in a row of LED illuminated
recycled bottles suspended above tall
tables, creating a colourful and unique
lighting display that sits perfectly within
the industrial and eclectic style of the
restaurant. The unique objects and
intriguing furniture enhance the space,
said Lopez, and in combination with
the accent lighting, bring out the natural
colours of the cuisine. The lighting scheme
complements the location and atmosphere
of the restaurant.
The restaurant also features custom
designed copper hanging lights with a wide
brim and distinct red twisted chord to
further enhance the industrial style. These

Pics: Murrindie Frew

047

Left One of JAS Group's custom designed spider-like chandeliers made from table lamps transformed by
Acoulite into a chandelier. Above Custom designed pendant chandelier made from recyled glass bottles.

provide illumination for diners at the bar

table in front of the open air kitchen and
in the staircase area. Ghossoub explained
the importance of these decorative
fixtures within the interior concept of the
restaurant: Lighting is a hugely important
aspect of interior design. Poor design
can always hide behind spectacular and
effective lighting, but it never works the
other way around.
The main custom designed decorative
lighting features are the spider-like
chandeliers, each with fourteen arms
glowing a warm LED white throughout the
central dining area, providing a soft yet
direct illumination above tables. The
chandelier was constructed using table
lamps to create an industrial look based
on Elmars concept of the so-called spider
chandelier, said Lopez.
Further to this, adding a gentle glow to the
restaurant's walls, vintage wall lights hold a

similar shape in their shades to the hanging

wide brim pendants, in keeping with the
materials used to complement the dcor.
JAS Group creates unique concepts that aim
to make a disruptive impact on the market;
Fum exemplifies this ethos in introducing
great food in an accessible, design-focused
venue. A restaurants success lies in its
ability to trigger all the human senses, and
as Ghossoub concluded so aptly: Lighting is
a huge thing to consider. Make sure you tick
all the boxes and then a few more.
www.jas-hospitality.com
www.acoulite.com

PROJECT DETAILS
Fum, Dubai, UAE
Client: JAS Group
Interior Design: Elmar Pichorner, JAS Group
Lighting Specified: Bespoke fittings designed by JAS Group and
manufactured by Acoulite

048

IN FOCUS

Leaves of Luxury
Leaf by Haberdashery celebrates the luxury and refinement associated with
traditional bone china in a new sculptural lighting product system.
Images courtesy of Haberdashery 2016

London-based design practice Haberdashery

has been developing bespoke lighting
sculptures since 2008 for a range of
international clients and locations. By
blending a skillset converging art, design
and engineering, it is able to deliver
landmark sculptural and lighting projects
driven by a strong narrative.
In 2015 the studio began to work within the
world of products, with its first entitled
Leaf, launched officially during Design
Junction at the London Design Festival. Leaf
is a UK-made, hand-finished bone china
product developed in conjunction with the
William Edwards factory in Stoke-on-Trent.

Designed to sit within a home environment,

each Leaf sculpture is comprised of a
canopy of delicately moulded bone china
leaves suspended on thin wire from a
ceiling plate with integrated downlights.
On the leaf, bone china enables a very
thin edge, giving it a translucent quality
that lets the finish feel lighter because its
literally letting light through the surface,
commented Haberdashery Creative Director
Ben Rigby. Were interested in the subtlety
and detail of material and how it plays with
light, so bone china seemed like a good
match for us.
Haberdashery likes to play with light and

shadow to create atmosphere within an

interior space. In order to do that with
Leaf, they had to find finishes that would
play with light in interesting ways; using 14
karat gold and platinum lustres, a highly
reflective and opulent surface on the
underside of the leaves reflects light while
creating wonderful surface reflection.
Developed in the 16th century in Bow, East
London then perfected in Stoke on Trent,
bone china has ever since been hailed as the
ultimate porcelain.
Its very much a British material, with very
specific qualities about it, said Rigby. Its
a strong and durable material, but at the

049

same time allows you the freedom to make

something very delicate.
These unique qualities made it ideal for
Haberdashery to use in developing Leaf,
and are in line with the studios ambition to
keep manufacturing within the UK whenever
possible whilst using the finest material for
the job.
We found a great manufacturer called
William Edwards to collaborate with and
they were really positive in helping us make
sure we got something really detailed and
exactly to our specification, said Rigby.
So its a lovely story for the Stoke-On-Trent
ceramics industry, which is now reinventing

itself. I think were adding a good push

in the right direction for this material to
renew itself in the 21st century.
When the seventh Duchess of Bedford
introduced the concept of afternoon tea
in 1840 to see her through those late
afternoon hours preceding fashionably-late
dinner, she inadvertently championed what
has become a national pastime. Drinking
tea from delicate bone china cups allowed
those who could afford them to show off
the strength of the material by adding the
boiling tea first. Since these pioneering
days of serving tea, bone china has become
synonymous with luxury and refinement,

Above Left Leaf on display at FBC-London;

medium ellipse in Gold Lustre. Above Leaves with
real platinum lustre showing the highly reflective
surface.

050

IN FOCUS

and celebrates the unique skillset of the

Stoke-On-Trent ceramic industry; qualities
that are now celebrated in the Leaf product
and incorporated with light.
Haberdasherys Leaf not only acts as an
original and timeless centrepiece to a
dining or living space, but when lit creates
dramatic shadow across the surrounding
surfaces; although using simple, easy
to maintain GU10 downlights the actual
lighting effect is sophisticated and complex,
drawing on Haberdasherys rich experience
in telling stories with light. Leaf interacts
with light through reflection and shadow,
rendering the effects of Leaf much bigger
than the sum of its parts, as the shadows
created spread over the floor and are
reflected back onto the ceiling. Its a
very simple effect really, explained Rigby.
We light from above with standard ceiling
downlights to create the shadows. The

leaves that have a metallic lustre bounce

ambient light off the underside, creating
little patterns on the ceiling that are
reflected from the metallic surfaces on
the bottom. With the white version, you
actually see light coming through, so they
have a glowing quality to them.
Leaf is available in a range of ceiling plate
shapes and sizes, several lustres or glazed
finishes on the bone china and can be
suspended on either tarnish-resistant brass
or stainless steel cables. The product is
designed to allow for easy installation into
a simple ply pattress, into a ceiling slab
or into ceiling timbers. With each Leaf
product made to order, the drop height
is customised to each new client space
to ensure the optimum viewing level and
play of light and shadow, with the largest
bespoke versions to date utilising over 3,500
leaves in a single sculpture.

Represented exclusively by luxury interiorspecialists FBC-London in the UK founded by

Fiona Barrett Campbell, Leaf is a prominent
piece displayed in the studio space. I was
introduced to Haberdashery a year ago,"
said Campbell. "What struck me about the
Leaf in particular and the reason that I
have chosen to represent this product is
their timeless approach to design. Their
organically structured installation contrasts
beautifully with the industrial elegance
of our studio. There is great synchronicity
between the polished white and gold
refined glaze of the Leaf and the FBC
London collection.
Haberdashery also develop bespoke
versions, working directly with clients to
sculpt a unique configuration for each
new space, whether an atrium, hallway,
stairwell or restaurant.
The careful control of light and shadow

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052

IN FOCUS

in conjunction with a mastery of material

is an approach that Haberdashery will be
applying to further products in development
during 2016, with an increasing application
of appropriate technologies to be embedded
within product designs. Rigby discussed with
darc how Haberdashery might experiment
further with the nature of this material: In
the past grains of rice have been set within
ceramics to allow light to pass through once
fired into the material; we are looking to
explore more modern methods of achieving
this effect using rapid prototyping to
create more detailed moulds, and further
play with translucency and light. We are
developing a more contemporary range of

lighting products in 2016 to be launched at

Design Junction London, and we hope that
ceramics will play a part in the ranges we
will develop early 2017, with colour also
playing a major part of our product lines.
As such a versatile material, bone china
appears the perfect partner to light, playing
on its qualities of luminescence and shadow
in the same movements. With plans to
delve further into the possibilities that this
material presents, Haberdashery will no
doubt bring bone china in another journey
from its origins in the nineteenth century to
the world of light in the twenty-first.
www.haberdashery.com
www.fbc-london.com

Previous Page Concept sketches in development

for products in 2016/17 featuring floral
forms. Above Left Bone china leaves drying at
manufacturing partner William Edwards in Stoke on
Trent. Above right Individual moulds being opened
to reveal slip cast leaf forms. Above An individual
mould opened to reveal greenware (unfired clay
ready for the kiln).

054

PROFILE

folio
Our regular feature highlighting the
importance of decorative lighting
in the work of one interior design
practice. This issue, we present
concrete.
concrete is a design studio that
prides itself on developing concepts
within architecture, interior design,
and urban and brand development.
Aiming to unite people through
creativity, concrete works with a team
of 40 multidisciplinary creatives as
architects and designers to provide
innovative creative solutions to
businesses and institutions. Based in
the heart of Amsterdams red light
district, the team works on projects
with an interdisciplinary approach
to building brands, producing
architectural and interior designs and
urban development plans. It creates
a range of colourful projects across
the world, stamping each of them
with a prominent lighting design that
embodies the flair of the practice.
www.concreteamsterdam.nl

happyhappyjoyjoy
AMSTERDAM, NETHERLANDS
concrete designed the concept, name, and identity of happyhappyjoyjoy, a restaurant
representing an eclectic mix of street and market stall food found among the hectic
streets of Asia. Divided into five spaces, the entrance of the restaurant draws
customers in with a bright red neon happyhappyjoyjoy sign, casting a glow over the
caf inside. The entrance alleyway features eighteen coloured light boxes displaying
different artworks behind windows varying in size and height. The venue then opens
into a restaurant with chaotically plastered artwork on walls and large alcove seating
areas beneath a red coloured backlit paper umbrella ceiling, strengthening the warm
Asian ambiance of the room. The kitchen is connected to what is referred to as the
backstreet alley, where high tables and bar stools stand for groups to enjoy their
evening while watching the events of a hectic kitchen. The alley is illuminated by five
Proplights by Bertjan Pot for Moooi, reminiscent of garlands of random streetlights as
seen in pop-up street food stalls.

W Hotel

LONDON, UK
In a collaborative project with Maurice Brill Lighting Design, W Hotel on Leicester
Square is about inclusive exclusiveness, featuring bespoke lighting including pieces from
Frandsen Lighting. The welcome area holds three circular pods for guest services, with
each comprised of equal modular parts stacked differently to create three different
shapes. A soft purple light supports the different shapes and shines from underneath and
above each pod. A broad passage stretches out from the welcome area to the W Lounge
on the other side of the hotel, where the seats and lights appear as one at first sight.
Yet each seating space has its own furnishing design and a light object that follows the
shape of the seating. The hotels WYLD bar then features a circular booth surrounding
bespoke cocktail tables that light up in red.

