darc 36

Stay Home | Stay Safe | Save Lives The Greater The Storm, The Brighter The Rainbow

Great Scotland Yard | Original BTC | Oceans Restaurant Jakob Lange BIG Architects | Chelsom - Edition 27 | Products of 2020 | Magna Carta Private Residences

Capsule collection: Halftone, designed by Riley Sanders

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Cover : Original BTC - Hector 30 table light

Welcome Helen Ankers • Managing Editor Stay Home. Stay Safe. Save Lives.

No matter where you are in the world, this is the message each and every one of us has heard at some point over the past few months and wherever you are right now and however you are reading this latest edition - whether in print or digitally - I hope you are safe and well and trying to make the most of this very unusual situation we find ourselves in. Whether you are isolating alone, with flatmates or family, in normal circumstances most of us would welcome such a lengthy break away from the office and so, rather than filling your time pouring over every single Covid-19 story on the news I would encourage you to look for the positives, take time to do things you wished you had more time for - read more, cook more, garden more, exercise more, actually PHONE your friends and family! Accept (for now) the new normal. As I write this, I am in my fifth week of working from home and social distancing... as someone who regularly finds her work diary and social calendar competing for attention, the thought of spending all my time at home was unnerving to say the least. And with international trips to Frankfurt, Milan and New York cancelled I found myself wondering how I was going to fill my time and stay sane... turns out it is pretty easy and I am nowhere near through my 'to-do' list.

This latest issue has been produced entirely from the comfort of my dining room table and thanks to the wonders of modern technology and a pretty decent internet connection (thanks BT), once the team got into the swing of things and accepted our fate, it really hasn't felt all that different to working in the office - don't get me wrong, it'll be nice to see everyone in the flesh once we're out the other side, but for now, I can definitely cope.

Our front cover comes from Original BTC, which celebrates its 30th anniversary this year with the introduction of Hector 30 and I had a great chat over the phone with Founding Designer Peter Bowles about the brand's heritage and this latest edition of the iconic light, which you can read more about on page 26. For those of you reading the digital edition you will have noticed our rainbow wash over the cover; considered by many as a symbol of peace and hope, we have taken inspiration from the thousands of children around the world who have been sharing their rainbow paintings in their home windows. This is our small way of hopefully spreading some positive vibes and showing our solidarity with our clients, event partners and readers around the world. Take care everyone and we'll see you on the other side... but for now, sit back, relax and let the pages of our May/June issue inspire your next project.

NEW COLLECTION EDITION 27 COMING SOON

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Contents Regulars The Magazine

012 Focal Point | EllaMia Cafe 014 Focal Point | Park Hyatt Beaver Creek Resort & Spa 061 Materials Feature | Louis Poulsen Contributing Editor Sarah Cullen sits down with BIG Ideas Partner Jakob Lange to discuss Keglen, the new pendant series, designed in collaboration with Louis Poulsen.

096 Calendarc | International Design Events for 2020 098 In Focus | Chelsom Our regular Q&A focuses on Will Chelsom and the Glass Effect range - part of the Edition 27 Collection.

Projects

h.ankers@mondiale.co.uk +44 161 476 8372 Media Sales Manager | Stephen Quiligotti s.quiligotti@mondiale.co.uk +44 7742 019213 Media Sales Executive | Adam Syme

016 Great Scotland Yard HBA and Illuminate Lighting Design collaborate to reinvent London's Great Scotland Yard into a hotel that moves away from conventional design.

024 Toplum Restaurant In the heart of Dubai, the Toplum Restaurant serves sophisticated Mediterranean fare in an elegant environment created through exquisite lighting from SkLO. 026 Magna Carta Park Louise Bradley reveals new show home for Magna Carta Park, taking inspiration from its historic British woodland setting.

010 | INSIDE ISSUE 36

Managing Editor | Helen Ankers

028 Oceans Restaurant Oceans Restaurant by Rockwell Group is a timeless and approachable dining experience in the heart of New York’s renowned Union Square.

034 KLM Crown Lounge With lighting design from Deerns, Concrete interior design studio created a quirky KLM lounge at Schiphol airport that accentuates the brand of the Dutch airline.

044 Kwerk Offices Kwerk chooses Linea Light Group for its business spaces on the 10th and 11th floor of the tallest skyscraper in France.

046 Karavaan Cafe & Bar Studio Modijefsky harnessed the concept of migration, of the journey of the caravan, to create a unique destination in the heart of Amsterdam.

a.syme@mondiale.co.uk +44 161 476 9118 Contributing Editors Sarah Cullen Matt Waring Maria Oberti Editorial Intern Imogen Holland

Design Artwork | Dan Seaton d.seaton@mondiale.co.uk Editorial | Mel Capper m.capper@mondiale.co.uk

Finance Finance Director | Amanda Giles

Features

a.giles@mondiale.co.uk

052 Interview | Peter Bowles Celebrating its 30th anniversary this year, Original BTC's founding designer Peter Bowles sat down with darc’s editor Helen Ankers to reflect on the company’s design story so far.

068 Sustainability Focus We bring you product designers from around the globe working to create a more sustainable future.

075 Product Focus | NOS Chandelier London Designer Matt Kavanagh introduces a new style of sustainable lighting made from discarded NOS cannisters.

082 Industry Comment | Notes From a Small Island | Conversations to Connect Steve Jones of Innermost and Scott Richler of Gabriel Scott share their thoughts on the current climate amid Covid-19 and how the design industry is adapting.

086 Industry Focus | Designers Mind Kael Gillam and Kaye Preston discuss Designers Mind, a new forum aimed at raising awareness of mental health and wellbeing in the design world.

Credit Control | Lynette Levi l.levi@mondiale.co.uk

Corporate Chairman Mondiale Publishing | Damian Walsh Managing Director [d]arc media | Paul James p.james@mondiale.co.uk Marketing & Events | Moses Naeem m.naeem@mondiale.co.uk [d]arc media ltd | Strawberry Studios, Watson Square, Stockport SK1 3AZ, UK | Printed by Buxton Press, Palace Road, Buxton, UK | ISSN 2052-9406

088 Product Focus | Latest decorative launches in 2020

Proudly Supporting

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012 | FOCAL POINT

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Focal Point EllaMia London, UK EllaMia is a new luxury coffee concept at St Martins Lane in the heart of London’s Covent Garden.

Designed by interior design group Blacksheep; architectural firm CRTKL and SBE subsidiary Dakota Development, the space is adorned in subtle floral patterns, dusty pink hues and brushed rose gold details. EllaMia transcends the ordinary by bringing a slice of Los Angeles’ craft coffee culture to London.

The RA wall lamps from lighting studio d'Armes bring a hypnotic luminosity and aura to this design.

Handmade in Canada and designed by Alexandre Joncas, this Archiproduct award-winning light fixture features a polished solid bronze disk and a hand-bent glass tube. Neon has long evoked white commercial lighting or coloured flashy signs in the dark, but through this fixture, d’Armes gives neon a new use by distinctively shaping it to become the core of warm and luxurious lighting design. blacksheep.uk.com www.callisonrtkl.com www.sbe.com/dakota-development Image: John Carey

014 | FOCAL POINT

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Focal Point Park Hyatt Beaver Creek Resort & Spa Colorado, USA The Park Hyatt Beaver Creek Resort and Spa recently reopened after a full renovation. Premier Project Management was tasked with capturing the atmosphere of a luxury mountainside home while celebrating the renowned luxury Park Hyatt brand.

Upon entering the new resort lobby, guests are met with a central, cantilevered live-edge wood bench that frames a honed-back granite fireplace.

Premier re-positioned the bar to the centre of the lobby to maximise guest access to the surrounding landscape, creating a central gathering hub for both hotel guests and local Beaver Creek residents.

Above the bar, the design team created a statement lobby chandelier in collaboration with iWorks, comprised of a large 10x10in canopy with 12 integrated downlights and 175 hanging pendants.

Each pendant consists of 36 illuminated drops and 139 decorative glass elements, hung at different heights to create an organic light feature that evokes the feeling of falling ice crystals — a nod to the surrounding snowy mountains. www.premierpm.com Image courtsey of: Park Hyatt Beaver Creek

016 | PROJECT | GREAT SCOTL AND YARD HOTEL

Unveiling Secrets HBA and Illuminate Lighting Design collaborate to reinvent London's Great Scotland Yard into a hotel that moves away from conventional design.

Images: Will Pryce

The new Great Scotland Yard hotel in Westminster, London, is part of the Hyatt brand’s Unbound Collection. The former headquarters of Britain’s Metropolitan Police has been converted into a 153-room hotel and away from the conventional hospitality codes, it expresses individuality - a burst of colour within the monochromatic and conventional Whitehall. While catering to meet the needs of a luxury hotel, the destination is one with various experiences, as opposed to a collection of spaces.

Exquisitely sculpted interiors and sophisticated details set the background for the eclectic decorative elements that pay tribute to the past times of Great Scotland Yard. It creates a destination, which reinvents a London landmark - inviting international visitors to journey

through various aspects of local culture. The building is an icon, hiding more than a century of dark and infamous secrets.

Interior design studio HBA was challenged to keep the soul of the building and pay homage to the heritage rather than just bringing new life to old walls. Guests are invited to experience the rich history through new eyes as they enter a place where the past and present merge to tell a new chapter of this building’s history. An unexpected play of Edwardian inspired colours and patterns relive the timeless elegance and sophistication of the era with a flair of contemporary details.

At the hotel entrance, a decorative Preciosa Lighting piece titled 'Exploding Clock' signifies that the guest is entering a place full of

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history. As they enter, they step down to a lounge that leads to various social venues - a parlour, bar, restaurant and club room coexist, along with two reception desks created from antique luggage.

For HBA Partner David T’Kint, the biggest challenge on this project was designing a suitable space in a landmark building, in the highly competitive market of London. The team had to develop something that really made a statement and was different to anything already out there. “We came up with a strong narrative from the start,” he tells darc. “’Unlock the secret’ - in reference to what occurred behind the closed doors of the Great Scotland Yard, which was then interpreted into the interiors that tell a story in-line with its long legacy.

“The property is designed as a collection of food and beverage outlets

orchestrated by celebrity chef Robin Gill, as opposed to a regular hotel,” continues T’Kint. “It has co-working areas downstairs and 153 guest rooms upstairs. The atmosphere of each outlet is unique, however each one has to connect to the others – lighting plays a key role in achieving this.”

HBA worked closely with sister brand Illuminate Lighting Design on the project; Rikus DeKock from the lighting arm explains the lighting design in a bit more detail: “The decorative lighting forms part of the overall interior design as it is in such close proximity, so it all had to flow together. With this in mind, the same inspiration for the interior design flowed through to the decorative lighting selections as well. We worked closely with the interior design team to ensure the aesthetics

018 | PROJECT | GREAT SCOTL AND YARD HOTEL

were in-line with the technical requirements and that we could control these with the architectural lighting.”

Hotel bar Forty Elephants is an unexpected play of Edwardian inspired colours and patterns and the space is a nod to the 19th and 20th Century all-female London crime syndicate who specialised in shoplifting – the gang was known for its longevity and skill in avoiding police detection. A notable element of the bar is the stunning feature chandelier created by Czech lighting brand Lasvit, which has been created through a series of broken glass, signifying the way the female gangsters would break into stores in the London area. Buried in the centre of the installation is a jewel-toned necklace representing the members of the Forty Elephants gang. The spirit of the thieves is also signified through glass engraved portraits hung high on the walls.

Within Sibin Whiskey Club, which is hidden behind a secret door disguised in a bookshelf, the alcoholic beverage is celebrated through a warm, reckless and unexpected space. Taking a contemporary twist on classic interiors, Sibin is sculpted into three spaces with the bar at the heart of it all. The spaces are divided by whiskey-filled display cabinets on wheels rolling above the copper-leafed, distressed wooden floors.

In terms of lighting, HBA and Illuminate again worked with Lasvit to

create a ‘bottled ceiling’ feature.

The Yard is a local restaurant destination that feels like an escape to the countryside; a sophisticated yet informal restaurant. The space boasts a barrelled ceiling, vintage lamps and various off-the-shelf lighting pieces from UK-based Chelsom – these set the scene of a comfortable environment making guests feel at home.

Elsewhere in the hotel, The Parlour bar creates an atmosphere of the West Indies through tropical landscapes, which is emphasised with a wicker barfront. Juxtaposed with a black and white chequered floor and an oversized fireplace, a warm setting with a colonial twist is created for afternoon tea or cocktails.

The apartment downstairs – Grace and Favour – reinvents the typical working space, providing a way to do business within the comforts of home, providing various sized meeting rooms, games, a kitchen, a lounge corner to relax and a fitness room to re-energise.The wall panelling has a playful twist adding a contemporary moulding full of surprise, complemented by the herringbone pattern floor that conveys the apartment atmosphere. Each area is properly curated for the guest’s needs and is complemented by Ingo Maurer’s Tu-Be light fixture.