055

Supperclub

AMSTERDAM, NETHERLANDS

Mazzo

AMSTERDAM, NETHERLANDS
A former disco spot, Mazzo sits in a typical tall Dutch building, where narrow and
deep spaces are fused together within different floor and ceiling levels. The first part,
featuring a bar, has a five-metre high ceiling creating an intimate space, illuminated
by GUBIs Bestlite wall series. The wall lamps above a nine-metre chesterfield couch
and the suspension lights above the bar and tables create a living room ambiance.
The second part, lower but wider, houses the kitchen, with a seating area opposite
in a flexible table arrangement, illuminated by five of Mooois Dear Ingo lamps.
Independent of the table arrangement, these modern chandeliers are a striking
overhead feature that provide a pleasant and intimate light. The final part to the
venue features the Bestlite wall series in a small backroom for children to play, again
creating a homely feel for the space.

Supperclub is a restaurant, gallery,

bar and club; an experience that
serves to wash over the senses. Guests
are introduced to the Supperclub
environment in a neutral scene
that transforms into a night full of
spectacles, exciting food concepts,
music and live performances. It is a
blank canvas where coloured lights
and visual projections transform the
room. The restaurant/club is entered
through the kitchen, where the chefs
kitchen serves as a central part of the
Supperclub, focused on stimulating the
senses. Beamers are placed throughout
the entire main room called Salle
Neige, allowing visual displays of light
and colour to take over the space. The
displays work with the iconic columns,
which emphasise the architectural
quality of the room, giving more depth
to the space and performances. Above
the architrave and behind the backrests
of the beds, a large string of RGB
coloured LED lights enhance the dome
shaped ceiling and intimate seating
areas. The lights can be adjusted
invididually in colour and direction,
allowing for different settings
throughout the night.

If youre an interior designer with an

eye for decorative lighting and have
projects worth sharing, contact:
h.fletcher@mondiale.co.uk

056

PROJECT

Spanish Sensation
Italian design studio Slide has created a hotel experience to
catch guests by surprise and capture all their senses.

Slide worked in collaboration with Quintas

Gonzalez Arquitectos to furnish Maci
Hoteles Granada Five Senses Rooms and
Suites in Granada, Spain.
Well-versed in meeting the needs of living
through practical and aesthetic furniture,
Slide's versatile designs find a combination
of light and vibrant colour merging to
create the distinctive atmosphere that is
characteristically evident in Granada Five
Senses Rooms and Suites.
From the beginning, Jose Maci Alvez of
hotel group Maci Hoteles wanted to create
a unique concept within hotel design.
Working with architect Laura Gonzlez
Romero of Quintas Gonzalez Arquitectos,

they held lighting and interior design as

inseparable, and integral to the project.
The goal was always to create the element
of surprise, awakening the sensations and
emotions of the client. The building is a
container of experiences, commented
Romero.
The Granada Five Senses Rooms and Suites
was inspired by Granadas heritage, culture
and art. Each floor of the hotel offers a
journey through the senses and sensations
that a traveller can experience in the city;
a smell, a feeling, a colour. It aims to
offer visitors a new way to see the city, a
journey through the possible experiences
of Granada living. The hotel recreates the

essence of the city, explained Romero.

The decorative lighting throughout is of a
playful nature, featuring soft shapes and
white lights from Slide to create bright and
purposeful spaces. In the common areas,
the design concept involves the creation
of large, open areas, where decorative
lighting plays a fundamental role in defining
each room, said Romero. Each lamp was
chosen to invite a unique experience, with
Slide's Knot pendant and Ali Baba Piantana
floor lamps greeting guests in the entrance
hall in the reception, evoking the flow and
circulation of the spaces themselves. This
playful theme is continued throughout into
the breakfast buffet area, which sits on a

057

Pics courtesy of Quintas Gonzales Arquitectos

balcony peering over and down into the

lobby, where the Knot pendants are then at
eye level.
Granada Five Senses Rooms and Suites
was a very collaborative project. The
architectural team alongside Slide sought
functionality, without sacrificing form and
design: We want to provoke reactions
in the spectator and for this we must
innovate, create and move away from the
conventional design, said Romero. In
Slide, we have found a true ally; its design
is young and cheerful. We identified with
them as they bring to our architecture the
touch of fun that were looking for.
Staying true to the playful nature that

characterises the hotel's design, the lobbys

adjoining lounge area features Slide's
Sirio star shaped lamps, evoking a starry
night inside that is continued out into
the courtyard, where Sirio lamps appear
under the starry Spanish sky. Located in
the fifteen metre-high courtyard, the Sirio
stars are visible from the hallways to the
rooms. Guests can enjoy a drink in the hotel
bar, adjacent to the gym's entrance, where
Slide's Nuvola lamps are suspended over
white bar tables.
Slide and Quintas Gonzales Arquitectos
worked together to create a playful space
that reinvents the way form and function
can flow between rooms, and merge design

Far Left Slide's Knot pendant in the

hotel reception. Left Breakfast buffet
area at eye level with Knot pendant.
Below Left Nuvola pendant in bar area
and entrance to gym. Below Sirio lamps
in central patio.

and practicality. The result is a thoughtful

hotel that stands out within its sector as a
sophisticated, youthful design.
www.slidedesign.it
www.quintasgonzalez.com

PROJECT DETAILS
Granada Five Senses Rooms and Suites
Client: Jose Maci Alvez, Maci Hoteles
Architect: Quintas Gonzales Arquitectos
Interior Design: Slide
Lighting Specified: Slide Ali Baba Piantana, Knot, Nuvola and
Sirio

058

PROJECT

059

Left Panzeri's Golden Ring lighting fixtures create

an eye-catching feature in the main loft space at
FoodLoft Milan. Bottom Left The Panzeri Blanca
pendant illuminates the kitchen space. Bottom
Right Panzeri Ypsilon lamps decorate the walls.

Ready, Steady... Cook

When Italian celebrity chef Simone Rugiati opened FoodLoft Milano as a
multifunctional television and photography studio, he turned to Panzeri for
functional yet decorative lighting design.
Pics: INTOthesign

In any setting lighting is extremely

important, but even more so in a television
studio - such as the recently inaugurated
FoodLoft Milano at the Factory House of
Simone Rugiati - a popular Italian chef who
has become famous thanks to his culinary
broadcasts. The modern photography
and television set offers a unique
multifunctional setting in Italy dedicated
to the world of food and beverage and with
a little help from Panzeri lighting fixtures,
oozes style and sophistication.
Curated by architect Luca Pieracci, together
with Simon Rugiati who fell in love with
the Panzeri lighting range at Euroluce last
year the manufacturer not only supplied
the project, but was involved in illuminating
this unique space from the very beginning.
Located in a quiet area of Milan, the
television set features the award-winning
Panzeri Jackie task lights; Ypsilon lamps,
which adorn the walls and are made of
mirror chrome, a material obtained by
treating brushed and polished brass that is
then subjected to the chroming process;
and Blanca and Willy pendant lamps that
illuminate the whole kitchen area.
In the ceiling, hidden Brooklyn profile
fixtures run through the living area to the
more spacious loft, which houses one of
Panzeris most prestigious products the
Golden Ring. With a composition of circles,
all different diameters and angles, these
large circular lamps are the protagonists

of this part of the space. They have been

finished on this occasion in gold leaf, which
alternates with the white neutrality of the
light. By using the Golden Rings in such a
space as this, the flexibility of its redefined
design is demonstrated; the product is
in fact, just as well placed within a very
informal and fashionable setting such as the
FoodLoft Milano as it is in more professional
and institutional settings such as offices and
large halls within prestigious buildings.
During the realisation of the project, while
Pieracci defined the structural elements and
interior design of the space, lighting was
completely assigned to Panzeri both for
the companys lighting skills and stylisticdecorative choices, all while respecting the
brief provided by the client.
The aim of the project was to use highly
decorative objects that filled the vast space
and given the television sets size, it was
necessary to provide significant lighting
both direct and indirect, to illuminate the
surfaces where the chef would be at work,
but also use diffused lighting that could
reflect on the ceiling and in the surrounding
environment.
As natural light is almost completely
absent from the television set, the need
for artificial light was combined with
decorative lamps and LED elements that can
effectively illuminate spaces and integrate
with the interior design, creating elegant
and sophisticated atmospheric effects.

060

PROJECT

The main difficulty the space presented

was from the entrance. The corridor that
separates the gateway from the television
set is very narrow meaning there are no
electrical points on the walls, which in turn
meant lighting profiles on the ceiling were
necessary. Panzeri also recommended that
the LED light sources used for the television
set should be white, as opposed to RGB as
initially selected by the client, ideal for
lighting situations such as photo shoots and
television filming which would be performed
in the loft on a daily basis.
Lighting within the FoodLoft Milano plays
a strong functional, yet decorative role.
The Golden Ring circles work to fill the
vast spaces of the loft, while the repetition
of the Willy suspension fixtures creates
continuity in the background. Lighting
becomes functional with the use of task

light Jackie, which is used to complete the

most varied forms of cooking recipes. The
key factor that guided every decision during
this project was the constant search for
quality materials with beautiful finishes.
For this reason, the product selection
required much more attention than a more
traditional project might do.
Food Loft Milano is the first project in which
Golden Rings have been installed after
being launched at Euroluce 2015. The main
challenge was to be able to deliver the first
pieces just a few weeks after the market
launch but ahead of the inauguration of this
new location. Through this project Panzeri
has showcased its lighting capabilities, not
only as a manufacturer of luxurious products
but for its skills in lighting design.
www.panzeri.it

Left Lighting profiles have been placed on the

ceiling of the entrance corridor to illuminate a
difficult space. Right Panzeri's Willy pendants
create continuity in the background space of the
FoodLoft.

PROJECT DETAILS
FoodLoft Milano, Milan, Italy
Client: Simone Rugiati
Architect: Luca Pieracci
Lighting Design: Panzeri
Lighting specified: Panzeri - Jackie task lights; Ypsilon wall
lights; Blanca & Willy pendants; Brooklyn profiles; Golden Ring
lighting fixtures

THE
BRIGHTEST
LIGHTS
COVERED
Join the celebration in Londons creative
heart. See the best in furniture, product
and lighting design from across the globe.

Register free at
clerkenwelldesignweek.com
CDWfestival

CDW_Darc_236x333.indd 1

29/02/2016 11:43

PROJECT

Tales of Tea
Australian interior design studio Matt Woods Design reinvents the
clichd teahouse concept with The Rabbit Hole in Sydney, Australia.
Pics: Dave Wheeler

An organic tea bar in Sydney, The Rabbit

Hole is no exception to the name Matt
Woods has built for himself so far with
his design studio. An industrial designer
by trade, Woods holds postgraduate
qualifications in Sustainable Architecture
and focuses on delivering high quality
and sustainable projects primarily in the
hospitality sector.
The Rabbit Holes design began in discussion
with tea bar owners Corinne Smith and
Amara Jarratt over five years prior to
its realisation. The brief was for the

delivery of a unique tea bar that was unlike

anything seen in the existing market,
said Woods. We were to avoid the tired
and clichd examples that are out there.
It was to be light, bright and dynamic.
The design team achieved this by taking
advantage of the former industrial sites
inherent architecture. Concrete floors
were polished, herringbone strutted timber
ceilings unearthed, and original brick walls
revealed. These newly exposed elements
were then white washed to soften the
masculine architecture, while enlarged

northeast facing windows were added to

allow light to flood the interior.
In view of creating a fresh, light approach
to a teahouse, the lighting concept
in relation to the interior design was
paramount. I always tell my client that
lighting is the most important element
in ensuring the success of any interior
environment, explained Woods. The
lighting at The Rabbit Hole has been divided
into two distinct approaches, the feature
lights and the workhorses. These two
approaches work in unison to ensure the

063

064

PROJECT

successful design of the space.