PIPES

designed by Thomas Feichtner

020 | PROJECT | GREAT SCOTL AND YARD HOTEL

As you would expect, each of these individual areas have their own lighting requirements. “All bars have been designed to be quite moody even during the day,” says T’Kint. “While the restaurant atmosphere varies at different times of the day, the co-working space is brighter because of its function. For the guest rooms we have given each space multiple pre-sets that the guest can choose from.

“Without lighting there is nothing – lighting, both natural and artificial brings depth to a space. Beyond functionality, lighting also creates the atmosphere – nobody wants to have a late-night drink in an over-lit bright space, or write a letter on a table in the dark!”

Upstairs in the guest rooms, preserving the Edwardian and Victorian architecture of the 1820s Grade II listed building was taken into consideration. Typical for London, the guest rooms have a small footprint of 19-21sqm, however they include all amenities you would expect from a five-star hotel.

Paying homage to the police history is seen through the carpet design integrating concepts of badges and uniforms creating a modern

pattern, along with a custom-designed wall-covering with hidden messages of a past era. A warm colour scheme helps bring in as much light as possible, while decorative lighting fixtures from Chelsom add to the interior design.

Great Scotland Yard also houses 22 suites as upgraded extensions to the guest room experience. These suites include a marble-cladded fireplace, a relic kept from the existing architecture and in rooms where space allows, the suites are complete with four-poster beds.

Guests walk into the luxurious bathrooms to find fully clad walls of book-matched stone running through the shower and washroom. As well as the suites, the hotel also features a standalone townhouse and presidential suite. While physically connected to the hotel, Number 1 has its own street entrance and is an eclectic and unique expression of the Edwardian and Victorian style that is seen through the architecture.

There is a residential feel to the suite as it is equipped with a kitchen, dining room, and study while fully catering to the accommodations of a 5-star suite. The fully customised carpet and one-of-a-kind furniture

ORIGINAL BTC Specialists in the design & manufacture of unique, timeless lighting.

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SHOWROOMS IN LONDON | NEW YORK | PARIS

022 | PROJECT | GREAT SCOTL AND YARD HOTEL

pay attention to detail and add to the unique experience, with the final touches of the artwork setting this suite apart.

In terms of challenges on this project, for DeKock the main element the team had to work around was the space itself. “Working on an existing building we were limited by the layouts and workable ceiling heights,” he says. “We had to rely a lot on the decorative lighting fixtures to add functional light to areas and had to use a lot of integrated lighting to balance the overall lighting scheme.

“There were a lot of structural limitations. Some areas had very minimal to no desired lighting effect and in most areas the decorative and architectural lighting is in such close proximity it made it very difficult to balance the overall lighting design. We used some unconventional lighting details and some special lighting fixtures to achieve this balance.

“My final impressions of the overall design are good. I believe in the end we captured our original design intent. The decorative lighting enhances the interior design to bring focal points to each space but still captures the overall flow and quirkiness of this project. The architectural lighting adds the correct lighting levels where needed and highlights certain design elements; as the decorative lighting is the main source of light, the final design is a balanced mix of functional and purely decorative lighting.” www.hba.com www.illuminateld.com

Design Details Great Scotland Yard Hotel, London, UK Client: Hyatt Hotels Interior Design: HBA Lighting Design: Illuminate Lighting Lighting Specified: Lasvit, Ingo Maurer, Preciosa Lighting, Tom Dixon, Chelsom

The Great Scotland Yard hotel expresses its individuality, a burst of colour within the monochromatic and conventional Whitehall. While catering to meet the needs of a luxury hotel, the destination is one with various experiences as opposed to a collection of spaces.

The lighting design reflects this, seamlessly blending architectural functional lighting with bold, bespoke decorative lighting pieces throughout - mirroring the interior design scheme at every stage.

024 | PROJECT | TOPLUM RESTAURANT

A Balanced Approach In the heart of Dubai, the Toplum Restaurant serves sophisticated Mediterranean fare in an elegant environment.

Images: Alex Jeffries Photography Group

At Toplum, the latest project by interior designer Vera Dieckmann and her pan-global firm, XO Atelier, the interiors create a stylish environment in which to experience thoughtful cuisine. Located inside the Mirdif City Center, Dubai, the guests are transported into a place of calm and stylish focus.

An inspired series of textures and forms are rendered in a muted palette of warm, buff colours; seemingly disparate textures such as perforated copper coloured metal in an undulating profile, smooth tiles, and wall plaster finishes both smooth and boldly, vertically ribbed, are used to seamless effect. The ribbed walls, undulating profiles and carefully curving lines of the custom furniture all reflect the form of the arch, which repeats throughout the restaurant, and are a unifying

presence, even part of the branding itself.

The lighting design scheme developed for Toplum is no less sophisticated. Architectural LED lighting abounds within the space, but always subtle, used carefully here and there to accentuate a form, call out a niche, establish a directionality to a room or give visual weight to furniture. The complexities of architectural LED lighting continue to make it easy and forgiving to integrate into interiors, but what isn’t easy is integrating both architectural and decorative lighting into a single scheme to great effect, and that is precisely what XO Atelier has achieved at Toplum.

Incorporating decorative lighting fixtures from multiple brands – the interior design studio approached US-based manufacturer SkLO as it

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was interested in the Balance pendant, which is itself, an arching form.

The Balance pendant is a composition of a single larger 7in lit glass sphere on a short horizontal arm opposite a smaller 4.5in lit glass sphere on a long downward curving arm. Suspended on a rigid brass tube stem, the composition is a visual and literal exercise in balance and proportion. The glass sphere diffusers feature the signature SkLO detail of a small, rippling mouth that shows where the piece is broken hot from the glassblower’s pipe and fire-polished to a smooth finish.

This detail is a reminder that all of the glass used in SkLO designs is handblown, made one at a time, and without the use of moulds.

Combining subtle, uncontrollable details that call attention to the handmade nature of the glass, with precisely machined hand-finished metalwork is a consistent theme throughout the SkLO collections.

SkLO worked with Dieckmann, to produce an additional custom Balance pendant just for Toplum; a symmetrical version, with two

downward curving arms of brass, each with the larger 7in size glass spheres, it is used in a specific location within the scheme, allowing for a moment of transition along the double-row of Balance pendants that stretch gracefully along the length of the Toplum dining room.

“The designs of the SkLO lighting collections are heavily influenced by my work as a jeweller and my background as a metalsmith,” says SkLO Design Partner, Karen Gilbert. “The Balance is an example of this, and I think this is what makes SkLO special, that our designs are the work of a woman, and they do not share the same masculinity of form I see repeated over and over in the lighting design sector. To see my designs used in the work of another talented female designer like Vera, in a project like Toplum, which itself exudes elements of sophisticated femininity, is a great pleasure for me.” www.sklo.com

026 | PROJECT | M AGN A CARTA PARK

Royal Residences Louise Bradley reveals new show home for Magna Carta Park, taking inspiration from its historic British woodland setting.

Magna Carta Park from Royalton Residences has revealed its luxurious new show home, Belvoir, a four-bedroom, three-en-suite bathroom townhouse in the heart of its 57-acre private estate, due to be completed later this year. The show home has been designed by interior designer Louise Bradley and epitomises luxury, understated elegance and countryside-calm; befitting of its woodland setting and classically English style.

The focal point of Belvoir is its living space, which maximises natural light and maintains the feeling of being close to nature. The kitchendining room sits on the raised ground floor, overlooking the rest of the development with large bay, sash-windows while staying connected to the contemporary kitchen featuring hand-thrown ceramic lights and drop-lit pendants. Many of the materials in this space give a nod to

natural resources, from wicker baskets and reclaimed wood console tables, to parchment-paper pressed flowers hung in frames on the dining room wall.

Adding to the social and relaxed ambience of the show home, the living room draws on textures and tones reminiscent of the British seasons. In the master bedroom, comfort and relaxation are the watch-words for Bradley’s design: quartz bedside lamps with silk shades sit either side of the studded headboard, while antique framed botanical artwork creates a soothing and tranquil place to restore and recharge. The adjoining dressing room uses intimate floor lamps to further create an atmosphere of peacefulness.

The inspiration behind the show home is Magna Carta Park’s exceptional rural setting - the grounds of the private estate have a

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number of protected, ancient trees such as oak, yew, beech, willow and scots pine, so that was a natural starting point for the tones and textures of the interior.

“My intention was to ensure that residents felt like the British woodland was part of their everyday life, both inside their home and when enjoying the extensive grounds,” says Bradley. “When it came to the decorative lighting for the apartments, we had the freedom to work with some of the latest pieces from our collection – these designs are created by our in-house product design team and manufactured by expert craftspeople across Europe. We used pieces that worked in particular spaces – whether that’s statement glass chandeliers such as the Alicia chandelier or the classic Venezia chandelier. These pieces work perfectly in the main living spaces and drawing rooms, attracting the eye and making a statement.

“Decorative lighting plays multiple roles in the project. Firstly, it had to functionally light the space in line with residents’ lifestyles. Secondly, the lighting chosen had to create the right ambience for the rooms decorative lighting such as chandeliers, pendants, lamps and picture lights all have an important role to play in the ambience of any interior; scale is important too and working correctly within proportions.”

Having worked with John Cullen Lighting on the lighting design for both the marketing suite and across all of the properties, for Bradley, light always needs to be considered at the start of a project – especially natural light. “Lighting shapes the interiors and any natural light of course changes throughout the day,” she tells darc.

“This is why it is crucial to consider in the early stages of the project all of the aspects of the lighting design – lighting enhances not only architectural elements of our designs, such as bespoke joinery or a beautiful staircase, but it is also used to complement the unique finishes and soft furnishings used within a project, from the artwork through to the final layer of accessories.

“We’re very fortunate to have worked on beautiful private residences across the globe for nearly 30 years now and have over the years built acute understanding and deep intuition when it comes to translating our ideas into concepts and final designs. We’re very happy with how the initial ideas turned into complete designs in Magna Carta Park.” www.louisebradley.co.uk www.johncullenlighting.com

028 | PROJECT | OCEANS RESTAURANT

A Different Approach Oceans Restaurant by Rockwell Group is a timeless and approachable dining experience in the heart of New York’s renowned Union Square.

Images: Emily Andrews

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030 | PROJECT | OCEANS RESTAURANT

Oceans restaurant is a seafood restaurant situated near New York’s Union Square and is the third collaboration between design studio Rockwell Group and Toptable – an award-winning collection of restaurants defined by its exceptional cuisine and striking décors, creating a timeless and approachable dining experience.

Oceans is an elevated take on a New York bistro with a downtown feel.

A spatial strategy telescopes the energy from the bar into increasingly more intimate dining spaces, including multiple seating groupings, three private dining areas, and a sushi bar – offering a distinctive and flexible restaurant. An undulating wood-rib ceiling, inspired by New York’s historic archways frames each discreet, but open, environment.

White oak, whitewashed brick, hammered antique brass, and leather and navy-blue accents dominate the luxurious material palette.

Craig Chowaniec, Senior Associate at Rockwell Group, talks darc through the project: “Oceans is Toptable Group’s first project outside of Canada so we really wanted the design to reflect the client’s incredible ambition, by creating a space that was noticeably unique.

They gave us an opportunity to dream up something bold. The way we approached this was to embrace curvature; by curving nearly every component in the restaurant, the space embraces and envelops you in a way that right angles could not. The architecture appears to swoop and move to a rhythm.”

The entrance to the restaurant lies on the corner of Park Avenue South and 19th Street where Rockwell Group carved into the storefront to make an inverted entry and outdoor foyer. A custom, curved glass profile creates this grand entranceway, which features a custom globe pendant with bronze details, creating an undisputed presence.

“Lighting played an extremely important role in this project,” continues Chowaniec. “As far as restaurants are considered, the space is rather large. We wanted to embrace the grandeur, but also provide a sense of intimacy at each table for the guests; lighting enhances that to an extraordinary degree.”

The length of the main dining room in the restaurant is defined by six existing large window bays. Rockwell Group renovated the storefronts with custom profiles in solid wood, making them operable onto 19th Street and Park Avenue. An elevated outdoor patio on 19th Street provides additional seasonal seating and Rockwell Group used the window bays to create a strategy for the atmosphere of the dining room, focusing the majority of the energy around the 30ft long bar and decreasing scale as the restaurant recedes.

A large exposed kitchen at the back becomes a focal-point for diners, while an adjacent blue title sushi bar and semi-private dining room are grounded by a grand custom Hex chandelier. A false wall conceals a secret private dining room featuring white oak millwork and a handmade alabaster pendant hanging over an eight-seat dining table.

A feature staircase escorts guests to the shared lower-level private dining room and wine cellar, a celebration of multi-style brick, complemented by a series of wall-length backlit wine cabinets.

“Lighting at Oceans typically ranges from 2700-3000K,” says Chowaniec. “In every space we advocated for a lower colour temperature to create a relaxed, sophisticated and warm, candlelit style environment. Many of the decorative lighting fixtures were custom-designed and then manufactured by the likes of Hammerton, VISO and Juniper.

hold 18 sco nce www.sklo.com

032 | PROJECT | OCEANS RESTAURANT

“The architectural lighting is designed to essentially disappear, which increases the expression of the decorative fixtures. A system of millwork beams in the ceiling hide the architectural lighting so you only notice the custom fixtures beneath. Both architectural and decorative elements share the same warm colour temperature – the rich, soft glow akin to candlelight feels consistent throughout the space.”

In terms of restrictions on this project, for Chowaniec, the overscale swing fixtures that hang over the round booths in the main dining room are attached to the building’s original columns, which were built in 1909. “At the turn of the century, cast iron columns were typically fireproofed by terracotta - beneath the plaster finish is a thick layer of terracotta brickwork and we wanted to cantilever the lighting from these columns, so anchoring the pendants without compromising the cast iron and existing fireproofing was definitely a challenge,” he says.

Reflecting on the project, as Tabletop Group viewed the restaurant less as a commercial project and more as if it were a private residence, there is an amazing attention to detail and tailoring throughout.

“We were absolutely thrilled with the end result,” concludes Chowaniec.

“Oceans exceeded all of our expectations; we spent many hours refining the conceptual drive behind the space’s curvature, which is palpable when you walk through the space.” www.rockwellgroup.com

Design Details Oceans Restaurant, New York, USA Client: Tabletop Group Interior Design: Rockwell Group Lighting Specialist: Clark Johnson, Evoke Lighting Studio Lighting Specified: Exterior | Hammerton custom globe pendant with bronze details & custom sconce; Juniper custom Metropolis wall sconce Main Dining Room & Bar | Hammerton custom arm sconce on columns; custom linear suspension pendants; custom Globe Reign pendants; Juniper customised Metropolis wall sconce; Urban Electric Co Dover Ball pendants Secret Private Dining Room | Atelier Alain Ellouz Oslo alabaster pendant light; Holly Hunt Flis sconce Semi Private Dining Room | VISO custom Hex track fixture Cellar Private Dining Room | Juniper customised Metropolis wall sconce; VISO custom flush mount fixture Bathrooms | Allied Maker Court sconce; Restoration Hardware Contract Ravelle sconce

Lighting played an extremely important role in this project, as far as restaurants are considered, the space is rather large. Rockwell wanted to embrace that grandeur, but also provide a sense of intimacy at each table for the guests. Lighting enhances that to an extraordinary degree.

034 | PROJECT | KLM CROWN LOUNGE

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The Crown Jewels With lighting design from Deerns, Concrete interior design studio created a quirky KLM lounge at Schiphol airport that accentuates the brand of the Dutch airline.

Images: Wouter van der Sar | Wilkins Studio

036 | PROJECT | KLM CROWN LOUNGE

Late in 2019, Amsterdam Schiphol Airport celebrated the opening of the recently-completed KLM Crown Lounge – a collection of characteristic spaces inspired by KLM, its Dutch background and local heritage that becomes a destination in itself for global travellers.

The lounge, designed by Amsterdam-based interior design studio Concrete, combines the latest technology and high-end service requirements with quirky flourishes that accentuate the brand of the Dutch airline.

Lisa Hassanzadeh, Partner and Head of Interiors at Concrete, tells darc: “KLM asked us to create a whole new lounge to accommodate the brand experience of KLM on the ground. Our brief was to build the best airport lounge in the world, inheriting the characteristics of KLM and the Netherlands.

“It took us years to guide the initial design through all parties, regulations and phases, but in the end we managed to bring the conceptual design into realisation.”

The House of KLM marks the entrance to the new lounge: a two-storey Dutch house that offers stunning views over the runway. On entering,

travellers are greeted by a large white marble welcome desk that, together with four Luna globe pendants from In-es.artdesign, and a custom cross pendant designed by Concrete and manufactured by In-es.artdesign, form a giant abstraction of the KLM logo.

From its grand entrance, the lounge then divides into five different areas, each inspired by the Dutch landscape: The Polder, The Dutch Mountain, The City, The Sea and The Sky. All spaces are connected by a ‘Sunset’ light wall – a 110-metre LED back wall that mimics the colours of the sky throughout the day. This light wall gives the lounge a second, artificial façade, while helping guests adjust to the correct timezone.

The Polder is a spacious seating area inspired by the typical Dutch landscape, with straight lines and a natural green colour palette.

While the Sunset light wall provides general lighting to this space, it is complemented by decorative fixtures from Vibia and Piet Hein Eek. The space features an artificial street, in which pillars along the length of the Sunset wall are clad in artificial tree bark, as an homage to the trees bordering the streets and canals of Amsterdam. High tables sit

038 | PROJECT | KLM CROWN LOUNGE

at these ‘trees’, each with their own bespoke copper lamp designed

by Piet Heijn Eeek and manufactured by LEdSign.but adapted at the request of Concrete especially for the lounge.

Connecting The Polder on the ground floor with The Sky upstairs is The Dutch Mountain – a giant, wooden, liveable staircase that celebrates Dutch creativity. Various landing platforms offer new places for visitors to linger, from hidden seating niches and co-working spaces, to a smoking area, intimate TV room and even a DJ booth.

Two-storey display cabinets showcase an impressive collection of work from established and upcoming Dutch designers, while at the top of the stairs, Delft blue tiles based on images shown in KLM’s safety video provide a backdrop for the DJ booth. The staircase is peppered with striking decorative finishes, such as Studio Job’s Bucket floor lamp, and Moooi’s Rabbit lamp, alongside floor and table lamps from Frandsen.

At the top of the Dutch Mountain is The Sky, featuring a bar area and Restaurant Blue – a high-end, fine-dining establishment with a menu from Michelin-starred chef Joris Bijdendijk. The bar space is defined by a 15-metre long backlit bar counter, while elevated seating niches opposite the bar offer a more private, intimate setting for guests to

enjoy a drink. To the rear of the bar, seating booths open up towards a terrace, offering overwhelming views of the runways. Concrete again worked with LEdSign to develop custom chrome light fixtures in the bar area; 2-3-metres in length, each fixture has the name of a KLM destination at its end, and is pointing in the direction of that location.

Restaurant Blue features a blend of materials; contrasting finishes of marble and wood, alongside the stainless steel open kitchen island create a luxurious ambience befitting the fine-dining on offer. A broad variety of decorative lighting furthers this ambience, from JSPR’s grand Aurora, Moooi’s Random pendants and Lee Broom’s Crystal lamps, to floor lamps from Modo Luce and Atelier Areti.

Elsewhere, The City serves as the vibrant heart of the lounge, with a radial structure clad in oak wood housing the main F&B points at its very centre. Around this central focal point, various seating possibilities are placed, from long, natural-coloured leather benches with individual coffee tables, to communal oak tables, where custommade copper lamps from Piet Hein Eek provide illumination. A circular ramp from this seating area leads to The Sea; the most remote, relaxed and quiet part of the lounge. Here, spacious lounge seating and niche areas offer a more private space for travellers looking to

040 | PROJECT | KLM CROWN LOUNGE

relax and refresh before their onward journey.

Throughout the myriad spaces of the KLM Crown Lounge, Concrete sought to use decorative fittings to create a more homely, welcoming atmosphere for guests. Hassanzadeh explains: “Decorative lighting plays a major role in all of our designs. We designed the KLM Lounge as a house, a place where you feel at home while travelling.

The lighting should reflect this notion – no system ceilings and lots of warm white directional light. Next to this we designed some striking lighting features, such as the Sunset wall, the KLM welcome installation and the light sculptures in the Sky bar and restaurant.”

When developing the architectural lighting for the Crown Lounge, Concrete worked alongside lighting consultants Deerns – a “very fruitful collaboration” according to Hassanzadeh, owing to Deerns’ previous experience of working within Schiphol Airport and other hospitality projects.

The Deerns lighting design team assisted in ensuring that the lighting helped to “create the perfect atmosphere and support the interior design in the best possible way”. A key factor to achieve this was in

specifying architectural fixtures that would complement and enhance the decorative elements chosen by Concrete, as Mathijs Sommeijer, Architectural Lighting Designer, at Deerns explains: “The general light from the ceiling was only designed for the minimum level required on the floor and for cleaning purposes.”

As such, the Deerns selected minimalistic architectural lighting fittings that did not draw too much attention to the ceiling, providing enough general illumination, without drawing focus from the statement decorative pieces. “From Lucent Lighting we selected the MiniTrim Round series equipped with a Xicato module and EldoLED driver. For the LED pixels solutions Sakma was chosen as the manufacturer after several mock-up sessions and all cove lighting and stair lights were selected from LEDlinear. Its HydraFlex and Venus lines were used in the project.”

This, Hassanzadeh feels, greatly contributes to the “overall welcoming and homely feeling” within the lounge. As all the elements came together towards the final testing phases of the project, Sommeijer could tell that it was going to be a success. “We as a design team

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042 | PROJECT | KLM CROWN LOUNGE

met several evenings before opening to tune the light and create the right scenarios,” he tells darc. “At that point it became clear that we had created a very special project that really created the intimate atmosphere the client and architect were looking for.

“This project stands out because our client was very ambitious, but it really worked as we had planned for; providing a soft architectural basis that creates the right atmosphere to experience all the decorative elements, light and furniture.

“But the best complements came from the floor managers and travellers some months after opening. Many noticed the lighting, which is taken for granted most of the time.”

Hassanzadeh adds: “We are proud of the result! In fact, the build hardly differs from our very first sketches. It is hospitality at a whole different level, because of the short period of time guests spend here and the big amount of visitors who visit the lounge over the course of a day, you can offer more excitement, entertainment and more outspoken design.

“We think that we managed to build our ambition: the best airport lounge in the world.” www.concreteamsterdam.nl www.deerns.com

Design Details KLM Crown Lounge, Schiphol Airport, Netherlands Client: KLM Interior Design: Concrete Lighting Consultant: Deerns Lighting Specified: Atelier Areti Vertical 1 floor light; Bocci 14 custom design; Frandsen lobby floor lamps & FM Tube 6195 table lamps; In-es.artdesign Luna pendants & Cross custom pendants designed

by Concrete; JSPR Aura fixtures; Lee Broom Crystal lamps; LEdSign custom Polder bench lamps & table lamps designed by Concrete / chrome & brass light sculpture; Maarten Baas Plain Clay floor light; Modular Lighting Marbul suspension lights & Trapz fixtures; Moooi Rabbit lamp; Modo Luce floor lights; Piet Hein Eeek Plisse lamp; Studio Job Bucket floor lamps; Tonne Bolt wall lamp; Vibia I.Cono floor lamp

Throughout the myriad spaces of the KLM Crown Lounge, Concrete sought to use decorative fittings to create a more homely, welcoming atmosphere for guests. The KLM Lounge has been designed as a house, a place where you feel at home while travelling and the decorative lighting reflects this notion.

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Distinctive Design Kwerk chooses Linea Light Group for its business spaces on the 10th and 11th floor of the tallest skyscraper in France.

Images: : Nicolas Cardin

Kwerk is the new definition of workspace sharing in a luxury coworking environment with a decidedly artistic and innovative character, thanks to Albert Angel, architect and designer, and Lawrence Knights, French-English entrepreneur.

The space is made up of 400 work stations arranged in a space to create an ad-hoc midway between a decorative showroom and a museum of culture. In addition, there is a fitness room with cardio machines and a wellness area where you can recharge from work stress or participate in yoga.

The lighting design supplied by Linea Light Group highlights the distinctive aspects of the Kwerk sites, namely the white decorative statues placed in the walls, resting on the ground and positioned in display windows. To illuminate them, Eyelet spotlights were used because of their compact dimensions and their extremely versatile application. Custom-made, ceiling-mounted Oh! Mars spheres add a distinctive, decorative element in all the common areas, which are reminiscent of the red planet, thanks to their characteristic colour scheme.

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Bookshelves, niches and furnishings have been highlighted thanks to the precision lighting of Nitum flush-mounted spotlights and Pound floodlights, elegant and minimal with extremely high performance.

For the wellness area, Vos downlights with Warm Tune technology were used: the simultaneous variation of intensity and colour temperature, from the classic white warm all the way to the softest shades that are reminiscent of beautiful candlelightcreate different, more relaxing atmospheres than those of other spaces along the corridors to direct lighting toward the desired spots, taking advantage

of the great visual comfort and the set-back source with pinhole optics compartment for total control of the direct glare.

Finally, to light up the bistro area, there are versions of Tour Ă˜74cm with internal side emission, perfect for taking a break under the sign of wellness and taste.

Linea Light Group also characterise the outdoor area, where the Iris_67 and Periskop floodlights were chosen to enhance the vegetation with beams of accent lighting. www.linealight.com

046 | PROJECT | KARAVAAN

Landmark Lighting Studio Modijefsky harnessed the concept of migration and the journey of the caravan, to create a unique destination in the heart of Amsterdam.

Images: Maarten Willemstein

In the brightest corner of Amsterdam’s historic Kwakersplein Square, Studio Modijefsky has created Karavaan – an exciting new destination for Amsterdammers.