Surface mounted spots that blend in with
the herringbone strutted timber ceiling
are used as the primary light source while
decorative fixtures appear elsewhere to
enhance the softness developed within the
raw and exposed interior.
Inspired by Kintsugi, meaning to join
with gold in the Japanese art of repairing
ceramics with expressed gold lacquer,
The Rabbit Hole shares in its celebration
of the beauty of imperfection in ceramic
objects. This is most apparent in the
Speciality Tea Display, where custom
designed Kintsugi bowls sit delicately
above turned oak timbers beneath three of
Allied Makers Dome pendants. With their
golden shade, they reflect the inspiration

behind The Rabbit Holes design, creating

a link with the irregular golden joins of
the bowls below. The Kintsugi concept is
further reinforced with the expansive use
of a crushed ceramic tile, featured on
the service areas of the caf, such as the
central monolithic retail display. Above
the tile clad monolith, a chandelier made
entirely of tea bags by Chilean artist Valeria
Burgoa is illuminated by Reggiani's surface
mounted Sunios LED projectors, which
provide the base of the tea room's lighting.
To counteract these highly conceptual
feature elements, much of the remainder of
the design is more humble in form without
being modest in design detail. A steel
framed glazed wall complete with custom
designed pivoting windows outlines the

Previous Page Handmade Akari light sculptures by

Japanese designer Isamu Noguchi sit lightly above
tea tables with Volker Haug's Sole Trader pendants
suspended in the background. Burgoa's tea bag
chandelier is suspended above the a display table
and illuminated from above using Reggiani's
surface mounted Sunios LED projectors.
Above Three of Allied Maker's golden Dome
Pendants are suspended above the Speciality Tea
Display, drawing links to the Kintsugi bowls below
that evoke the Japanese art of joining with gold.

ADV DARC.indd 1

05/02/16 17:56

066

PROJECT

smaller entry section with its own unique

aesthetic. Adjacent to this entrance are
Allied Makers Flush Brass Minimalist wall
sconces, which also feature elsewhere
in the space. On each surface, the ten
pendants emit a bright white LED glow that
complements the soft white wash of the
once industrial space.
Woods commented on the effect of these
choices in lighting and interior design:
I like to think my projects are warm
and inviting environments for people to
enjoy. I always lean towards raw honesty

in materiality and form, and I enjoy

expressing the intrinsic nature of an urban
environment.
Further adding to this aesthetic are
Japanese designer Isamu Noguchis
handmade Akari light sculptures, which
sit as balloon-like shapes above the tea
tables. Light in colour and weight, these
translucent shades work with the rest of
the design to lift spirits and moods when
passing time in the teahouse.
Enhancing the brightness of this space and
working to soften the architecture are ten

of Australian LED designer Volker Haugs

Sole Trader pendants. These glow against
the white washed brick and reflect Woods
tendency towards raw and honest design as
bare lamps that hide nothing and work to
expose the spaces beauty.
In The Rabbit Hole, decorative wall
sconces and pendants provide that aesthetic
punch, continued Woods. This is further
reflected with just two of American
manufacturer Worksteads cast iron, steel
and brass wall lamps, which stand out from
the other decorative fixtures with a darker

067

Above Workstead's cast iron, steel and brass wall lamps work with Volker Haug's Sole trader pendants to
enhance the white wash walls. Centre Allied Maker's Flush Brass Minimalist wall sconces feature on the steel
framed glazed wall with pivoting windows. Far Right Akari light sculptures by Isamu Noguchi.

frame yet remain soft in their illumination.

With these decorative fixtures and
conceptual features of the restaurant,
Woods reflected on how the project
differed to others that the design team
had completed: Its perhaps a bit more
whimsical than what wed normally deliver.
The term whimsical was often thrown
around at the early design meetings by the
client and it pushed us in a direction that
we would not usually have explored. As a
result, we exploited this to its ultimate
conclusion and as a result the project was

stronger for it.

The Rabbit Hole is a project that tested its
design team, with everything that could go
wrong, going wrong. The overall vision was
clearly articulated and the team worked
hard together to ensure the project was
delivered as anticipated. The result is a
testament to the design teams efforts and
in the end, any challenges encountered
added to the improvement of the interior.
www.killingmattwoods.com

PROJECT DETAILS
The Rabbit Hole, Sydney, Australia
Client: Corinne Smith & Amara Jarratt
Interior Design: Matt Woods Design

LIGHTING SPECIFIED
Allied Maker Dome pendants
Allied Maker Flush Brass Minimalist wall sconces
Isamu Noguchi Akari pendants
Reggiani Sunios LED projector
Workstead wall lamps
Volker Haug Sole Trader pendants

068

PROJECT

Pics: Ryan Fischer

Time for Supper

Working closely with the restaurant's owners, US lighting practice Focus Lighting has created a subtle
layering of modern lighting elements at Yvonne's to accent the restaurant's historic interior features.
Focus Lighting's Ryan Fischer talked darc through the process.

Yvonnes restaurant is a modern

reinterpretation of the early 20th century
supper club. Drawing inspiration from its
predecessor, Bostons iconic Locke-Ober,
the owners took a hands-on approach to
Yvonnes design, working closely with Focus
Lighting to develop the entirety of Yvonnes
luxurious and sophisticated interior.
Early collaboration with the owners allowed
the lighting designers to influence design
decisions that produced a subtle layering
of modern lighting elements to accent
the restaurants historic interior features.
Decorative fixtures were then pushed to
the forefront as visible sources of light, all
working to reinforce Yvonnes old-style
aesthetic.
The nature of Yvonnes design involves so
many intricate details such as the ceiling
coffers, tables, bars and so on. These were

all important to highlight, said Focus

Lightings Ryan Fischer. Finding creative
ways to use each lighting element was vital.
To uphold the restaurants concept, it was
important to conceal all modern lighting
elements within the architecture. This
was accomplished through a great deal of
collaborative on-site work creating lighting
effects and millwork simultaneously.
Five concealed layers of light work to
highlight intricate details in a 140-year-old
hand-carved back bar. Track accents hidden
behind a dropped soffit graze the textured
cabinet doors and griffin sculptures from
above; while LED tapelight integrated into
stemware cases and bottle risers creates
hundreds of sparkle points to reflect in the
pieces of glassware displayed behind the
bar. It was also important that the lighting
complemented the guest's appearance and

so a sixth layer at the bar produced by oldstyle bar top lamps reflects softly off the
bar and onto their faces.
The projects collaborative nature
influenced a number of subtle changes over
time. Fischer presented the owners with a
lighting study explaining how white table
tops (instead of a dark finish) would provide
seated diners with an additional layer
of light reflected from recessed fixtures
above. This ultimately convinced them to
use white table tops throughout the entire
restaurant.
In the main dining room, the location
of over 60 recessed table accents was
coordinated prior to the assembly of a
30,000-piece ornamental ceiling. Fischer
strategically positioned each fixture
to avoid intersecting with the ceilings
embossed scrollwork, sculpted borders,

069

Far Left & Above Left Antique clear-glass filament

lamps were used in new decorative chandeliers and
wall sconces throughout to replicate the low-level
warmth and colour temperature of the original gasfed light fixtures that once lined the walls and bac
bar. Above Right The restored pressed-tin coffered
ceiling above the main lounge contains jewellike crystal-cut A19 lamps, creating visual depth
that presents each coffer as a decorative source
of sparkling light. Left In the library, a glowing
bookshelf captivates in the mystery of its invisible
light source - LED tape light integrated into the lip
of every other shelf.

and molded cherubs. Black baffles in

every recessed accent almost completely
eliminate glare, and decrease fixture
visibility within the ceiling. A group of
crystal chandeliers hanging in the centre of
the room uplights the ceiling to reveal its
ornate detailing.
Past the main lounge, glowing bookshelves
in the library lounge captivates in the
mystery of its invisible light source. Custom
millwork allowed Fischer to integrate LED
tape light into the lip of every other shelf,
creating depth and visual interest with an
intimate layer of light.
Decorative elements were integral to
the lighting design as they help reinforce
the restaurants old style and luxurious
aesthetic, said Fischer. Side light from
wall sconces emulates that of original
gas-fed light, while crystal lamps and

chandeliers add a layer of sparkle.

We were all very happy with the final
result. Our first time turning on the
bookshelf lighting, the entire room stopped
for a moment in awe.
The lighting throughout works seamlessly
with the restaurants historic interior to
transport guests back in time to the 1920s
and 30s.
We wanted the space to feel like an
underground speakeasy, so we closed off
existing windows in the dining room and
lounge areas and eliminated any natural
light.
With refurbished and refashioned old-style
lighting fixtures pushed to the forefront,
while modern architectural lighting
elements work behind-the-scenes, the
lighting design at Yvonnes successfully
reinforces the opulence and sophistication

the owners envisioned.

Working with the owners without a design
architect was a new experience for me.
Chris and Mark had a clear concept and
goal, which made the design feel almost
effortless, concluded Fischer.
www.focuslighting.com

PROJECT DETAILS
Yvonne's, Boston, USA
Lighting Design: Focus Lighting

LIGHTING SPECIFIED
Bethel International crystal chandeliers
Hudson Valley Cortland wall sconces
Tango Lighting Little Twist Table lamps
Visual Comfort wall sconces
Westinghouse G20 cut crystal lamps

070

PROJECT

A Shore Thing
Designheure provides a playful and colourful setting to a seaside luxury
brasserie, where guests dine beside lapping waves and cockle shells.
Pics: Maxime Imbert

071

Left Designheure's Moyen Nuage 15 chandelier

features in the lobby with looping steel cables,
relating with the deep yellow of the Petit Nuage
wall lamps lining the staircase. This Page Petit
Nuage pendant lamps in dining area.

What was once a practical, old-fashioned

building housing a bookshop, tourist office,
post office and even a radio station, now
serves as a place of luxury for those looking
to dine amongst design. Entirely redesigned
by Jrmie Airiau of architectural design
firm ADE Architecture based in Nantes,
France, Le Shore is a seafront brasserie on
the embankment of La Baule.
Aiming to surprise with the restaurants
unique positioning and inviting atmosphere,
restaurant owner Yves Gurin worked
closely with the architectural team to

redesign the building. We had a precise

idea of what we wanted to achieve, said
Airiau, aiming to redesign the building into
several spaces, including a bar, a brasserie,
a teahouse and a library.
Initially drawn to the project for Gurins
meticulous and thoughtful vision, Airiau was
then sold on Le Shore for how its interior
design and lighting could interact with
the restaurants stunning sea views. The
lighting was essential on this project from
the beginning, said Airiau. The main
challenge was to use lighting to create

different spaces. The client wished for

natural daylight, with a more intimate
and romantic light for the evening. So all
lighting was installed with a dimmable
system to allow a change of atmosphere in
each space.
Starting with Designheures Nuage
collection, guests are greeted in the
entrance by a delicate yet prominent
lighting scheme, a specific request from
Gurin. The Nuage collection was perfect
for this, said Airiau. Comprised of three
pieces from this collection, the yellow

072

PROJECT

Moyen 15 chandelier in front of the stairs

gives off a golden glow, with deep yellow
shades standing strong among loops of
steel cables. This statement piece creates
a conversation with the Nuage Petit wall
lamps that appear next to the staircase
with the same coloured shade, with Petit
pendant lamps are also used elsewhere in
the restaurant. Also from this collection,
Nuage Grand 122 floor lamps feature
in a yellow more similar to its adjacent
seating area, bringing lighting and furniture
together while adding more direct
illumination closer to the dining tables.
A main lighting feature consistent
throughout the restaurant is Designheures
Petit Cargo suspension lamps. These work
well to draw each space together with
a neutral white that makes a statement
through its bold design and black outlines.