Initially a polder area outside of the old city limits, Kwakersplein became part of the Bellamy neighbourhood after being dammed in the 19th century. Ever since then, people have been migrating towards this spot, just like a caravan.

Studio Modijefsky translated this migration into the concept designs for Karavaan – a venue that combines an all-day hangout, bar, café, cocktail bar, breakfast club and restaurant.

“Karavaan is a place where you travel to and unexpectedly have a long stay,” Studio Modikefsky's Esther Stam tells darc. “It is a vacation in your own town.”

The interior is subtly divided into different landscapes: meadow, swamp, forest, mountain and desert, with each zone characterised by

its own colour scheme, materials and design specifics, all unified by a trail that crosses the entire space.

As you enter through the main vestibule, a bespoke circular ceiling light defines the lounge area underneath. From here, the space unfolds into different directions indicated by changes in colours, interior finishes and light objects. Looking to the right, a small bar with a toned-down fresh pastel palette is connected to a second entrance, located at the corner of the building.

Walking across the herringbone wooden floor, towards the natural oak bar, the white ceramics, staggered yellow tiles and the light wool carpet ceiling, creates the feeling of being in the tall grass of a meadow. This bar changes its function throughout the day, from a morning coffee spot to a window seat for an evening drink. This transition is suggested by a structure of mirrored light panels hanging above the bar, designed in-house by Studio Modijefsky, that can be

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flipped, changing from ‘Karavaan Caffeine’ to ‘Cocktail Karavaan’.

As the meadow bar wraps around the corner, playful bespoke seating leads customers to another level, into one of the dining areas. Here, the colours are more dramatic, conveying a mysterious atmosphere; the glossy ceiling, deep blue column and stucco walls recall the reflections of the water and roughness of the deltas of a swamp. A similar vibe reappears on the opposite side of the venue, overlooking the square, where a dark purple ceiling and a tailor-made curved bench create a cosy corner with the adjacent column, separating the bar from the dining area.

Traversing the different landscapes, the central bar runs along the back of the space, where lines of light, jute fabric and rough plaster intertwine, leading guests towards it. Dark cork panels join with wooden slats, while a reflective zinc bar top intermingles with the dense wood. Glass racks are reflected on the mirror tiles of the back bar, which are crossed by a wavy line of light. The adjacent portion of the ceiling, delineated by four beams, defines the centre of the space through a multitude of Trainspotters’ Mushroom lights, springing up from a mirror.

Stepping down from the bar, the floor changes its pattern from

herringbone to diagonal. Far from any natural source of light, the use of dark colours and rigid lines make this zone feel like a dim forest. A high bench with a green cylindrical backrest, detailed with leather accents, overlooks the space. Vertical beams of light come through the walls, resembling the rays of sun peeking through dense tree trunks, resulting in an enchanted atmosphere. Opposite these lines of light, light grows out of a planter, with Trainspotters’ white globes adding a playful element between the plants. The feeling of the forest spreads towards the adjacent room and meets a desert, creating an eccentric mix of bright colours, brown wood veneer and green tiles.

Elsewhere, beams of light on one side, and an arc of light on the other, embrace a small wooden bar and playful high seating, creating an intimate corner. Just a few steps from the small bar, warm colours and softer lines create a more gentle vibe – the tiled floor is covered by a soft rug, while the wooden slats of the walls are softened by a velvet golden curtain. Red velvet lounge chairs complete the relaxing ambience.

While the interior is broken up into multiple zones, each offering their own distinct ambience, Stam says that the introduction of different kinds of lighting, both in terms of decorative and architectural pieces, is

048 | PROJECT | KARAVAAN

something that Studio Modjefsky hoped would differentiate the zones.

“Specific types of lights have distinct functions: a light line on the wall creates a landscape and guides people towards a specific point; a family of ceiling lights suggests there is a gathering point underneath.

The light doesn’t only contribute in creating a nice atmosphere, but it guides people throughout the space.”

Further to this, the interior designers used light – either bespoke pieces designed by the studio itself, or pendants and wall lights from Trainspotters – to create stand-out focal points throughout.

“The bar itself needed to stand out. Above the coffee bar at the entrance we thought of the mirror panels with light integrated in one of the sides to form a composition of lamellas, which can be seen from the street,” Stam explains.

“Deeper down in the dining area, we designed a light string that runs from the window in the façade, all the way along the wall, and ends in the main bar. Here, a light box with textured glass, integrated lights in the back wall and a line of light underneath the counter, capture the attention and invite the client to approach the bar.

“The lounge space has its own light accents, with a row of light spheres placed on the ceiling and column, facing a mirror that is reflecting the lights once more. Also, smaller light accents, such as little cubes underneath a long custom bench, form playful ornaments, giving the place its own character.”

By giving each zone its own unique “light language”, Stam feels that Studio Modijefsky was able to bring a different atmosphere, and as

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050 | PROJECT | KARAVAAN

such a broader diversity, to the space.

“We don’t use light as a strictly practical element to illuminate the environment, but as a key element to create a warm atmosphere,” she says. “A line of light under the counter, for example, isn’t simply used to indicate where the bar is, but it complements the colour of the material underneath, emphasising some shades that would otherwise be invisible – it gives body to the space.”

Throughout its portfolio of work, Studio Modijefsky looks to tell a story through its designs, by analysing the history of the building and its surroundings, combining this with how the space is today, and the branding of the client. This is what forms the basis for the design concept, and the design language that is specific to each particular project. Here, the interior designers harnessed the concept of migration, of the journey of the caravan, to create a unique destination.

“It’s all part of a complete story,” Stam says. “Like a caravan using landmarks to know the way, we created accents on walls that guide people through the space; sometimes light lines that lead the eye through the space, sometimes light ornaments hanging in a certain direction, and sometimes a special light fixture enriching a specific zone… it gives each space its own character, and transforms Karavaan into a unique location.” www.studiomodijefksy.nl

Design Details Karavaan, Amsterdam, Netherlands Client: Daan Bonsen, Arne de Wit, 3WO Interior Design: Studio Modijefsky Lighting Specified: Trainspotters white flask pendants, white mushroom pendants, wall and flush mount lights; white globe flush mount lights & flush wall lights; Numerous bespoke pieces from The Set Company & Maverick Bouw

While the interior is broken up into multiple zones, each offering their own distinct ambience, the introduction of different kinds of lighting, both in terms of decorative and architectural pieces, is something that Studio Modjefsky hoped would differentiate zones within the space.

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052 | INTERVIEW | PE TER BOWLES | ORIGIN AL BTC

"MY GOAL IS TO DESIGN LIGHTS THAT YOU ARE INSTANTLY AT HOME WITH. LIGHTING IS SUCH A WONDERFUL AREA TO WORK IN BECAUSE YOU CAN USE SO MANY DIFFERENT MATERIALS, SHAPES AND SIZES… IT’S NEVER-ENDING!"

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054 | INTERVIEW | PE TER BOWLES | ORIGIN AL BTC

B

ritish lighting manufacturer Original BTC was founded in 1990 with design, quality and attention to detail at the forefront of its philosophy. Celebrating its 30th anniversary this year, founding designer Peter Bowles sat down with darc’s Editor Helen Ankers to reflect on the company’s design story so far.

With two additional brands – Davey Lighting and Beadlight – now also under the Original BTC umbrella, the decorative lighting group as we know it today is fortunate enough to own six production facilities dedicated to its designs; these include a ceramics factory, glass factory and metal works. The company’s headquarters and assembly factories are based in Oxfordshire, where Original BTC was founded, and it has showrooms in London, Paris and New York.

A family-owned company with six family members directly involved in the business, childhood visits to his father’s manufacturing facilities opened Bowles’ eyes to the clean lines of traditional factory fittings and the versatility of mid-century style. Having moved to France – initially with the view of improving his language skills – Bowles found himself working the machines at a cutlery manufacturer, igniting his passion for the “crash, bang, wallop of production" and giving him a deeper understanding of how things are made and how you can develop products generally.

On his return to the UK, Bowles initially stuck with the cutlery industry – working with the likes of Habitat, supplying and designing products.

However, challenged by the design limitations of cutlery, in 1990 Bowles went back to his roots opening the Oxford-based lighting factory Original BTC. “There’s only so many prongs you can put on a fork and what shape a spoon can be,” he tells darc. “You’re quite constrained by what you can do, so I thought why not design other products. I have always loved designing and so I got a pencil and paper out and did some sketching… I approached Habitat to see if they

would consider me as a lighting partner and they said yes. So, I made some samples and before I knew it had an order of 250 for each of the two lights I had created prototypes of. After that, the designs just kept coming and within 18 months I was Habitat’s largest lighting supplier with 35 lights.

“My goal was to design and produce lights that you are instantly at home with, that will fit comfortably for many years to come. Lighting is such a wonderful product area to be working in as a designer because you can use so many different materials, shapes and sizes… it’s neverending really! You have so much freedom in designing lights – I felt liberated when I made the move.”

Describing his design style as ‘relaxed’, for Bowles mass production and endless amounts of plastic isn’t for him. “There are different pleasures when you’re buying a product,” he says. “You could be buying something because it was cheap – the pleasure comes from the fact it was so cheap – but it’s a short-term pleasure. Whereas when you buy something that you really like, it’s very much a longterm investment – you love it for what it is, the price is irrelevant. I like to think this is why people buy Original BTC lights. We’re not ‘mass market’, a lot of work, effort and attention to detail goes into them and the lights are there to be cherished. We get people writing to us after owning a light for 10+ years expressing their upset that the shade has broken and is there anything we can do to help – there’s a real affinity with the lights.”

With longevity at the forefront of Bowles’ mind, ensuring the products are produced in a sustainable manner is of course key and something that he feels the wider community is taking more of an interest in. “I think people are starting to care more,” he says. “There’s a lot more attention, focus and thought about what’s going into a product.

Longevity is really what all product designers should be aiming for – so to be able to design something like the Hector range that’s become

056 | INTERVIEW | PE TER BOWLES | ORIGIN AL BTC

an iconic design 30 years on is fantastic. People love it just as much – if not more – than when we first designed it.”

As one of the first product designers to capture the appeal of industrial styling and the first to use bone china shades for lighting, Bowles explains how the idea to use the fragile and ornate material originally came from the humble teacup.

“If you have a creative design mind, you look at the world and objects in different ways… you have an open mind and a different view on how things could be or should be. I was literally looking at a teacup one day and noticed its translucency – you can see your fingers through it when the sun shines on it. The bone china factory in Stoke-on-Trent that I approached about producing lights initially thought I was nuts!”

Bone china is a very difficult material to work with, whether you’re making lightshades or teapots, with contamination a big issue for manufacturers. “We take the material as far as we can, but bone china is incredibly fragile until you fire it. So, you have to design in such a way that the structure will support it as best it can – there are all sorts of tactical issues to deal with, it’s not an easy material at all but it is very rewarding once it all comes together.

“We have people come to our stands at trade shows asking how on earth we’ve produced these products – even people in the ceramics industry think it’s an incredible achievement. The Fin range in particular is an incredible work of art due to the material, as is the Hatton range, which uses diamond shapes. They are both incredibly complicated and something that people haven’t really done before.”

When asked ‘what a lighting product should bring to a space’, for

Bowles it’s all about pleasure. “Regardless of whether the light is switched on or off, the piece should be a pleasurable thing to have in your house. Whether it’s something more architectural in style, straight-lined, a pendant or large statement piece, it should be interesting and part of the atmosphere and style that you’re trying to create in your home. It’s about the functionality of the light of course but it’s also about the atmosphere and ambience you’re trying to create.

“The wonderful thing about bone china, which I’ve always loved, is that you get this very warm, soft light but it’s still functional and bright. The light produced is complementary and flattering to your complexion – it’s almost like a soft focus on a camera. But it’s not just about the bone china, the metals we use and the different types of finishes can be just as attractive when they’re turned off.”

As a family-run business Bowles and his son Charlie are at the helm of the in-house design team – leading the brand’s vision and style, ensuring every product looks as though it has come from the same stable and looks ‘like an Original BTC’. And while technology is undoubtedly driving the decorative lighting industry forward, with some companies pursuing a much more modern look and feel to their products, Bowles has never been one to use technology ‘for the sake of it’. “Our products haven’t dated and you can use the latest LED lamp sources with them instead of the incandescent lamps.

This has remained our approach to design as it’s far better to have a product that can adapt to new technology, rather than being fixed and becoming out-of-date five years later.

BY M I C H A E L A N A STA S S I A D E S

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058 | INTERVIEW | PE TER BOWLES | ORIGIN AL BTC

“We are however a very tightly run company and can adapt and change to use new technologies as they become available if we feel we should. It’s important for us to stay up-to-date but that doesn’t mean you have to ‘chuck the baby out with the water’. I’m now 63-years-old and younger people in our company are better placed to know which technologies we should use as a business. Original BTC’s future is in very safe hands and the fact my children are now involved is fantastic. Everyone involved is in it for the long-term, with extended family helping when needed; the suppliers, our clients and our amazing team – some of which go right back through the years.”