Each dining area takes on a different

colour scheme that relates to its seaside
surroundings, and the lighting works to
exaggerate these colours and emphasise
the relationship. The Cargo collection
is like being in a boat, as it illuminates
the room in front of the sea, said Airiau.
Sometimes we feel were in an imaginary
universe, underwater, submarine, with
fishes swimming through the psychedelic
wall paper.
The restaurant truly is an experience
to spark the imagination and let guests
feel their outdoor surroundings from a
sophisticated indoor setting. Designheures
decorative fixtures hold the right
combination of quirky creativity and style
for a restaurant with such history and
inspiring location.
www.ade-architecture.fr

Above Designheure's Lightbook pendants along

the wall with Petit Cargo pendants making a main
feature over dining tables.

PROJECT DETAILS
Le Shore, La Baule, France
Client: Yves Gurin
Architect: Jrmie Airiau, ADE Architecture

LIGHTING SPECIFIED
Designheure Lightbook pendants, Petit Cargo pendants, Moyen
Nuage 15 chandelier, Petit Nuage wall and pendant lamps,
Grand Nuage 122 floor lamps

ICFF-XXX ICFF Registration Ad; Darc-March-Apr.indd 1

2/26/16 1:10 PM

074

ON SHOW

Maison et Objet
January 20-24, 2016, Paris, France
Despite the tragic terror attacks to hit Paris in November, the decoration world thrived
at the latest edition of the show, exhibiting works from French designers to international
brands in luxury and design. A total of 2,978 exhibitors from 59 countries, including nearly
700 new names, took part in displaying high-end, updated collections further corroborated
by market observers. Maison et Objet Paris saw a pronounced return of French visitors with
a limited drop in visitors from abroad of only 8%. The show remained true to its mission of
standing as a resource for the industry, catalysing its growth through its high standard of
event content.
www.maison-objet.com

Night Birds
Brokis

Belle Dl Collection
Hind Rabii

Inspired by the freedom of bird flight,

the Night Birds ceiling lights create
variable compositions ranging from
several individual lights to entire flocks
of birds. The glass shades, formed to
depict wings in various phases of flight,
together with LED illumination, create
the perfect ambience.
www.brokis.cz

Four new colours have been added to

the Belle Dl collection. Combining
metalised tints and transparency, which
blend together and create a modern
yet sophisticated collection. The
sensual hips of this model make it quite
unique, described Hind Rabii.
www.hindrabii.net

Aureole
Tigermoth Lighting
Making its debut at Maison et Objet this
year, Tigermoth Lighting presented the
Aureole table lamp, a striking lighting
fixture handmade in England. Featuring
two water-cut solid brass discs, Aureole
is held within an elegant patinated
bronze metal frame.
www.tigermothlighting.com

Cte dAzur
Lladro Lighting

Cassia
Lasvit

In the new Cote dAzur model, the

white of the Winter Palace series
gives way to a combination of marine
colours, beige and gold. Made of
porcelain teardrops and beads, it is set
by hand and combined with hand-cut
Austrian crystal. Light filters through
the lithophanes, to give a warm glow.
www.lladro.com

Cassia consists of a group of small

pendants, approximately 15cm in
diameter and made of hand-blown
glass, with each taking inspiration from
/ representing a flower or a star. Each
takes on a slightly different shape with
variations further enhanced by the
monochromatic colour scheme.
www.lasvit.com

075

Boogy
Arpel Lighting

Vortex
Martin Huxford

Designed by FX Ballry, Boogy

is a contemporary and elegant
interpretation of old candle lamps.
A table lamp that is available in zink
alloy, steel and brass plated aluminium,
it comes equipped with a touch
switch with four preset levels. It has a
luminous flux of 900lmn.
www.arpel-lighting.com

The Vortex chandelier, availabile in

different finishes, features five graphic
arms rotating upwards from a central
column. The dynamic geometry of the
light is accentuated by the angular
patterns and spaces created by the
asymmetric arms, each suspended at a
different height.
www.martinhuxford.com

Pipistrello LED
Martinelli Luci
This diffused table and floor lamp
features a stainless steel telescopic arm
for height adjustment and a white opal
methacrylate diffuser. The base and
knob come in a titanium-colour finish,
with white, black-brown or scarlet red
lacquer, satin-finish aluminium, copper
and gloss black finish also available.
www.martinelliluce.it

Bolt
Tonone

K&W
Nahoor

Designed by Anton de Groof, Bolt is the

result of a fascination with traditional
mechanics. The key element in this
industrial, no-nonsense lamp design,
is the joint construction that can be
adjusted with a wing nut-shaped tool.
Bolt comes in fourteen models, all
available in seven colours.
www.tonone.com

The K&W table lamp is available in

polished chrome, white Carrara marble
and opal Murano glass; as well as a
brushed brass, green marble and opal
Murano glass version. There are other
variations available including satin
chrome, brass, and white or black
lacquered.
www.nahoor.com

TIM
BOMMA
TIM is a new collection of lighting
objects from design duo Olgoj
Chorchoj. Consisting of three sized
crystal cupolas in the form of a drop
with dimensions of 70, 55 and 45cm,
the lights can be combined with three
types of mounting: nickel, copper
coating and black matte effect.
www.bomma.cz

076

ON SHOW

Collection 01
Magic Circus ditions
A new collection of lighting fixtures
featuring chandeliers and pendant
lamps, Collection 01 is produced in
opalescent glass and brass. A natural
version that evolves over time and
assumes its ultimate patina after a few
months is also available.
www.magic-circus.fr

Tokyo Sputnik
Mullan Lighting

Hendrix
DelightFULL

An update of the sputnik design from

the 60s and 70s, it gives a blast of
modern glamour shining out in all directions. Featuring a complement of lamps
on long stalks, this chandelier is suitable for modern and industrial interiors
and looks great when lit with XL Round
Edison Squirrel Cage filament lamps.
www.mullanlighting.com

Inspired by the musicians of the

1970s, the Hendrix suspension lamp is
a singular mid century modern light
fixture that captures the attention
through its inspiration of the Hendrix
guitar. Made from brass and with a gold
plated finish.
www.delightfull.eu

Soft Collection
molo
Creating an intimate yet grand setting
at Maison et Objet, molo used its
soft collection to construct a forest
of paper columns below a canopy of
cloud lighting. molos soft collection
has flexible movement and form and
interacts to allow you to follow your
own vision in shaping the space.
www.molodesign.com

Fliegenbein HL
Kalmar

Musset GR
Sammode Studio

Expanding the range into ceiling

applications, overhead ambient light
filters through the pendants pleated
silk shade and frosted glass diffuser. Its
voluminous shade has classic appeal,
while the dialogue between shade
and slender armature injects modern
personality into a space.
www.kalmarlighting.com

Taking inspiration from previous models

GR generates more intimate light
with the addition of micro perforated
stainless steel diffusion panels paired
with satin-finish LED lamps.Once
lit, the diffusion panel is reflected
repeatedly giving the design unique
aesthetic depth.
www.sammode.com

078

ON SHOW

Parler deux voix

Following Veroneses showroom event during Maison et Objet in January 2016, French
designer Patrick Naggar shows how it is possible to thrive in modernity using tradiitonal means.

079

Born in Egypt, Patrick Naggar grew up in

Paris, France in a family of art collectors.
Exposed to modern art by his family
from a young age, Naggar was often
surrounded by influential creatives who
played a part in shaping his creative
thinking, in ways that he now
employs in lighting design.
Visiting art studios and museums
with family and friends such as
Portuguese painter Vieira da
Silva and British playwright
Stephen Poliakoff, Naggar
was destined for art
and design from the
beginning and

went on to study architecture at the Ecole

des Beaux-Arts in Paris.
I considered architecture to be vital
knowledge within art, interior and furniture
design and held in high regard the way
Italians view architects as being equally
capable of designing interior spaces and
products, Naggar tells darc.
While studying in Paris, Naggar undertook
an internship with an architect known
for several luxurious buildings in Paris.
Under the architects guidance, the
budding designer was exposed to an array
of craftsmen and skills of the French Arts
Decoratifs movement in the 1930s. I
resented it at the time as I was eager to be
modern, he admits, but I realise today

how important and instructive that

training was learning to design typical
facades by hand with the correct orders
and proportions.
Having now developed a mature
outlook based on his extensive
training and experience, Naggar
does not attempt to distinguish
between ancient and modern
and instead focuses on the
difference between good and
bad architecture. Aspiring
to an international range
of artistic figures such
as Louis Kahn
from the

080

ON SHOW

US to English architects such as David

Chipperfield, Naggar aims to bridge the gap
between classical and modern in his work.
I think the more modern we are, the more
memory we need. There is nothing like a
tabula rasa. Seeking to connect areas that
are usually kept apart, the French artist
purports that humans are simultaneously
ancient and modern and looks to cultivate
hybrid and at times ambiguous designs.
This philosophy is seen in Naggars work
from the beginning of his achievements
in lighting design. Prior to the designers
first work with Veronese ten years ago,
he was invited to work with the CIRVA
(International Centre for Glass Research)
in Marseille, France. Here he designed an
object representing Psyche, the Goddess of
the soul in Greek mythology, which was a
glass drop filled with water and illuminated
with a small LED. With Veronese, a French
manufacturer established in Paris in 1931,
the company prides itself on its skills
in the formation of luxury Murano glass
lighting fixtures crafted in the tradition of
French design. Naggars work with CIRVA
joined harmoniously with his future work
for Veronese in his drive to create hybrids
between science, art, traditional and
modern technologies. The Drop series with
Veronese is an avatar of this initial project

with CIRVA inspired by Greek mythology,

explained Naggar. Inspired from the same
source, the organic shape of Drop has been
adapted as a table and wall lamp available
in several colours evoking a light of myth
and poetry to fill an interior.
Naggars most recent projects with Veronese
have more of a scientific influence, such
as the Orbe lamp for Veronese, taking the
shape of the galaxy in wall sconces and
table lamps. Most notable of his pieces
blurring the boundaries between art and
science is the Chromosome chandelier
inspired by the DNA of a chromosome X,
made by Veronese exclusively for display at
furniture and lighting showroom Ralph Pucci
International in New York.
I was interested in translating an essential
part of the human cell, one that carries
information into an object with poetic
license, explained Naggar. The doublecoiled strands of DNA are materialised by
fibre optics, which in the chandelier are
represented by the light. This chandelier
exemplifies Naggars drive to create hybrid
designs between tradition and modernity.
The Murano hand blown glass shows how
a traditional skill can be associated with
a modern means of lighting. Melding the
traditional skill of glass blowing with a new
way of using fibre optics is a new concept

that introduces a new direction in lighting.