As part of Original BTC’s 30th anniversary celebrations, the Hector light, which was the brand’s first product to be produced in bone china, has been updated with a satin brass stem and black cotton braided cable, replacing its original satin chrome, sand and taupe finishes.

Hector 30 shades and bases are slip-cast moulded by hand, then smoothed with sponges before firing, with each component passing through the hands of 10 craftspeople, over a period of six days.

Bowles looks back on the Hector’s origins: “It started life as a table light then quickly progressed into wall, floor and so on. I was mainly thinking about what I could create with bone china. I like things to be solid, good to touch… it sounds bizzare but if you touch any of our products, they feel nice. There is a lot of detail that you can’t always see but I know it’s there and I like the detail in the completed product.

“At the time, I felt you couldn’t see how the product actually worked and so I decided I would strip it all back and actually have the electrical cable visual, as well as the lamp holder. Hector is quite a collective mix of materials and raw functionality, it’s not trying to be slick at all and that is the beauty of it – it’s such a relaxed product.”

The braiding on the cable is all thanks to the humble iron as Bowles explains further: “I was getting ready for a meeting where I was going to show the Hector design to my biggest client and I noticed the black plastic cable and hated it... then I noticed my iron, with the braided cable – so I cut it off and attached it to the sample light. Lucikly my client loved it and from there I bought a braiding machine and the rest is history.

“You’ll see braided cables all over the place at trade shows now but nobody does it like we do, there’s no synthetic polyester being used.

“I always resisted bringing out a different version of the Hector because I think sometimes, when you do, you lose the focus and status of the product. So, what we’ve done for this anniversary piece, is update all the metal parts for a beautiful satin brass finish; it’s made the product a bit more sophisticated. It’s British, timeless and a classic piece.”

Moving forward, for Bowles Original BTC is very much still in ‘expansionary mode’ and there are no plans to sit back and relax, despite the current Covid-19 induced climate. “We want to move forward and develop new products,” he says. “Lighting people’s houses – it’s such a pleasure to see your product being used, whether this is in a residential or commercial project and we want to be able to continue doing so. During these uncertain times, we have been checking with our suppliers and are sure we will all come through this terrible situation together, we don’t want to lose more UK manufacturing. We want to make British products using British components… this is the way forward for us.” www.originalbtc.com

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061 | M ATERI ALS | KEGLEN SERIES

Simplistic Elegance Jakob Lange of Bjarke Ingels Group (BIG) collaborates with Louis Poulsen to create the Keglen pendant series.

Images: Courtesy of Louis Poulsen

The Keglen series is the new family of pendants created in collaboration between Jakob Lange of BIG Ideas and Louis Poulsen. Originally designed for the Tirpitz Museum in Blåvand, Denmark in 2017, the pendant family was officially launched to the UK market at an Atrium event darc attended in 2020.

The Keglen family comprises four cone-shaped pendants in varying sizes from 175mm circumference to 650mm. Created by a fine process of spinning flat sheet-metal and pushing it into a cone shape, the outer shell is then galvanised, treated and painted to achieve the finished look; the pendants are currently available in both black and white. The standout feature that separates the Keglen fixtures from other cone-shaped lamps, according to BIG Partner and Head of BIG Ideas, Lange, is the “glass blown droplet of light with the latest LED technology, so it doesn't use too much energy when lighting up spaces.”

Lange sat down with darc Contributing Editor Sarah Cullen, to discuss his career history, joining the BIG team, and the design process behind the Keglen series, giving us an insight into the meticulous processes of product design from an architect’s perspective.

The Copenhagen-based Danish designer began his education as a robotics undergraduate, as he explains: “I am an educated architect, but I started at university studying robotics. My father has always been a computer programmer, so I thought I was going to take that path as well. Then, I realised if you design a robot, you only get to design one part of the robot; you don’t get to design the entire thing. We had to decide if we wanted to design their eyes or legs – we had to choose what we wanted to specify in. I’ve always been interested in designing

and building things, so at some point I just realised that I wanted to try another route. After a year, I decided to try a more creative business, so I jumped onto the architect bandwagon and found myself exactly where I needed to be. It was only three years into my architecture course at the Danish Academy of Fine Arts that I joined Bjarke Ingels as an intern at his first company called Plot.

“I was there for a year and sort of grew with the company. Just before leaving, I started up the project ‘The Mountain Dwellings’ where I was offered a position as an architect, even though I was not officially one yet. So, after finishing the designs for that project, I went back to school to finish off my education. When I went back [to Plot], they had started digging out the basement for The Mountain Dwellings, so I continued with the construction phase of the project. It was like I had never left!

This was 17 years ago now, so it was perhaps 10 years ago I was offered a partnership with the BIG company, along with five others.”

Ingels’ Plot grew to form the now world-renowned BIG architecture firm, where Lange went on to be Partner and now Head of BIG Ideas, a branch off project unit established in 2014 that broadens the scope of the architectural practice. It is a side-group for innovation, combining technology and product design to create prototypes and new materials for the building industry.

When reflecting on his career, Lange refers to significant moments and accomplishments, including The Mountain Dwellings at the beginning of his career: "Knowing that I was a part of this project before actually becoming an architect and to be given a lot of responsibility for this role as an architect has been an important thing for me.

Caption Title

062 | M ATERI ALS | KEGLEN SERIES

The Keglen lamps come in four sizes, starting with the smallest at a circumference 175mm to the largest at 650mm.

Jakob Lange worked closely with Louis Poulsen to design the Keglen series, which took nearly eight years to complete.

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Created by a fine process of spinning flat sheet metal and pushing it into a cone shape, the outer shell is then galvanised, treated or painted to get the finished colours; currently available in black and white. The stand-out feature that separates the Keglen pendants from other cone-shaped lamps, according to Jakob Lange, is the “glass blown droplet of light with the latest LED technology behind, so it doesn't use too much energy when lighting up spaces.�

064 | M ATERI ALS | KEGLEN SERIES

"And then of course starting BIG Ideas, working together with Virgin Hyperloop One, designing the future of transportation and working on large-scale product design. Finally, I would say getting to work on projects in space, where the power to explore your designs completely changes. Gravity is one thing and air pressure is another. Everything is changing, it’s almost like your rule book has changed from what you normally decide on planet Earth.”

When discussing the importance of light and working with light as an architect, Lange tells darc about the “influence and impact” light brings to a space: “I think being an architect, light has always been the most important thing. Light is the thing that reveals the shape of any object; from how you place lighting to how the daylight affects the textures.

I think coming from the realm of architecture, I can see that the approach to designs and lights is very different to a product designer’s approach; you could say that architects are the eyes and the curators.

We decide on window frames, we decide on the door, but we didn’t design the door. So, having the curator’s role you realise that you can’t just look at one object at a time and design a beautiful lamp or door handle, you have to combine that with all the other items. If you look at it from an architect’s point of view, we try to find objects that work well together, then it’s almost like a chair and a lamp and a door handle have to be as quiet as possible - they have to just do what they do best. But on the other hand, perhaps the difficult part is that they have to have some kind of personality too.”

When discussing the role as an architect crossing over into that of a product designer, Lange describes the process as a natural step to take in the design journey. “More often than not, our designs are

born out of our architecture. We tend to be in situations where it is impossible to find that perfect light that we can integrate that works with all the architecture. We then sketch in different directions and find the type of lamp that we would like to have. With that in mind, we then find a manufacturer and ask if they would like to be a part of that particular project.”

In the case of the Keglen lamps, these were originally designed for the Tirpitz Museum (pictured above), designed by BIG. The team needed a simplistic light fixture that would work in unison with the unique architecture that appeared to almost disappear into its surrounding landscape.

“We wanted to create a lamp that was as simple as possible. The Keglen lamp is based on a beacon of light.” The cone-shape is a familiar one for lighting products, but the signature feature for the Keglen is the ‘teardrop of light’.

“I think the cone is the most iconic shape for a light, but what stands out with the Keglen is how we have created the shape for the light inside. This is something I haven’t seen in other cone-shaped lamps.

“We contacted Louis Poulsen to ask if they would be interested in designing this lamp that we, at the time, thought could be an iconic family, but it’s not until now that we have rolled [the product line] out and you can see the bigger pendants and different angles of the cone and how they all work together in a bigger family.

“We always rely on the manufacturer to be the expert. With Louis Poulsen, the team always has an approach to light that is not just about illuminating the surface underneath, it’s also about giving some diffused light to the space as well. So, at the top of the [Keglen] light,

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there is a small opening to let a little bit of light out that illuminates the ceiling above the pendant. You could say this is all because of Louis Poulsen’s long experience in producing lights that we added this feature to the original design.”

Working across both platforms as an architect and product designer, Lange highlights the unexpected similarities to the design journey.

“Designing a product takes just as long as it does to build a building, because it has to be mass produced, we need to make sure it works with all markets and that it doesn’t break after some use – that goes for all product design; it takes a long time. I think the Keglen lamp was underway for seven to eight years from the initial designs to where we are today.”

The Keglen series is the physical development of the Tirpitz Museum pendant and, as Lange describes, is a fixture of “organic shaped glass that sits perfectly beneath the cones as a small water droplet shaped by physics and cohesive forces in nature.”

Lange concludes: “There is always a reason for why we do things.

In my opinion, you should never create a design that is shaped unnecessarily. You need to shape it into something beautiful in the end.

“I think light is the essence of everything we do; without it we couldn’t see and perform our daily duties. Creating the output of the source is, in my mind, one of the most important parts of designing objects for humans.” www.big.dk www.louispoulsen.com

A key feature of the Keglen lamps is the water droplet of light that sits inside the metallic cone-shaped shade.

The pendant, originally designed for the Tirpitz Museum in Denmark, has grown into a family of varying sized pendants available to all lighting markets.

Designed by Jakob Lange in collaboration with Louis Poulsen, the Keglen family is available in both black and white versions and is suitable for a variety of residential, hospitality and commercial applications.

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Conscious Design

068 | LIGHTING WITH A CONSCIOUS

Looking for a lighting product with an ethical background? darc brings you a number of product designers from around the globe that are working to create a more sustainable future.

Cloud Family David Trubidge Design Studio, New Zealand Many years ago, when David Trubrige was out on the open sea with his family he noticed a fascinating environmental occurrence; clouds of vapour would appear directly over islands, mimicking their form. Years later that image led to a beautiful, peaceful show at Salone Del Mobile, Milan, that Trubridge created. Light, airy cloud-shaped lights made from thin frosted plastic skins sat over handmade island shaped seats. Those light forms became popular and became a key commercial offering in the company’s range.

Two years ago, Trubridge pulled the lights from the collection, after realising the plastic content couldn’t be replaced by any PLA version anytime soon. Late last year, these forms came to mind and with his lead designer Marion Courtille they redesigned the forms to be made from thin plywood. The process seemed impossible at first but they had a breakthrough. These new Clouds are voluminous yet light, enclosed but see-through. Slits created by the construction process act as repetitive apertures allowing light to escape and the form to breathe. There are two shapes in the collection made from plywood, which is available in the full David Trubridge colour range. The Cloud Family fits into the company’s Seed System ethos, which means the lights ship flat-packed, made by the customer or design store; this minimises the carbon output during shipping. davidtrubridge.com

Shane Holland Design Studio, Ireland

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Shane Holland has a growing reputation for his innovative approach to product design. Recycling is of huge importance to Holland, who has long advoacted the necessity to reuse and upcycle where possible and it is reflected in the simplicity, beauty and unique pieces he creates at his workshop. Creating lights by recycling decommissioned aviation parts - such as the Cruise light, which is made from aviation pressure vessels, and the Davie lamps, which were originally aviation fuel caps turned into a mining style lamp.

Holland has also used a partial porpoise skeleton as the basis for a lighting sculptural piece. This one-off-piece is porpoise vertebrae found on an island off the east coast of Ireland pieced back together and recycled as a lighting sculptural piece called Porpoise Hibernicus.

Alongside these projects, Holland has also developed limited edition range The Ghost of Ash. Using Ash branches that are sourced at the roadside, each is indivdually crafted into floor lamps, table lamps and ceiling lamps.

Speaking with darc, on what measures the studio has in place to ensure sustainable production, he says: “We try to work with local suppliers and recycle where possible - it is a simple principle which I try to adhere to and obviously we recycle our packaging and use things like stencils to repackage crates and boxes. Outside of the workshop, I’m involved in a large-scale cleanup of the islands in the Irish Sea. We access these by currachs or kayaks and I often source other interesting material along the coast and on the islands.

“Every year, I’m asked ‘what’s new’ by buyers and magazines and sometimes it’s more impressive to dig into your archives and find the gems that need a little revival. Often, new is not important, whether it is worthwhile is more important. I always like to be working on new projects but it’s also nice to redevelop older ideas.