With these creations in his arsenal, Naggar
reflected on his time so far working
with Veronese: It has been a wonderful
experience. This venerable house, which
has produced works with French designer
Andre Arbus and others since the early
1930s, represents traditional Venetian
glasswork while being open to exploring
new avenues in design. It is a great
artisanship rooted in history combined with
a sense of innovation. A match in theory
and practise, Veronese has been a driving
force in Naggars attraction towards lighting
design. According to Naggar, lighting is the
domain that has evolved the most in design
recently, with new ways of using light to
create ambiance and a strong symbolic
value attached to it. This symbolism is what
attracts him to lighting design the most, as
it is after all the extinction of darkness.
www.verone.se
www.patricknaggar.com

Previous Page Naggars Orbe wall sconce in orange

for Veronese. Above Chromosome chandelier
designed by Naggar and manufactured by
Veronese for Ralph Pucci International.

We love our darlings

CANDYBAR

THE BIG BUBBLE

COOLFIN

SANGHA

CAPTAIN CORK

LGTM

Dark U.K. - Enigma Lighting - www.enigmalighting.com - T 01420 473889 - E sales@enigmalighting.com

www.dark.be

www.facebook.com/wealllovethedark

www.pinterest.com/pindark

082

ON SHOW

083

The Science of Light

French designer Mathieu Lehanneur is world known for his fascination with
science and a humanistic approach to his work, which takes him far beyond
product design. During Maison et Objet Paris in January, visitors were able to
experience two of his latest lighting projects - Clover and Les Cordes.
darc discovers the man behind the designs.
Pics: Felipe Ribon

084

ON SHOW

Considered one of the worlds top 100

designers and influencers, Mathieu
Lehanneur is a French designer at the
forefront of the international design scene.
He is also one of the few of his generation
to use his talent in a variety of disciplines
beyond furniture design. During Maison et
Objet Paris in January, Lehanneur presented
two major lighting projects in the city:
his lighting feature Les Cordes, originally
created for the Decorative Arts Museum of
Marseille, France and his first urban lighting
furniture collection Clover, on display at
an apt location in front of the Ministry
of Ecology, Sustainable Development and
Energy in Paris.
Having grown up in the suburbs of Paris,
a career in design wasnt always on the
cards for Lehanneur and before embarking
on a degree in design at ENSCI-Les Ateliers
/ Ecole Nationale Superieure de Creation
Industrielle, he longed to become an artist.
After studying art for around six months, I
realised that for me, inspiration came from

working with a client and I preferred the

idea of this, rather than being completely
autonomous in the world of art, Lehanneur
tells darc. I always knew I wanted to work
within the creative field in some way and in
the end decided on design.
Fascinated and inspired by science,
Lehanneur funded his studies through taking
part in pharmaceutical trials, which in turn,
brought inspiration for his first collection Therapeutic Objects, a range of remedies
that were easier to use than those hed
seen during the drug trials. By designing
medicine Lehanneur was trying to connect
directly with the living element the
user. With Therapeutic Objects now part of
MoMA New Yorks permanent collection, this
humanistic approach continues in his work
today. Lehannuer considers human beings
as complex structures that need more
than just chairs, but also air to breathe,
sustainable food, good health and love in
order to live better.
Making its debut in Paris at the beginning

Clover - a series of trees encompassing energy,

functions and materials - stood tall outside the
Ministry of Ecology, Sustainable Development and
Energy in Paris during Maison et Objet in January.

085

Pic: Courtesy Carpenters Workshop Gallery, photo by Adrien Millot

of the year, outdoor lighting fixture

Clover is an opportunity for the public to
break and recharge and is a follow up
to the designers 2012 creation of Digital
Break, a range of WiFi stations in Champs
Elysees Avenue that offered a new way of
experiencing the city and connecting with
the rest of the world.
Clover is a series of trees encompassing
energy, functions and materials. Lehanneur
describes them as hybrid objects of
excellence, combining light and seating,
wood and solar panels, town and country. It
(Clover) is a new living species both wild
and domestic, natural and technological,
he says.
Carved from a wooden mast, Clover
comprises a floor lamp and bench that
appear cut and polished by the hands of
a craftsman; rather, they are digitally
machined using an unprecedented industrial
process that allows the designer to blend
different species of wood together.
Lehanneur aims to create a structure like

a replanted tree that should have always

been there.
Clover features large aluminium domes that
release downward LED light to minimise
light pollution and energy loss. An additional
dome, faced upwards, is equipped with solar
panels to produce enough energy to power
the lamps for three hours. A small hatch is
also available where passers-by can charge
their smartphones. The Clover bench is
designed to be adaptable and extendable
reaching over fifteen-metres long if
required.
This latest project was launched to coincide
with this years COP21, United Nations
Conference on Climate Change in Paris
and was initiated and sponsored by the
Poitou-Charentes French region under the
leadership of its President Segolene Royal.
The Les Cordes lighting feature was unveiled
at the Carpenters Workshop Gallery also
in January, in an exhibition entitled New
Works (running until March 19). Having
collaborated with the Gallery since 2011,

Les Cordes uses contemporary lighting technology

with handcrafted work to create a modern
representation of a chandelier.

Lehanneur is now officially joining its

roster of represented artists, in line
with his continuous artistic research and
development.
Les Cordes uses contemporary lighting
technology with handcrafted work to create
a modern representation of a chandelier.
The glass tubes contain strips of LED that
puncture the underside of the ceiling and
hang down like loops of rope. A lighting
programme allows the lights to be dimmed
or brightened independently of one another.
The chandelier was conceived as a rope of
light crossing the ceiling, said Lehanneur.
Only bands of light and glass are visible.
Neither an object not a light fitting. It
is the light itself that seems to live and
circulate in the entrance space, as if
stitched onto the actual building.
The New Works exhibition will run until
March 19.
www.mathieulehanneur.com

086

ON SHOW

The Greater Good

Pinning down a particular point of inspiration when blasted with an influx of
colour and detail everyday can be difficult. British designers Sarah Colson and
Aimee Betts have travelled the world to gain an education in craftsmanship, a
story told in their latest collaboration on the Clara Lux collection launched at
Maison et Objet in January 2016.
Pic: Stacey Hatfield

087

088

ON SHOW

Pic: Aimee Betts (left) and Sarah Colson (right)

Image courtesy of Stacey Hatfield

Although from somewhat different

backgrounds, both Sarah Colson and Aimee
Betts are ambitious, colourful designers who
have built up their talent with drive from an
early age. Now based in South East London,
they identify with the creativity of young
designers swirling round this part of London.
Colson, originally from Wiltshire, UK,
studied BA Interdisciplinary Textile Design
at the University of Western England before
working on a yacht to save money for her
Masters in Product Design at the Royal
College of Art (RCA), which is where she
met Betts. At the RCA, Colson saw people
turn creative processes into commercial
businesses, inspiring her to earn a living out
of making the market understand how she
wanted to use her creativity. Then working
freelance on more conceptual designs,
performance pieces and community-based
work, Colson undertook a design residency
for the British Council in Indonesia where

she made a small light installation as a

community project. She went on to set up
her own lighting company, establishing a
more commercial edge to her work.
It was never intended to be a lighting
company. I just wanted to be a designer
really, says Colson. Creativity is at the
heart of everything I do and lighting is a
nice platform as it means I can be quite
sculptural and decorative with the way I
work.
Betts grew up in Leicestershire, UK, on an
aquatic nursery, and her designs have very
much been shaped by her rural, hands-on
upbringing. After studying an Art Foundation
at the University of Loughborough, Betts
went on to study BA Multimedia Textiles
with an emphasis on the inventing process
and handling materials such as plastic,
wood, metals and papers. In a desire to
further develop her skill set with more
traditional textile techniques, the budding

designer worked for a freelance embroidery

company making samples for fashion.
It was here that I learnt to dye fabric
and really developed my love of colour,
explained Betts. I really enjoyed the
immediacy of dye and the access to
colour. She then went on to study a Mixed
Media Programme at the RCA. Betts first
experience working with light came through
her work with design collective The New
Craftsmen in London, where she worked
with glass blower Michael Ruh on the
Harbour collection, a series of pendants
combing coloured light flex hand braided
cord with coloured blown glass.
For both women, there are similar elements
that attract them to lighting design. They
each enjoy the drama it creates in a space
by hanging something from the middle of
it; Colson drew on memories of mobiles
hanging from her bedroom ceiling as a
child. She enjoys the problem solving aspect

089

Clara Lux collection

Image courtesy of Lenka Rainer H

of lighting design - working out how to

create a beautiful product despite being
bound by the essential components of a
lamp. I also really enjoy the fact that its
almost sculptural because when the lights
not on, you have a really beautiful object,
she says. But when the light is on, the light
gives it a purpose and an intention to be in
the world.
Betts likes to work with her background in
textiles, thinking about how she can bring
her understanding of layer, opacity, colour,
texture and depth to lighting through
her own skillset. Having worked a great
deal with flat textiles, she too enjoys the
sculptural aspect of decorative lighting:
You can move around it and see it from
different angles, she says. It really adds
duality to the room.
After meeting at the RCA, the pair went
their separate ways. During this time,
Colson worked in Brazil with designer

Marcelo Rosenbaum on his A Gentre

Transforma project to develop the notion
of collective design, and Betts, as well
as working with Ruh, undertook a design
residency in India working with locals to
produce embroidery collections. Years
later, they bumped into each other at an
art gallery, rich with experience and ideas.
I liked what Aimee had been doing with
Michael Ruh, and I was wearing one of my
bags that Id made when we ran into each
other, explained Colson. Aimee asked me
if I wanted any cables for my bags. I said
not for my bags but Id love some made for
my lights! Their collaboration grew from
there.
With Maison et Objet Paris coming up in
January, Colson had been experimenting
with new coloured glass parts but had
reached a point in her design process
where she wanted another influence. At
the same time, Betts had been following

Colsons work and thought to herself, I

need to make some cord for Sarahs lights!
With this mutual appreciation, their skill
sets naturally came together. Through
experimentation in lampshades and working
with colour, they pulled together a trio of
samples and considered how they could best
work to complement the glass using blocked
and striped coloured affects. I would come
over to Aimees once every three weeks or
so, explained Colson, and Aimee would
have done some more samples for us to
take a look at in different colours. It was
great to land on someone that I could work
with so easily.
With Betts vast understanding of colour,
she was able to teach Colson in depth, using
the colour wheel, why certain colours work
together and how they interact with light.
Together they explored how pastel colours
can be used to create contrast. Using the
colour wheel as a tool, we could step either