“As a small manufacturer we are always looking for avenues that are both sustainable and obtainable; when we get materials that lead us to creating a sustainable product, then we use them. Because the availability of some items is not secure, we often use fire equipment and I’m always on the lookout for interesting materials such as the copper pipes that come out of heating systems for example.” www.shanehollanddesign.com

From Lamps to Beehives Slamp, Italy Slamp has launched a new recycling programme to help the bee population.

The new collaboration sees leftover cuttings from its light fixtures transformed into portable beehives. Slamp has been practicing sustainability for more than 25 years and its resistant, long-lasting technopolymers not only exhibit optimal thermal, electrical, and chemical properties, but these materials are also recyclable.

With zero manufacturing impact on the environment: the lamps’ technopolymer sheets undergo cold cutting before being constructed by hand. The small amount of extra cuttings are recycled monthly with a portion of them now being made into beehives for bumblebees by DS-Group. www.slamp.com

070 | LIGHTING WITH A CONSCIOUS

Coffire Project Zhekai.Zhang Designer Zhekai Zhang has developed a method of staining porcelain with used coffee grounds to mimic the texture of marble, and applied the technique to a collection of lamps called Coffire. The method, inspired by ancient Chinese pit-firing techniques, forms an ‘imperfect’ random texture, meaning each Coffire pendant light is different.

The Coffire project grew out of a commercial commission to promote a coffee drink, leading the Chinese designer to conduct research into ceramic firing techniques. At least 400 billion cups of coffee are consumed worldwide each year, producing at least eight million tons of coffee grounds. After learning how much coffee waste is generated each year, Zhang started to think about how the grounds could be reused.

Most coffee grounds are discarded, thrown in landfill or incinerated along with other waste. The disposal of coffee grounds as waste not only consumes a lot of energy, but also harms the environment.

Zhang used a gas kiln instead of a traditional sand pit to allow the lamps to be mass-produced while avoiding the high waste rate involved in pit firing. Firing the lamps at 700-1000ºC, the coffee grounds release biodiesel and sugar, which interact and oxidise to create the marbled red colour.

Due to the innovative colouring technology, the Coffire lamp has a pink marble-like surface texture; an effect that no other glaze can achieve. The texture and colour produced through this firing technology are different, making each lamp unique. www.zhekaizhangdesign.com

NUS Let’s Pause, Spain Let’s Pause crochets the fibres of the fique plant of the Andes to create a collection of lamps that celebrate the age old craft and skilled labour of the women that make them.

It all starts with this succulent plant with its fleshy stalks, fique (Furcraea andina) from which a hardy fibre can be extracted. The NUS series of lamp shades softly illuminate through a mesh, that retain the original natural essence; available in four colours (white, light brown, copper and black), all of the lights combine the strength of the vegetable fibre with the light organic weave of the crocheting work. In the style of a mesh, the shade falls like a skirt, which is delicately held by an aluminium structure of the same tone.

The word NUS means knot, reflecting the knotting of the fique fibre in a manufacturing process that seeks to join cultures as well as looking for a way to breathe new life into age-old crafts and techniques. Since the very beginning, the motivation behind Let’s Pause’s involvement has been a love and passion for things made over time by the human hand with materials that respect natural cycles and the people who make them. Each of the

pieces is created with care and has a unique character reflecting the lamp’s attractive and imperfect expression. The subtle irregularity of the crochet stitches frees the lamp from any rigid formality, lending it movement and life.

Fique is extracted from the plant of the same name using a combing process that eliminates the external part of the leaf, just leaving the fibres. Without any treatment this fibre is naturally white when sourced from the higher leaves, which are normally more tender, while the lower leaves are more offwhite in colour or light brown because they are more mature, almost touching the ground.

The NUS lamps are expressed in these two organic colours, as well as a copper shade like wet sand or recently ploughed earth, together with an anthracite dark grey hue that evokes a volcanic stone. The latter colours are obtained by dying the white fibre. The range includes three sizes, with the largest shade 60cm in diameter and 75cm in height; the middle size is 42cm in diameter and 58cm in height; while the smallest is 25cm in diameter and 31cm in height. www.letspause.es

072 | LIGHTING WITH A CONSCIOUS

Duncan Meerding, New Zealand A furniture and lighting designer based in Hobart, Tasmania, Duncan Meerding works with a range of materials and his designs draw heavily from the vast natural beauty of the Tasmanian wilderness. With a focus on form and texture, much of his work features organic curving lines inspired by the local landscape and highlight the tactile nature of the materials used, embracing their natural characteristics, such as the bark that still clings to the objects in the Cracked Log series.

Rather than focus on quick-moving trends, each design is created with a focus on longevity. By combining traditional handmade techniques, modern manufacturing technologies and small-scale production, each object is built to last. Sustainability and care for the environment are present in every step of the design and making process. The majority of timber used is sourced either from ‘waste’ materials or else from faster-growing, robust timber varieties.

“Producing our items while considering people and the environment is extremely important to me,” Meerding tells darc. “I often get asked why I don’t upscale or send my work to get produced cheaper overseas... By keeping production close, we can keep an eye on how things are produced and what impact this will have on surrounding environments and the people making them. For me, this is extremely important in the manufacturing process - not considering this is irresponsible design.

“In the long run, if you don’t have a planet or people to use the items you have produced, then what is the point. For me, obviously my work is designed and built, not purely for making money, it is also about creating a relaxed mood and space, often inspired by the natural environment. For me, creating work that stands the test of time - both physically and metaphorically is perfect business practice. It creates a quality item, meaning people are likely to recommend you to others. I often have repeat customers so creating the first item properly and sustainably pays off in the long run in terms of environmental and economic sustainability.” www.duncanmeerding.com.au

3D Printed Shades Plumen x Batch.works, UK Batch.works has partnered with Plumen on a range of five 3D-printed lampshades, made using plastic recycled from water bottles, fridges and other sources of plastic pollution.

Every shade is fully recyclable, as part of Batch.works’ and Plumen’s commitment to reducing and re-using plastic. They are printed using a filament supplied by Amsterdam social enterprise Reflow, which recycles and repurposes plastics that would either be sent to landfill or incinerated.

Each shade is printed on demand, drastically lowering the amount of waste produced, and can be returned to Batch.works for recycling at the end of its lifespan.

“When we first met Batch.works, it seemed like the perfect match,” says Plumen co-founder Michael-George Hemus. “We’re both small businesses with a similar ethos and approach to things. The fact that you can use recycled plastics and they can then be industrially biodegraded or reused again is really fascinating to me, and plays into the circular economy, which we are trying to put into practice everywhere we can.

“To Plumen, 3D-printing is a very exciting opportunity for lighting. 3D-printing allows shapes and forms that are not possible otherwise. More importantly, there is very little waste compared to traditional methods.” plumen.com batch.works

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Cleaning Up London Designer Matt Kavanagh introduces a new style of sustainable lighting made from discarded NOS cannisters.

The NOS Sphere 228 chandelier is part of a range of upcycled lights created by London designer Matt Kavanagh; the idea for which came to him while cycling the streets of London. “I had been seeing these canisters littering the streets for ages and at the back of my mind thought it was an incredible waste of a beautifully engineered component,” Kavanagh tells darc. “Then, last summer there was a BBC news article about the clean up on the beach after Brighton Pride and how 150 sacks of the canisters had been retrieved. I decided it would be a fitting project to make them into something beautiful and luxurious. A celebration of the illicit!

“The initial idea for the chandelier came from a conversation with fellow designer, Rupert Matthews. The canisters have a ready made droplet shape that lends itself to a hanging chandelier. The reflective surface provides a mirrorball quality that plays to the strengths of the canister and it has just the right amount of scale and 'difficult' about it to produce a valuable and luxurious final piece, which is a nice contrast to what is a discarded item found in the gutter.”

Sustainability and upcycling has been completely central to the NOS Sphere chandelier for obvious reasons as Kavanagh explains: “Sustainability is always part of the design process to varying degrees.

I certainly take the responsibility of not contributing to landfill seriously and avoid projects that result in short-term use. Sometimes this is a material or production choice but it should also be an aim of designers

to challenge the value of what they create in the first place so the life is extended.

“As designers, I believe we should be challenging whether a product really adds value in the first place. If you take the environmental argument to its logical conclusion, we should be making less stuff, so not designing products that don’t add value is a good start. We should also be considering material and production choice more carefully.

'Sustainability' is a fashionable label to attach to everything at the moment and there is a lot of lip service paid to this without looking at the whole picture.”

Kavanagh started his design journey at Southern Polytechnic in London where he gained a degree in engineering product design. “I was about 17-years-old when I first became aware of the Italian design movement Memphis," he says. "I was inspired, confused, provoked as it was so different to anything I’d seen. From that moment I was led to study design at college before travelling to Italy to work for Olivetti and then embark on a furniture design career that led me to work with many Italian manufacturers for over a decade.”

This early exposure to design led Kavanagh to set up a furniture, lighting and product design consultancy, which eventually formalised as design partnership Diplomat in 1999. At the same time, Kavanagh was also working with numerous companies in the retail sector - specialising in design, brand strategy and customer research - until eventually

Thread Through

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At a glance the canisters look the same, yet they are from different global sources and dimensions vary.

The puncture holes are also randomly applied, so to hang them consistently the best method was to machine and thread each one and then make a bespoke threaded insert from which they could be attached to the suspension line.

Polished Finish It was important to find a way of grading and treating the canisters so that the end result has a consistent and valuable feel. Most of the canisters are bright zinc plated so in the end Kavanagh selected only the canisters without dents or too much scratching and then polished each one.

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Overcoming Challenges Kavanagh quickly realised there were going to be a few problems when working with discarded canisters and there were a number of technical challenges to consider. He had to find the best way to consistently hang the canisters, getting the optimum scale and shape and then, balancing the finishes and most importantly, integrating the right lighting to show off the chandelier and illuminate a space. In the end he made six iterations of design before it felt right.

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establishing retail consultancy Space 11 in 2011; today, he splits his time between both enterprises, working from his Deptford studios.

Kavanagh's design influences have, in his own words, always fluctuated: “On the one hand I was drawn to rule breakers who tore up our conception of how to behave as designers. Makers like Ron Arad, experimenters like Geatano Pesce or the poet of light himself; Ingo Maurer, reminded me to look beyond what’s currently in the landscape.

But then, my engineering training would love the iconically simple designs of Achille Castiglioni and the paired down simplicity of Alberto Meda, who was able to combine efficiency and beauty into a perfectly distilled solution.

“I love to design, but what I’ve found most rewarding over the years is meeting and collaborating with bright minds and skilled hands, from clients to fellow designers to manufacturers and crafts people. I constantly feel I’m learning from experts around me.

“Chair design for me is the ultimate product challenge in that it’s just about the oldest product typology. Usually they are in every room and are a key part of the interior aesthetic and yet we constantly find reasons to reinvent it. Like the chair, ‘the light’ has an iconic design product status as it is an equally old product typology, defines the space it sits within and is constantly revisited by designers, however it brings with it some added complexity as the technology behind light sources is constantly evolving from flame to LED. For so many years the lamp (light bulb) shape defined our approach to designing light fittings.”

During the early years of his career, Kavanagh designed commercial light fittings for a company that exclusively used metal halide, which was the efficient technology at the time. “I suspect those fittings were thrown out as better technologies arrived," he says. "For a designer this is a frustration as, unless you take the approach of designing a

beautiful object that glows, the design of the fitting has a relationship with the light source and so it isn't an optimum situation to have to later change the light source to LED for instance. For this reason you can also keep returning to lighting design with completely new eyes.

“For me, a lighting product should bring form, function, emotion, use, re-use to a space rather than the traditional ‘form follows function’.”

Looking back at the design process for NOS Sphere 228, Kavanagh explains to darc how working with discarded canisters quickly provided him with problems and a number of technical challenges. “I had to find the best way to consistently hang the canisters, getting the optimum scale and shape and then, balancing the finishes and most importantly, integrating the right lighting to show off the chandelier and illuminate a space," he says. "I think in the end I must have made six iterations of design before it felt right. As well as this, though at a glance the canisters look the same, they are from different sources around the world and vary dimensionally. The puncture holes are also randomly applied, so in order to hang them consistently - the best method was to machine and thread each one and then make a bespoke threaded insert from which they could be attached to the suspension line.”

The canisters also had varying degrees of damage through crushing, scratching and surface corrosion. As such, it was important that Kavanagh found a way of grading and treating them so that the end chandelier has a consistent and luxurious feel. "Most of the canisters are bright zinc-plated so in the end I selected only the canisters without dents or too much scratching and then polished each one,” he says. “This added a uniform sparkle but still reveals some of the character that they have from being recycled."

Kavanagh also didn’t want the light source to visually define the appearance of the chandelier and so chose a recessed LED spotlight

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fitting incorporated within the ceiling fixing; a high wattage dimmable GU10 lamp with a narrow beam was used so that the light was focused on the sphere.

“This had the effect of highlighting its decorative quality but had a couple of added benefits in that it produced a dispersed reflection from the canisters (like a subtle mirror ball) and created a dappled silhouette pattern on the floor below it,” he says. “Given the fluid quality of the suspended canisters any gentle movement in the chandelier is then animated.”