090

ON SHOW

Colson and Betts working on the Clara Lux collection

Image courtesy of Stacey Hatfield

Colson and Betts Clara Lux

Images courtesy of Lenka Rainer H

side of colours and look at things that were

a little offbeat, so the colours dont exactly
complement each other but are just a bit to
the side, said Betts. If colours go together
theres usually a scientific reason for it, so
colour is generated by that process.
For both designers, there were three main
ingredients for the Clara Lux collection;
colour, form and texture. These factors
drive each of their individual practices and
are what they attribute their collaborative
success to. Making the pieces slightly
asymmetric, Clara Lux plays with the
viewers perspective in how the eye
moves around the different shapes of the
glass. Its a trio of light and a will to
acknowledge that they work together as
a collection and individually, said Betts.
The different colours appeal to different
people so hopefully theyre flexible in that
sense as well.
The two share an understanding of
collaborative projects that is integral to the
Clara Lux collection. Colson made her first
lighting project from her bedroom, which

was her studio at the time. It was produced

as a result of using the creative process as
a kind of therapy towards happiness. She
made something that was basically just a
fabric, then started to look to friends and
various sorts of crafts people to see how
she could make it into an actual product.
This was a bit of a eureka moment for
me, that I could come out of my bedroom
and start interacting with the real world. I
started experimenting and it all grew from
there, she says. I started getting more
and more recognition and I learned that
my ideas grew every time I gained a bit of
confidence, and connecting with people was
a really big part of that.
Also preferring to work in collaborations,
Betts doesnt have many of her own
products as she sees an intriguing new set
of problems to solve with each collaboration
she is part of. I think in the West were
very much taught to think of ourselves as
individuals, whereas the East has more of
a focus on community. I think the future
is more about networks and collaborations

and I try to work with a more Eastern

philosophy.
Colson also added the value she places on
dialogue when working with other people,
You might have designed something and
someone could just turn around and tell
you they dont like it. So youre getting
feedback all the time at every stage.
In this vast network of shared ideas, the
two young designers dont pay much
attention to trends but rather to the wealth
of inspiration they are surrounded by. For
both, the biggest inspiration would be to
move into an unfurnished flat and then look
to the market and see what they want,
what they can afford, thereby instinctively
acknowledging a gap in the market. If they
cant find or cant afford what they want,
they make it. Betts put simply that it comes
down to a need and, and as Colson so aptly
added, the need results in the greater good
of the design.
www.sarahcolson.com
www.aimeebetts.com

SPECIFY THE RIGHT ONE

FROM THE BEST.

ARCHITONIC.COM
Architonic is the worlds leading research tool for the specification of premium architectural and design products. Our curated database currently provides information about
more than 200000 products from 1300 brands and 6200 designers. 16 million architects, interior designers and design enthusiasts annually choose Architonic as their guide
to the very best.

092

ON SHOW

Stockholm Furniture & Light Fair

February 9-13 2016, Stockholm, Sweden
The five day show in Stockholm is the worlds largest meeting place
for Scandinavian furniture and lighting design in home and public
environments. Thousands from the furniture and lighting industries
gathered at Stockholmsmssan exhibition centre to see the latest
innovations and meet the creatives behind the products. With an inaugural
awards programme launched (pg. 98), a British design studio as the shows Guests of Honour
(pg. 100) and an extensive array of inspiring talks, the 2016 edition drew in nearly 40,000
visitors. Heres what caught darcs eye in the world of decorative lighting.
www.stockholmfurniturelightfair.se

Bellevue
&tradition

Futura
Ebb & Flow

A signature lamp from Danish designer

Arne Jacobsen, &tradition re-launched
the Bellevue floor lamp in five modern
hues with a material mix, such as satin
polished brass, or a mix of brass with
ivory, black or a grey beige. Directing
light without excessive glare, Bellevue
is an ideal reading lamp.
www.andtradition.com

Futura is a slim pendant that shapes

the glass along three curves with
alternating colours. It features a
gingham facet cut middle section with
tonal colouring above and below. Futura
is available in two sizes, and translates
classic lead crystal into a modern
shaped pendant.
www.ebbandflow.dk

Petite
Secto Design
Secto Design released its Secto Petite
collection, adding smaller sizes to its
traditional lighting range. Secto Petite
range includes pendant, table and wall
lights. Both the wall and table versions
are adjustable, and their shades can
turn to point light in any direction for
the users convenience.
www.sectodesign.fi

Serena
Flos
Serena by Spanish designer Patricia
Urquiola is a domestic and lightweight
table lamp. Playing with diffusers, it
either reflects or allows light to pass
through. Characterised by round or
oval leaf-shaped diffusers, Serena is
available in finishes such as copper and
polished aluminium.
www.flos.com

Cirque
Louis Poulsen
Cirque is Louis Poulsens new
pendant by Danish designer Clara von
Zweigbergk, who was inspired by Tivoli
theme park in Copenhagen, Denmark.
A diffuse, downward light is reflected
from the lamps matte, white inside,
which is glare-free when hung at a
regular height.
www.louispoulsen.com

093

Kurage
Foscarini

Leaf Lamp Tree

Green Furniture Concept

Kurage table lamp by Italian designer

Luca Nichetto and Japanese design
group Nendo, is inspired by jellyfish,
the Japanese meaning of Kurage. Using
Japanese washi paper made from
mulberry tree fibres, the lamp features
four natural coloured ashwood legs with
a white ceramic lamp holder.
www.foscarini.com

The Leaf Lamp Tree is a tree-sized

standing lamp for public indoor spaces.
The branches shape a large crown
foliage with strong sound-absorbing
qualities; the foliage forms a soft
labyrinth in varying sizes of wool felt,
enhancing speech perception in its
proximity.
www.greenfc.com

Plane
Zero
Characterised by transparency and
sharpness, Plane is available as a
pendant and floor lamp. With a simple
construction of thin metal wires, Plane
features a structural grid crowned by
a flat light source. Turned off, it is
transparent, and when on spreads light
both upwards and downwards.
www.zero.se

w164 Alto
Wstberg

NUUK
Watt a Lamp

Designed by German designer Dirk

Winkel, w164 Alto was presented for
the first time at Stockholm Furniture
& Light Fair, and received the Editors
Choice award for Best Product. Its pole
houses a 10,000 lumen miltuidirectional
LED light source that emits an even and
wide angle light distribution.
www.wastberg.com

NUUK is a clean cut-glass pendant lamp

inspired by the unwavering presence
of icebergs in the North Atlantic. The
geometric shape and symmetrical
balance of NUUK imitate the carefully
balanced weight distribution of icebergs
with their relatively small top and large
base.
www.wattalamp.com

LOOP
Himmee
Founder of Himmee Timo Niskanen
designed the LOOP table lamp unveiled
at the show in Stockholm for the first
time. With an aluminium body and opal
acrylic diffuser, the LED light source
takes the shape of a semi circle to the
upper side of the inner surface of the
circle.
www.himmee.com

094

ON SHOW

Pik
Bsweden
Pik is sharp and honest in its
deliverance. The wall lamp contrasts
soft circles and hard angles that create
both comfortable background lighting
and crisp spot lighting. Using modern
and energy saving technology, Pik pays
homage to the clean and functional
design language of the fifties.
www.bsweden.com

Mobile
PHOLC

Line One
NORR11

Mobile is a chandelier made of four

parts suited to domestic or commerical
environments as a decorative pendant.
Each arm is linked to one another
and directed at different angles, they
create a lamp with graphic qualities
and movement. Mobile is available in
brass and black colours.
www.pholc.se

Part of the Line series, Line One is

handmade with a marble base and an
aluminium lampshade connected with a
brass rod. The Line Series is inspired by
the 40s Film Noir movement, which is
characteristiced by the lamps rawness,
clear silhouette and lines and gentle
light.
www.norr11.com

Counterbalance
Luceplan
Counterbalance is Norwegian designer
Daniel Rybakkens first project for
Luceplan. A lamp with a long steel arm,
its weight is counterbalanced using gear
wheels in an aluminium structure. The
gear system permits fluid movement
and the arm moves in every point along
its axis.
www.luceplan.com

Hobo
rsj

Carronade
LE KLINT

A lamp with close connection to

handicraft and the relationship
between different materials, Hobo
was created by Boda Glass Factory and
rsj. Made of opaque blown glass
the basket construction of brass is
suspended with a visible rope, making
it a flexible and portable product.
www.orsjo.com

Created by Swedish designer Markus

Johansson, Carronade floor lamp is
iconic in design with a diffused face
held atop a sleek elongated geometric
stand using American walnut and brass
discs. Available as a table lamp, wall
or spot pendant, Carronade is suited to
home and office environments.
www.leklint.com

095

Jupiter
Belid

Pia Lampa
Grsns

A textile luminaire, Jupiter is a pendant

consisting of several layers of fabrics
and shades while appearing to be made
of metal. Suited to any home and public
environments, Jupiter is available
in different colours; customers can
combine fabrics or contrasting colours
to create a unique look.
www.belid.se

Pia Lampa is a family of lamps featuring

a silver wire and a white cotton
embroidered shade. Available as a
pendant, ceiling or floor lamp, the
floor version is available with a stand
of cast black lacquered bronze with an
adjustable shade that can move up and
down.
www.garsnas.se

Eximius Steel
Lightwork
Lightwork has released Eximius Steel as
part of the Eximius collection designed
by Hseyin Turgut and interior stylist
Saa Anti, who created five new
colours. The Eximius collection consists
of floor, table and wall versions using
Antis range of colours across each
version.
www.lightwork.nu

Caravaggio Read
Lightyears

Bell
Normann Copenhagen

Caravaggio Read is another addition

to designer Cecilie Manzs Caravaggio
series. The shade is installed on a
flexible tube that enables the shade to
be tilted, so the user can choose the
direction of light. The table and floor
versions can rotate 260 around its own
axis, adding to the users flexibility.
www.lightyears.dk

The Bell lamp designed by Danish

designers Andreas Lund and Jacob
Rudbeck is now available in deep black
and pure white monochrome paint.
Available in four sizes, Bell can be
hung as a cluster, and in black and
white, and moves into the intersection
between rough and classic interiors.
www.normann-copenhagen.com

Bloom Planter
Vondom
Vondoms Bloom Planter by Catalan
designer Eugeni Quitllet is made
of polyethylene resin by rotational
moulding. Bloom Planter is 100%
recyclable and captures the flowering
stage found in nature, and is suitable
for indoor and outdoor use, available in
a variety of finishes.
www.vondom.com

096

ON SHOW

In The Pines
atelj Lyktan caught
darcs attention at
Stockholm Furniture
and Light Fair 2016
with its array of
lamps from the young designers of
Carl Malmsten Furniture Studies in
Sweden. Nine students have been
engaged in a design collaboration with
the Swedish lighting manufacturer
since their visit to atelj Lyktans
factory in hus, Sweden. Each of their
products carry a natural elegance
that expresses the pristine nature
of the pine forest through the use
of pinewood. This year, designers
exhibited their designs in both the
fairs Greenhouse hall for up-andcoming designers and on atelj
Lyktans stand itself.
The young Scandinavian designers, all
in their early twenties, have pursued
educational careers in design from a
young age, finding inspiration in the
vast wildnerness of Scandinavia that
is available to them. Take a look at
darcs selection of what the young
designers created.
www.atelje-lyktan.se

December

ANNAKLARA GLEISNER
December, designed by Gleisner,
bleeds light through the gaps in
its screen, inspired by the barren
landscape in the most northern parts
of Sweden. As the Nordic countries
need more light in winter, the pine
shrinks allowing light to pass between
facets. Likewise, the pine swells when
the heat, humidity and light arrive in
the spring and summer. The December
lamp uses Swedish pine and metal
with an LED light source.