While each chandelier is handmade, requiring considerable craft input and relying on a source of recycled components, Kavanagh is keen to highlight that this is not a one-off creation, with the process designed to be repeatable and a production luminaire for specification in interior projects.

“The design also allows for further development of the concept," he says.

"The first launch was the NOS Sphere 228, created with 228 canisters, the next is the NOS Sphere 348 with 348 canisters, nearly doubling the size of the chandelier. There are also variables to the finish that can be introduced, such as combining different grades of canister. You find some that have a pink coating and others that are painted. It adds further character to the chandelier to play with this mix. I’m looking at other finishes such as gold plating for a really 'bling' audience. Then there is an opportunity to undertake bespoke commissions to suit interior spaces."

For Kavanagh, good product design should include "form, function, emotion, use, and re-use," and as such is playing with the idea of using recycled cardboard in some products and lighting. Summing up his experience of working with light, he tells darc: "I find it a combination of conventional product design and playing with mood, in that the light you cast in a space can transform the function of the environment and the emotion of those who enter it." www.diplomatdesign.com / www.space11.co.uk

Before the design process, collecting the discarded canisters from around the streets of London produced a range of challenges. Because the canisters collected were damaged in different ways, Kavanagh had to place them in a way they all looked symmetrical.

Polishing the canisters gives the decorative light the shine and sofistication to light up any room. To create lighting with something that would have been litter on the streets before it was polished, is creative and sustainable for the environment.

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082 | COMMENT | COVID-19 - THE IMPACT ON DESIGN

Notes From a Small Island Steve Jones of Innermost gives us an insight into his time in Hong Kong during the SARS epidemic and what the design industry can learn from this post Covid-19.

“Eighteen years ago a much younger version of myself moved to China in order to do business and source product for our brand and bigger clients like Tom Dixon and John Lewis. Arriving in Hong Kong midDecember 2002 I was amazed at the vibrant city I would soon be living in. I first went to the city of Guangzhou to join my girlfriend who was living there and working as a sourcing agent - a decision that was to make me one of the first people in the world to witness the effects of coronavirus.

We were going to spend Christmas relaxing and take a trip to walk remote sections of the Great Wall. We never made that trip as two days later I was in a Chinese hospital on a drip recovering from a bout of food poisoning from a hot pot restaurant. Chinese healthcare was very good even then but I just hope they have started to make the surgical gowns in larger sizes! I was kept in for 48 hours on a drip and then released, the doctors seemingly bemused and amused at the weakness of my western gut!

On my way down to the admin office to pay my bill, incredibly a mere 78 quid, I passed several patients on trollies – covered in air bubbles to stop infection spreading – being pushed along by orderlies in full

protective gear including breathing apparatus. If I remember correctly there were three of them in a line. It registered as serious and sent a shudder down my spine. As I crossed the big courtyard of the hospital I saw queues of people being triaged outside under Banyan trees by staff wearing paper overalls, masks and goggles.

I paid and saw an exit on the opposite side of the courtyard and went to try and get a taxi. Many taxis went past and none would stop, so I called a friend to pick me up who laughed heartily on arrival and told me that I would never get a taxi standing next to a sign that read in Chinese ‘Venereal Disease Unit’.

What I had seen in the hospital didn’t sink in until about four weeks later when, as people were dying in hospitals in Hong Kong from SARS, they traced the cause of the epidemic to civet cats being eaten in restaurants in Guangzhou. Then I knew how close I’d been to the start of the epidemic that gave us all our first knowledge of the coronavirus – SARS had arrived.

The hospital I had been to was hit hard and many patients and wonderful dedicated medical staff died before they brought it under control. I never knew colonial or post colonial Hong Kong, my version

Smooth surfaces were in, sealed edges etc and fabric choices changed to reflect worries over the germs they could collect. We began to work out proper instructions for cleaning products and not just paying lip service to the idea as we had years earlier when we were seldom asked about cleaning methods.

It is common now to see cleaning and hygiene mentioned in advertisements for serviced apartments and this can be very detailed with frequency and even methods listed.

Economically things took time to come back but the slower sectors were things like exhibitions and air travel. They did come back but if I had to make any forecasts for post Covid-19 it would be that with improved digital marketing and video connectivity the exhibitions and air travel industries could take even longer to recover – we will find new ways to market and display products.

The World Health Organisation (WHO) took note of the crisis and Dr Margaret Chan, who was Senior Health Advisor to the Hong Kong Government, became famous during the outbreak and was promoted to head the WHO two years later. She was widely viewed as having handled the epidemic very well and took the knowledge with her to the WHO. There were enquiries and recommendations of course but more than anything there was a thoughtful shift to other ways of doing things that would help stop it happening again. We humans are very good at adapting and figuring out threats.

For now, it’s about saving lives and taking this opportunity to get out there and do some good. I know neighbours I didn’t a month ago and now I do their shopping and run errands for them. We stand metres apart as I deliver things and they tell me stories and their news. Doing this feels as good as the launch of any product I’ve designed, or deal we have ever won.

If there are to be positives, it will be that the changes we make won’t just help us with the threat of Covid-19 but will help stop other diseases as well. The changes we make in terms of travel and work were coming anyway as we were – or should have been – doing them to stop climate change. Many of the things now required of us are sensible changes that will help this.

Afterwards many will try to go back to normal but this is a time to accept and respond to change and it can be a golden age where design and architecture can really do even greater good than before. Design will be socially relevant once more as well as culturally important.

Steve Jones studied Industrial Design at Newcastle Polytechnic (now University of Northumbria) from 1988-1992 before starting a career in consultancy in London. He has always advocated diversity as a way to stay on top in design and his own experience has seen him design things as diverse as ladies shoes, books, toys, even an internship in the naval architecture department of Swan Hunter shipbuilders. Later he worked extensively in the furniture industry before moving into lighting and forming Innermost with Russell Cameron in 1999. www.innermost.net

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was ‘post SARS’ and we all quickly learnt how to deal with it and then how to design for it.

Culturally during the epidemic I was impressed with my fellow city dwellers as to how well they coped. Huge cleaning regimes, plastic covered lift buttons (although we all used our keys anyway), signs posted everywhere stating how frequently surfaces were disinfected.

Everyone quickly started wearing masks and the news came from Japan that researchers had discovered why it hadn’t effected Japanese cities as it had Hong Kong and other cities of the Pearl River Delta. The Japanese washed their hands more frequently and to a higher standard than the rest of us; it seems they are good at pretty much everything.

I remember being in a bar in Hong Kong and back then you could still smoke in public. I had seen a couple sitting at the bar sipping drinks through straws that were plumbed under their masks. As the man made his excuses to take a phone call out of the noisy bar his companion pushed down her mask and was inhaling a cigarette in seconds. I don’t think I’ve ever seen someone smoke a cigarette that fast. By the time he came back she had finished it and was sitting with her mask back on.

Masks became not just necessary but ‘cool’ and there were many designs quickly available. Luxury goods makers started making their own, fashion designers did special editions, with green quickly out of vogue in favour of black. Never again did I go to the doctor when I had flu or a cold without putting on a surgical mask. If you are sniffing you cover up; simple really to cap the source. We used to buy packs of five masks from 7 eleven for about a pound.

The first social change workplaces took on without any legislation being made was an acceptance that if you had flu like symptoms you stayed at home and went to the doctor. We had grown to a staff of eight and it was common and accepted for people to call quite last minute with a decision to work at home as they had a fever or flu symptoms. I’m not aware that we dropped any productivity due to this policy and neither did I ever see any evidence of abuse of it.

The really big changes came once the virus had been beaten and the hospitals emptied. Architecture got its moment in the spotlight, as part of the outbreak centred on a development in Hong Kong where many residents died. After analysis of the building services changes were made to standards. The close living of modern cities is great but we needed to learn lessons and implement them. Most buildings were fine but the authorities learned where weaknesses might be and strengthened everything. In fact the problem turned out not to be design but maintenance methods.

Then SARS slowly and quite subtley changed design. Small requests from designers and contractors, design ideas for public spaces that seemed odd until you thought about them in terms of a customer base of new and very militant germophobes.

Over the coming years I stayed in Hong Kong and watched as society took on SARS and made life normal again but with safety built in to prevent disease spread.

As the years progressed we saw a greater number of contract requests and design decisions taking hygiene into account. Clients passed their worries onto designers who quite rightly responded with change.

Amid the global Covid-19 lockdown, the design industry continues to support and talk to each other.

Scott Richler of Gabriel Scott speaks to darc about how he is coping with the current climate, through the power of Instagram.

"Conversations to Connect is an initiative born out of pure anxiety in the days leading up to Covid-19 lockdown in the UK. Since the UK was intentionally delayed in entering lockdown, those days were ripe with uncertainty and a looming sense that our freedom was in jeopardy.

In those early days in London, I needed to find a way to connect with others in my field. It was at once a selfish and selfless gesture... I needed to talk but also felt compelled to share.

Sometimes talking just felt right. Even if no one really knew anything about where we were headed, it still felt better. I found myself reaching out to friends and colleagues in areas that I perceived as even darker so that I could prepare myself for the days to come and offer them an ear.

On every occasion, this invariably developed into a conversation where thoughts about our personal and professional life were shared as well as predictions about our uncertain futures... I realised that even if neither of us knew anything, I always hung up feeling better.

I knew that I had to share some of these conversations with friends and colleagues across the world so that they could share in that human connection that provided me with a certain sense of comfort.

This sort of thing was very much outside of my comfort zone. I have never made an Instagram video, let alone hosted a live conversation, but I felt strongly that I would at least help others connect and I jumped in.

I decided that the first conversations would be had with three industry peers in three separate countries in Europe with whom we had plans to collaborate professionally, but were compromised by the pandemic."

Conversation 1: Jacques Barret of Triode Design in Paris "Since my move to the UK, I had been working more closely and communicating more regularly with Jacques. In the first days of the Paris lockdown, I made sure to check in with him regularly.

Throughout our online dialogue, we shared some of the content of those conversations. Triode turns 10-years-old this year and we were looking forward to PAD Paris where Gabriel Scott and several other brands were preparing to show some exclusive pieces under the Triode banner.

Jacques and I discussed our mutual disappointment. We also touched

on how our mutual clients were coping and how we were all keeping in touch. There was a shared hope that we would all meet again in the fall."

Conversation 2: Alberto Lago, Creative Director of Salviati "A renowned Murano Glass studio that we were working with on our upcoming Salone Milan presentation. In the months leading up to the crisis, I had been working closely with Alberto and Salviatti. The personal connection that had been formed through our creative collaboration with Murano and our own showroom assistant from Lombardi really brought the early news from Italy close to our hearts and minds. Alberto and I were able to bring people into the red zone and discuss our collective ambitions for a time when we would all be able to visit Italy again. In typical Italian fashion, Alberto shared his longing for that day when we would be able to kiss and hug again."

Conversation 3: Daniel Gay in London "From earlier conversations with Daniel both before and after the onset of this crisis, I knew that Daniel would have a lot to say. I was excited to share that with the wider design community. Conversations with Daniel had always made me reflect on the way that the design industry operates and he often gave me reason to pause and reflect on certain patterns that ought to be reconsidered. At the onset of this crisis, I had truly set off on an existential journey questioning the value of design and designers in such a world. After about 45 minutes on the phone with Daniel, I still had questions about how we, as designers, would need to change and how our industry would need to adopt more sustainable practices.

"But I was no longer on an existential journey. I knew that design and designers were important in this world and were going to be in the next.

I truly hope that Conversations to Connect will continue to be a platform to share ideas long after all of this subsides."

Follow @gabrielscott on instagram for more Conversations to Connect.

084 | INDUSTRY FOCUS | CONVERSATIONS TO CONNECT

Conversations to Connect

086 | INDUSTRY FOCUS | DESIGNERS MIND

Why Your Mental Health Matters darc sits down with Nulty’s Kael Gillam and interior designer Kaye Preston to chat about Designers Mind, a new forum aimed at raising awareness of mental health and wellbeing in the design world.

How did Designers Mind come about?

Kaye Preston - pictured right (KP): Designers Mind is a forum and community of creatives who are passionate about raising awareness around mental health and wellbeing for designers in the workplace. The idea was born last October at the Mad World Summit in London. I attended a talk by a journalist who had created a sharing platform for his industry. At the time I was also aware of a forum created for architects but knew of nothing specific for designers. Throughout the day the seeds were planted and very quickly started to grow. I co-chaired a roundtable about leveraging design in our offices to create environments that promote wellbeing. It was in that moment that I realised there was a complete disconnect in our industry. Here, I was raising awareness about using design to help other people’s wellbeing, but there was nothing in place to take care of the people actually doing the designing.

Kael Gillam - pictured left (KG): I met Kaye through our Business Development Manager Sarah Crooks, another fellow American, at a Thanksgiving dinner organised by Nulty. We immediately hit it off and Kaye was bursting with ideas about how to change the design industry for the better. Needless to say, I was ecstatic to join the effort and am delighted that there are now a handful of us supporting this vision.