Knall

LINNA WERME
Finding her inspiration in nature and the body, Werme produced Knall, a pendant
using yellow varnished pinewood to express the essence of the material and its
origins. Inspired by the traditional chopping block, Knall presents a stylised form that
highlights the pines softness, making it a fragile yet strong product, complete with
cracks and an unevenness reminiscent of the texture of weathered pine.

097

Nock

MARKUS BARVESTIG
Nock, designed by Barvestig, is a family
of luminaires aimed at creating a strong
working light for various environments
while using its natural material to
create softness in a room. Inspired by
applying the manufacturing process of
extruded aluminium to wood, Barvestig
produced a profile that could be cut to
varying lengths to create a family of
luminaires. Through sandblasting the
surface, Nock enhances the grain and
structure of pine by wearing it down to
create peaks and valleys in the surface
of the material.

Take Away
SA PERSSON

Based on the idea that people should

be free to take light where they need
it. Perssons Take Away is a portable
light fixture that works as either a desk
lamp at home or a decorative lamp in
a public space. Available with hooks to
hang the lamp or simply place it on a
surface, Take Away uses Swedish pine
wood, aluminium and LED, offering
a raw and honest contrast between
humans and furnishings.

Helio

OLIVIA BERG
Helio is a decorative and directional
table lamp inspired by a fascination
of humans and the study of space.
berg considered elements of the solar
system, understanding the light source
as its centre. Helio and its surrounding
rings are adjustable, enabling the
user to play with the brightness in
an innovative combination of LED
design with powder-coated aluminum
and brass details presented with a
traditional material.

098

ON SHOW

BEST STAND
FOSCARINI
Stockholm Furniture &
Light Fair 2016 introduced
a new award - Editor's Choice. The jury
consisted of the Editors-in-Chief from some
of Europes most influential design forums
presenting awards for three categories
including Best Stand, which was awarded
to Foscarini. Chanelling its creativity
through Italian designer Ferruccio Laviani's
tunnel stand design titled At a Glance,
the Italian manufacturer drew guests in
from all angles. With this being its debut
presence at the fair, Foscarini President
Carlo Urbinati wanted to make a strong
and powerful impact to communicate the
brand's personality and the character of
Foscarini's collection: We shared our vision
with Ferruccio Laviani who designed an
extremely evocative project: an enveloping
structure that hosts the eclectic Foscarini
universe, said Urbinati. At a Glance
invited the show's guests to see things from
a different point of view, finding originality
in shape, depth and projection.
www.foscarini.com

099

100

ON SHOW

Guests of Honour
British design studio Barber & Osgerby created a cross section of daily life through a
Triptych installation at Stockholm Furniture & Light Fair.

101

The vast entrance to the Stockholmsmssan

lvsj welcomed design enthusiasts to
Stockholm Furniture & Light Fair with
Edward Barber and Jay Osgerbys Triptych
installation. Arranged into three areas, the
space was divided by giant felt screens,
each offering guests an environment for
relaxation, meeting and working under a
canopy of paper lanterns.
The materials, including animal hides on
chairs and sheepskins on oak benches, were
set off by the white wood floor, reflecting
Barber & Osgerbys impression of winters
in Stockholm. The installation uses felt

from Nordifa, known for their engineered

textiles, furniture manufactured by Vitra,
Knoll and B&B Italia and the Hotaru lantern
collection manufactured by Ozeki.
Barber & Osgerby featured at the fair as
a Guest of Honour, an esteemed position
previously held by Arik Levy, GamFratesi
and most recently Ilse Crawford. The
British design studio founded their practice
in 1996, with their diverse body of work
now spanning industrial design, furniture,
lighting and site-specific installations as
well as limited edition pieces and public
commission such as the London 2012

Olympic torch. They are currently working

with global manufacturers such as Vitra and
Flos, and have works permanently housed
in Londons V&A Museum and many more
locations.
Having established their own architectural
and interior design practice Universal
Design Studio in 2001, Barber & Osgerby
set the tone for the standard of style and
design displayed at the fair, and truly
served as the prevailing meeting point all
those in attendance.
www.barberosgerby.com

102

ON SHOW

Light + Building Preview

March 13-18 2016, Frankfurt, Germany
The worlds leading trade fair for lighting and building services technology attracts
over 200,000 visitors across the industries of architecture, lighting, interior design and
distributive trade. Every two years, approximately 2,500 exhibitors present their latest
innovations for the fields of lighting, electrical engineering, and house and building
automation with a main theme of energy efficiency. This year, Light + Building 2016s top
themes include bringing design and function together in harmony with a focus on smart
technologies as the keystones of modern building. Here is a taste of what you should keep
an eye out for in the world of decorative lighting.
www.light-building.messefrankfurt.com

Edge Reader
Astro

Reflector 360
Factorylux

Edge Reader is an original approach

to bedside lighting offering a new
aesthetic. The minimal white floating
plane on which the reader is mounted
appears to float on the light it emits
from its edges. Both functions can be
individually switched and feature LED
lamps.
www.astrolighting.co.uk

The 360mm Reflector features a

Carmine Red RAL 3002 vitreous enamel
exterior, and is configurable with the
latest Xicato XTM and XIM controllable
modules, including the Artist and
Vibrant series. Reflector will be at the
Xicato installation on the Agora Plaza
at Light + Building 2016.
www.factorylux.com

Electro T
Ango
First developed specifically for the
Hotel Chavanel project in Paris, the
Electro T design is now incorporated
as part of Angos handcrafted light
jewellery series. The light diffuser
is plated in nickel with interwoven
metalised thread and sits on a matte
black tripod base.
www.angoworld.com

Luminous Patterns
Philips
Luminous Patterns is a connected
LED lighting system aimed to help
architects and designers create a
striking statement using a combination
of light, patterns and materials. This
is a decorative wall or ceiling panel
that can be used in a wide range of
applications.
www.philips.com

Giant Outdoor
Anglepoise
Launching its first Giant Outdoor
collection at Light + Building, the range
includes a Giant wall mounted light for
indoor and outdoor use, a three piece
Giant brass collection with solid brass
components and a triple scale Giant
interpretation of its widely known Type
75 desk light.
www.anglepoise.com

103

Hugo
Slamp
Hugo runs parallel to the floor, sideways
or perpendicular. It customises the
environment with a sinuous design and
the softness of LED lights diffused by
Slamps own material Lentiflex. It can
be used in a series or free sequence,
and is suitable for both decorative
projects and technical illumination.
www.slamp.it

OTool
benwirth licht

Navicula
David Trubridge

OTool is a square, flat surface with

invisible slots for either one or four
small LED globes. You can install a
single plate or add on as many as
desired. Depending on the arrangement
of globes, various light graphics can be
projected onto the surface, from either
the wall or ceiling mounted position.
www.benwirth.com

David Trubridge will present Navicula

at Light + Building, inspired by the
microscopic diatoms that float around
the oceans. This behaviour is reflected
in the lights flowing form. Made of
curved pieces of CNC cut bamboo
plywood, the light casts intricate and
decorative shadows.
www.davidtrubridge.com

romeoe giulietta
FedericodeMajo
Handcrafted by mouth-blown glass
in two shapes, romeoegiulietta is
available in two shapes and various
colours including clear, amber and
amethyst amongst others. With grey
painted metal parts and grey fabric
cables, this is a customisable product
suited to any setting.
www.federicodemajo.it

Ideal
Concrete Home Design

A-Tube Nano
Studio Italia Design

Manufactured in Germany, Ideal shows

an organic shape married with fragile
crystal glass. Available as a pendant or
table lamp with a textile cable, Ideals
innovative shape pushes the boundaries
of the form, colour and structure seen
when using concrete as a decorative
material in lighting design.
www.concrete-home-design.com

A-Tube Nano is a thin pendant that

combines the modularity of Studio Italia
Designs radio system with the elegance
of gold, silver or rose gold to create
a light yet filling range. This can be
displayed as clusters, and is available
in three sizes to add diversity to any
space and suit any user.
www.studioitaliadesign.com

104

ON SHOW

Light Band System

Luciferos
Light Band System (LBS) is a thin
band of extruded aluminium section,
representing a new form of the classical
linear squared outline. Although an
item with architectural and strict
forms, it is ideal for being used in a
wide range of spaces due to its smooth
and curved form.
www.luciferos.it

Simbiosi
Davide Groppi

Overlay
B.lux

Simbiosi is a restructured chandelier

that can be assembled according to the
aesthetic taste of the user. As a whole
it appear weightless. The thin red wire
that connects the light sources relates
each part to one another, which serves
as the principle component of the
project.
www.davidegroppi.com

German designer Tim Brauns joins B.lux

with the Overlay lamp collection. This
line of Scandinavian inspired lamps
features two table, one floor and three
suspension versions. The variety of sizes
and shade diametres make Overlay
suitable to both domestic spaces and
contract work.
www.grupoblux.com

Manolo
Ole! by FM
Manolo is an easy to move linear
pendant, allowing light to be orientated
in any direction at any angle. Dimmable
on request, it offers direct and indirect
illumination for a range of projects.
Also available in original wooden
veneer, Manolo can create warm
atmospheres.
www.olebyfm.com

Driyos
ZAVA

Stripped of decorative charms, Driyos

is characterised by clean geometric
lines. It expresses its strong personality
with an unusual suspension system
that allows users to wrap part of
the cable to adjust the height of the
lamp. This offers an industrial take on
contemporary design.
www.zavaluce.it

Medous
Catellani & Smith
Enzo Catellani has designed his first
collection of outdoor lamps. Most
striking in this collection is Medous,
a lamp made of two overlapping
glass hemispheres. When switched
off the light is green to complement
surrounding landscpaes, and white
when turned on.
www.catellanismith.com

The Clubhouse at Liverpool One

Lighting Design Studio and UK

Flagship showroom now open in
Manchester, UK

www.tysonlighting.com

Delivering on our promises for over 50 years... Blending the aesthetic with the technical

106

ON SHOW

darc awards 2016 to launch

at Light+Building with Dimple
Following the success of the inaugural darc awards last year, Light+Building will be
the stage for the launch of the second edition, together with the official launch of
BYBEAU's Dimple that won the 2015 darc awards best decorative lighting product.

The Dimple chandelier winning the 2015

darc award for the best decorative lighting
product was a major turning point for
BYBEAU, an international design studio
specialising in high end lighting installations
and product design.
Beau McClellan, the artist and designer
who gives his name to the company whilst
assuming its creative direction, was
particularly pleased with the award as his
extraordinary luminaire was voted on by
international lighting designers as their
favourite decorative lighting product.
I was absolutely delighted to win the
darc award it's always great to receive
confirmation you are on the right track,
especially from darc who truly understand
our world of lighting, even more so because
it was voted on by independent lighting
designers all over the world. We make our
art for our audience, so something like
this feels like a little ovation. The general

response after receiving the award as been

immense."
Indeed, the positive reaction to winning
the darc award has given BYBEAU the
momentum to participate in Light+Building
and officially launch the Dimple collection
at the show. The Dimple Installation at
Light+Building will only reveal itself when
a viewer remains still. The installation
will be comprised of over 400 mirrored
units that surround the viewer in a unique
sensory environment. By taking a moment
of stillness amid the chaos Dimple will start
to interact with you and the longer you
stay motionless the more it will reveal. The
project is an exercise in creating a feeling
of sentience, with a character and even a
voice of its own; a playful, reactive entity
expressing itself through light and sound.
The debut will mark a new approach to
lighting design. Dimple reaches out, invites
you to see through it, anything is possible.

BYBEAU's stand will also be the perfect

platform for the official launch of the 2016
darc awards. Whilst darc and mondo*arc
are already exhibiting at the show (at
4.1 FOY16), the chance to co-host an
event with a darc awards winner was too
good an opportunity to miss for the darc
awards director, Paul James. When Beau
approached us to do something together
at Light+Building, I had no hesitation
in accepting. It made perfect sense to
officially launch the 2016 darc awards
at the show and, to do it with a previous
winner has great synergy. We're looking
forward to the immersive experience. It will
be spectacular.
The Dimple unit was always designed as an
integration of light into art rather than art
into lighting; a unique sensory expression
that harmonises with natural light in the
day - only to burst into life by night. Light
is such a great communicator; so natural

107

Pics on this page: Vasco Clio

and innate. Reactive and sympathetic,

it can inform and express our moods and
emotions; seeming to have a life if its own.
Of course, awards are all well and good but
without commercial success, the process
is meaningless. This hasn't been a problem
for BYBEAU as the projects have rolled in
since the victory. One of the first was a
high end residential project in the Algarve,
Portugal. A new plug and play RGBW chip
was specially designed to give total control
over each unit - the possibilities limited
only by imagination. The client has true
interactivity; with different moods and
ambiences reactive to a range of stimuli.
Different temperatures and movements
are interpreted and expressed by Dimple
to create an art installation of unlimited
variability.
The piece was designed to be functional as
a more traditional chandelier working with
different temperatures of white light, easily

dimmable to play with the intensity of the

mirror coating. Careful consideration was
involved in integrating this piece into the
clients lifestyle, the intention to provide
complete control of ambience and mood as
quickly and intuitively as possible. Pausing
to manipulate technology only serves to
distract away from the interactivity of the
piece.
When switched on, the pioneering two-way
mirror-coated nish unveils an extra interior
hand-blown glass ball. A playful expression
of the whimsy of imagination; transitioning
throughout the day, a magical twist to any
ambiance - Dimple is meant to be used and
enjoyed, duality all part of its charm and
intention.
www.meetdimple.com
www.darcawards.com
The Dimple / darc awards launch event will
take place on the BYBEAU / Climar stand
(4.2 E50) at 6pm on March 15th.

Left Paul James, director of the darc awards and

editor of darc / mondo*arc, on stage at the darc
awards 2015. The 2016 editions will be split
into architectural and decorative events with the
architectural event taking place in London on
September 15th. The decorative event will take
place in London in May 2017.
Above The Dimple collection, a series of interactive
chandeliers made with hand-blown glass pendants
designed by Beau McClellan, won the best
decorative lighting product at the 2015 darc
awards.

108

ON SHOW

northmodern

Pelagia
RF Objects

January 13-15 2016, Copenhagen, Denmark

Inspired by the Danish Modern movement and Copenhagen's unique positioning as a
cultural destination, northmodern showcases international talents along with the best
of Scandinavian design heritage. Uniting culture with design brands, northmodern once
again stood as a celebration of holistic, sustainable contemporary living in a unique show
experience for business professionals and design ethusiasts from around the world.
www.northmodern.com

Handcrafted with wire rope, the

Pelagia lighting series is inspired by the
luminescent jellyfish Pelagia Noctiluca.
During the day the wire rope tentacles
catch the natural light with a soft
sparkle. By night, the tentacles create
a surprising shadow play in the Pelagias
immediate surroundings.
www.rfobjects.com

Backbeat
Rewired
From Frandsen Projects' new
independent brand Rewired, the
Backbeat pendant, made in Denmark,
is carved from aluminum. It has a
diamond-knurled pattern on the tube
with an anodised finish, available
in black, gold and natural, with a
dimmable 230V LED lamp inside.
www.rewired.dk

Lantern
New Works

Base Iron
NUD Collection

Study
Woud

New Work's Lantern Pendant is inspired

by the iconic Scandinavian rice paper
lamp, which serves as a modern
example of blending old form with new
materials. The frosted white opal glass
creates a calming light in its round form
that has a comfortable presence in any
room.
www.newworks.dk

Base Iron is a unique lamp holder

characterised by its weight and finish
in cast iron. Inspired by its material,
the pendant is produced in Sweden
with an E27 socket. Base Irons rough
exterior plays a balanced counterpart
to NUD Collections other Base pendant
in concrete.
www.nudcollection.com

The Study table lamp designed by

Tononto based studio M-S-D-S is a
simple light intended for office use
or soft bedroom lighting. Its shell,
available in petrol blue or white, is
made of a single cast metal part and is
both evocative of iconic task lighting
and resolutely domestic.
www.woud.dk

FOR DESIGNERS.
WITH LIGHT.

mondoarc.com

darcmagazine.com

darcawards.com

mondoarc.in

designerswithlight.com

110

PRODUCTS

New for Review

A selection of the latest decorative lighting product releases.

30degree
Wrong for Hay

Calypso
Contardi

30degree designed by Johan van

Helten was launched for the first
time at Stockholm Furniture and Light
Fair in February. A series of veneer
lampshades, it uses a 30 angle to
create a continuous woodgrain pattern.
The pendant shade is available in
natural, green and orange wood stain.
www.wrongforhay.com

Calypso is a collection of small lamps

inspired by the 1940s. It displays
a connection with South America
and the tropical world where the
European Deco style, characterised by
geometrical lines, black and whites, is
twisted and revitalised thanks to bright
colours, patterns and twines.www.
contardi-italia.com

Drink
Karboxx
Drink is a collection of floor, ceiling
and suspended lamps in black carbon
fibres with a metal base. Painted black
or composite fibreglass, it is able to
pivot 360 and has an angle tilt of 25.
The suspended version is available with
a single or twin cone in two different
lengths of 127cm and 175cm.
www.karboxx.com

Ballet Collection
Arturo lvarez

Cosmo
Tyson Lighting

Birdy
Northern Lighting

Designed by Hctor Serrano and

created using SIMETECH material,
Ballet's shapes are formed by the
superposition of its vertexes, allowing
freedom for the material. The resulting
three volumes are fluid and natural
and its asymmetry makes its forms
changedepending on the point of view.
www.arturo-alvarez.com

Designed by Robert Matthews, Cosmo

uses honey-warm LEDs from lamp
manufacturer Tala. Composed using
tripartite arrangements of rods, each
of which stem from a central body, it is
finished in gold which, coupled with the
glow of the 2,000K LED filament lamps,
creates an intricate golden cluster.
www.tysonlighting.com

Northern Lighting has launched a new

version of Birdy to commemorate the
centenary of designer Birger Dahl's
birth in 1916. Still the same stylish
task light, it will be produced in a
numbered series and the shade, base
and counterweight are coated in mattefinish Marsala, developed by Pantone.
www.northernlighting.no

light+building

Frankfurt am Main 13 -18.3.2016

// HALL 1.1 STAND H50 //

// We make concrete beautiful.

We make it different. //
www.concrete-home-design.com

112

CALENDARC

On Show

A look ahead to forthcoming design

shows with a strong lighting element.

LIGHT + BUILDING FRANKFURT, GERMANY

13-18 March (www.light-building.messefrankfurt.com)

SALONE DEL MOBILE MILAN, ITALY

12-17 April (www.salonemilano.it)

MAISON ET OBJET AMERICAS MIAMI, USA

10-13 May 2016 (www.maison-objet.com)

NYCXDESIGN NEW YORK, USA

3-7 May 2016 (www.nycxdesign.com)

ICFF NEW YORK, USA

14-17 May 2016 (www.icff.com)

INDEX DUBAI, UAE

23-26 May 2016 (www.indexexhibition.com)

CLERKENWELL DESIGN WEEK LONDON, UK

24-26 May 2016 (www.clerkenwelldesignweek.com)

DESIGN DISTRICT AMSTERDAM, THE NETHERLANDS

1-3 June 2016 (www.clerkenwelldesignweek.com)

ARDE LONDON, UK
5-12 June 2016 (www.ardelondon.com)

DESIGN MIAMI/BASEL BASEL, SWITZERLAND

14-19 June 2016 (www.basel2016.designmiami.com)

NORTHMODERN COPENHAGEN, DENMARK

18-20 August 2016 (www.northmodern.com)

MAISON ET OBJET PARIS, FRANCE

2-6 September 2016 (www.maison-objet.com)

DARC AWARDS ARCHITECTURAL LONDON, UK

15 September 2016 (www.darcawards.com)

LONDON DESIGN FESTIVAL LONDON, UK

17-25 September (www.londondesignfestival.com)

INDEX.

23 26 MAY 2016

DUBAI WORLD TRADE CENTRE, DUBAI, UAE

THE INTERIOR DESIGN HUB FOR THE MIDDLE EAST

SAVE
THE
DATE

VISIT HALL 8 AT INDEX, TO

SEE THE LATEST LIGHTING
SOLUTIONS FOR YOUR
PROJECTS

Elstead, 8 D31

MEET OVER 800 INTERIORS

SUPPLIERS, EXHIBITING 1000's OF
PRODUCTS.
NETWORK WITH 28,000
INFLUENTIAL ARCHITECTS,
DESIGNERS & BUYERS.

Manooi, 8 D36

GAIN INDUSTRY KNOWLEDGE BY

JOINING OUR TALKS &
FORUM.

Serip Lighting, 8 A41

SPECIAL GUEST AT INDEX:

KARIM RASHID

VISIT INDEXEXHIBITION.COM FOR MORE

INFORMATION ON HOW TO REGISTER TODAY!
Co-located with:

Platinum Sponsor:

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Silver Sponsor, MEIDA Awards:

114

DETAILS

if...

there is one thing

casinos know how to do well,
its big, bold and bright. Fireworks
by Electrolight, was commissioned
by Crown Entertainment Group for its
Melbourne casino as part of an extensive
refurbishment of the west end of the casino.
Comprising a complementary pair of luminaires
located at the top and bottom of a new escalator
void, the upstairs luminaire is a half sphere
consisting of 200 handblown glass balls attached to
a central hub containing wiring and connections. Each
glass sphere contains a low LVTH lamp designed to be
permanently dimmed to maximise lamp life. At the bottom
of the escalator, a full sphere consisting of 400 glass balls
completes the pair.
www.electrolight.com.au
Pic: Peter Bennetts

Artistry
from Nature
Navicula Light
davidtrubridge.com

Hall 1.1, Stand B20