What do you hope to achieve with it?

KP: Our aim is to help improve the mental health and wellbeing of designers at work by raising awareness of the challenges they face within the industry and the effect they can have. We want to change the mindset of the current working culture that doesn’t really allow the time to incorporate healthy habits into the day. Focusing on prevention and the importance of incorporating sleep, healthy eating, movement, connection with others into our days, can only make us healthier, more productive and more creative in the long run.

How has the discussion on mental health changed over the years?

KP: It’s definitely become more open. Stigmas are being broken and many now feel they can talk about their mental health. Charities are doing incredible work and providing much needed access to resources. There’s also a new level of understanding that prevention methods can be taken through healthier daily habits. Big names like Arianna Huffington talking about the importance of sleep for instance, has been incredibly important for raising awareness and changing mindsets.

KG: Charities are doing an impressive job of trying to raise awareness; Mind really is a household name now. Organisations like CALM and

Samaritans have call lines that are helping people on a daily basis. The work they do is literally saving lives by giving vulnerable people someone to reach out to in an anonymous way.

How do you think the lighting industry and wider design community responds to mental health awareness?

KG: I think that the lighting design community is very aware of the impacts of poor mental health, and that we are a pretty open, honest bunch of people who want to implement change in the way we work.

However, the research that I did for my talk at [d]arc room last year showed me that a big roadblock for smaller firms trying to implement mental health policies is the belief they have to spend a lot of money to make their workplaces happier and healthier places. I want to debunk that misconception because there is so much that can be done for minimal or no cost.

KP: I can only speak about the interiors industry myself but I have to say that I have always felt supported by all of the firms I have worked with when it comes to my mental health. But there seems to be more policy in place for the moment when someone actually needs help, rather than practicing regular prevention along the way.

What steps are Designers Mind taking to promote better mental health and wellbeing?

KP: We are working on raising awareness by sharing experiences and working on holding talks and events to create a community and recruit supporting partners. We would like to create tools and resources for the industry, in addition to holding workshops to help people create their own wellbeing toolbox and understand the importance of healthy habits and how they are fundamental to mental health and wellbeing.

What has the response been since you started?

KP: The response has been incredibly positive. I’m really grateful to the amazing designers that have joined, been willing to share their stories and help spread the word. The design team at Nulty has been extremely supportive as well. They were some of the first people that I floated the idea past and the team even invited me to speak at their London office where the concept was launched. The forum is still very much in its infancy but with the positive response we’ve received so far, we’re hopeful the momentum will build.

There’s a lot of talk in the lighting industry about the role of light on wellbeing, mostly from a technical perspective. Do you think there needs to be more discussion on the psychological effect that lighting and design can have on health and wellbeing?

KG: I’m by no means an expert on this, but I agree that more research needs to be done into the effects of things like circadian lighting on people’s wellbeing. We had a CPD with Helen Looms last year, and unfortunately it sounds like there’s a massive lack of funding for this kind of research. A lot of the data that the lighting design community

What advice would you give to someone who may be struggling with their mental health and wellbeing?

KP: I would say don’t try and go it alone. It may feel incredibly daunting and even scary at first but reach out. Connect with someone you trust and start the conversation. I know from my own experience that I felt like an incredible burden to my family and friends. But I’ve since learnt that this never was and never is the case. Everyone goes through something. It’s better to be in this together.

KG: Try not to keep it all to yourself. If you’ve never spoken to someone about your mental health before, it can feel stupid and scary and not important because hey, other people have problems too, don’t they?

Don’t invalidate your own feelings; own them, accept them and seek guidance on how to work with (not around!) your circumstances to feel healthier. We have a handful of resources on the website and that list will hopefully get longer and longer as time goes on.

What more can studios do to support their staff?

KG: There’s so many things to pick from here it’s hard to boil down!

Firstly, I would have to say that stopping the “always on” mentality is a must; some companies have their emails shut off after work hours so there’s no scrolling frenzy at 10pm hoping that someone may have got back to you. Providing support is my other, though quite broad, piece of advice. Offer managers Mental Health First Aid training, offer private healthcare and/or digital counselling options, provide employees with a Mental Health resource guide that shows all of your company’s policies and the resources available to them.

KP: I think focusing on prevention instead of reaction would be really helpful. For example, addressing the long hours culture instead of making time for healthier lifestyles. Whenever I’ve been in the position discussing resource the same thing is always said: “We work longer hours when we have a deadline, but this isn’t meant to be the norm.”

Unfortunately, I think it has become the norm and the times in between much less. The London Practice Forum (a community of architectural practices) have signed an agreement to reduce 40+ hour work weeks. Could the design industry follow suit?

How can people get involved with Designers Mind?

KP: The easiest way to get involved and best place to start is at our website. Here they can get in touch, follow us on social media and discuss what they can do. I would also like to add that we really appreciate all of the support. www.designers-mind.com

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Is there any ‘normalised’ behaviour in the design sphere that you think puts more pressure or strain on your mental health?

KP: For me it’s the combination of long hours and technology not allowing us to fully switch off. I acknowledge that it’s a high-pressure, deadline-driven industry, but I also think people can feel under pressure to stay late or look at emails out of hours. We often prioritise work over wellbeing, resulting in us not being able to switch off, set healthy boundaries and say no to heavy workloads. This can all lead to overwork and exhaustion, which puts a strain on our mental health.

relies upon for its wellbeing hypotheses, are the afterthoughts of wider medical studies that aren’t focused on the actual qualities of light, perception and emotion. I would like to see more Master’s students looking into this aspect of lighting design, as it’s clear the industry is shifting towards the emotional, personal side of the perception of a space, as opposed to ticking boxes for lux levels.

KP: Certifications such as WELL and fitwel are addressing the effects of design on overall health and wellbeing. Biophilic design, connecting humans with nature in our environments, has also become more popular – studies show the positive effects of incorporating nature into our interiors on our mental health. Our job as designers is to raise these options with our clients so that we can use these tools when designing a space.

2020 Product Focus The Latest Decorative Product Launches

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1. Discovery Artemide

2. Orb Astro Lighting

3. Kernel XL Bert Frank

Discovery is the perfect synthesis of the values, knowledge, innovative research and know-how of Artemide. The great optoelectronic skills, combined with a thorough culture of design and technological insight, produces perfectly transversal and surprising solutions, which translate innovation into the emotion of perception. www.artemide.com

Inspired by the mechanical perfection of an orrery, the Orb presents a spherical ball of illumination, with a fully adjustable mirror that ‘orbits’ around the luminaire at its centre. The Orb is an illuminated magnifying mirror that provides task lighting with an appreciable sense of design. www.astrolighting.com

An extension of the Kernel family launched in 2015, Kernel XL is composed of intersecting horizontal and vertical lines, geometric forms and utilises symmetry and modern materials.

Formed from a rectangular solid metal, matte petrol-blue shade and supported by a solid brass drop rod, the rigid design demands attention with its graphic silhouette. bertfrank.co.uk

4. Exhaust Buster + Punch

5. Kuulas Cameron Design House

6. Casia Cerno

A new collection of interior spotlights inspired by motorbike exhausts. The range features a fixed, adjustable and track spotlight, alongside a pendant. Decorative, yet functional, the range takes task lighting to a new level providing directional illumination to interiors. www.busterandpunch.com

Inspired by the Finnish word for 'clear', the Kuulas chandelier is made up of handblown glass pearls and focuses on making an impact through modular design. Each glass pearl is suspended from gold-plated chains and the piece is available in a range of colours. camerondesignhouse.com

Casia is a fresh approach to a flush mount light fixture. Each carefully selected material plays an integral role in the aesthetic design and performance. The wood arms, metal shade, and glass diffuser combine to create a minimalist form. The flush light fixture is available in 14, 18 and 22in versions. cernogroup.com

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7. Luna Liberty In-es.artdesign

8. Spot Range J Adams & Co

9. The Flutes Juniper

A tribute to Art Nouveau, Luna Liberty is inspired by natural forms and structures, by curved lines of plants and flowers. Available in 35cm and 50cm, as a table light, floor light or pendant, the Nebulite material has been developed specifically for In-es.artdesign’s collections and emphasises the atmospheric and evocative lighting of the lamp. www.in-es.com

Featuring a pendant system, ceiling, wall, wall rail, floor and desk light, the new task light Spot Range from J Adams & Co is made from machined solid brass. Designed to complement the Flume collection, it echoes the same visual language and features mid-century inspired reeding and industrial detailing. www.jadamsandco.com

A modular lighting system of LED fixtures that multiply into collective formations.

The Flutes features three designs: Ionian, Lydian and Dorian, constructed in extruded aluminium. High-output LED light modules diffuse through a series of optical lenses, the range is offered with a variety of colour temperatures and dimming options. www.juniper-design.com

10. Accipicchio Karman

11. Orbital The Lightyard

12. Audley Lyngard

Accipicchio, by Matteo Ugolini, is a design that is only minimal on the surface. Made from Pyrex glass and aluminium, it is inspired by the world of animals: a light stem carved by a pointy woodpecker’s beak, immediately taking us back to our childhood - a theme always present in Ugolini’s inspirations. www.karmanitalia.com

Each dimmable IP44 Orbital bathroom pendant from The Lightyard is handcrafted to order from hot rolled mild steel. It is available in contemporary natural raw steel, finished with a clear powder coat for maximum protection against tarnishing; a patina rusty finish; or a solid copper bar. thelightyard.com

The Audley chandelier from Lyngard is handmade in fine bone china. A new white linen look finish emits a subtle and delicate light. Each of the five pieces are suspended from a single rose by brass rods. www.lyngard.com

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1. Isabel Curiousa & Curiousa

2. Peg Dowsing & Reynolds

3. Propeller Blossom Duncan Meerding

Using bone china and handblown transparent glass stems with semi-opaque shades in aqua, lichen, blue and rose, the Isabel creates an ethereal centrepiece, emanating a subtle, delicate style. Also available IP65 rated for use in bathroom zones one and two, each fixture is made to measure using round, fabric covered flex. www.curiousa.co.uk

Peg wall lights are a simple way to add secondary lighting to your interiors. Featuring a sleek cord set fully assembled with a farrier bronze lamp holder, inline switch and plug, this fixture plugs into your wall socket and suspends from the wooden peg. A beautiful take on drape and drop lighting. Available in grey jumper; black; or black and white. www.dowsingandreynolds.com

Propeller Blossom features eight curved Tasmanian Eucalypt blades slotted into a custom central bracket, fixed into a Tasmanian Blackwood nose cone cover cap. Suspended from a cloth covered cord, E27 lamp fixture and black ceiling rose, the fixture is flat-packed for ease in transport and reduced impact on the environment. www.duncanmeerding.com.au

4. Marilyn 6 Elstead Lighting

5. Guest Faro Barcelona

6. Mini Taper Franklite

The Marilyn 6 chandelier is designed by Kichler and brought to the 220-240V markets through Elstead Lighting. The Marilyn range is modern in style with retro inspiration. Its juxtaposing finishes of polished nickel and matte black frame the clear seeded glass globes. Available in this range is a chandelier, single pendant and wall light. www.elsteadlighting.com

Designed by Andreu Carulla, Guest is a hybrid object that works as a lamp and bedside table, thereby reinventing the concept of lighitng and furniture. A base for books with inherent light functions to read them. Its shape reminds us of the letter G and its name invites the light, moment and the space to be shared. faro.es

The large and medium sized pendant glasses of the Taper range have now been joined by the new versatile Mini Taper glass.

Available in the same three finishes of copper, amber and smoked glass it can be mixed or matched in a series of three or five light drops. For larger interior spaces a 10 or 20 light sculpted feature can be created. franklite.co.uk

Giant Fuschia – Willowlamp: 2019 Entry, Art (Bespoke)

[d]arc awards, MC Motors, London 3 December 2020 NOW OPEN FOR ENTRIES Enter projects and products online at darcawards.com.

All entries are displayed online and will be voted on by independent designers making the [d]arc awards the only peer-to-peer awards in the lighting industry. Each company that enters will receive a free profile page in the [d]arc directory. So what are you waiting for? You may just be a winner‌ Entry deadline: 7th September 2020

www.darcawards.com

Organised by

In collaboration with

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1. Feathers Collection VISO

2. Ayno Midgard

3. Miira Collection Nuura

Meet Fred, Nancie, and Pablo – three lighting designs, including two table lamps and one floor lamp, that make up the new Feathers Collection. Deep tones and elegant details reflect precision balanced by effortless grace and beauty. Fred, Nancie, and Pablo stand strong on their own and collectively serve a powerful purpose. visoinc.com

With Ayno - the first design of a new Midgard lamp since the 1950s, Stefan Diez tests the boundaries of adjustable lighting. A central feature is a fiberglass rod, stretched to the bow by the luminaire cable. By sliding the two adjustment rings, the rod is bent into the desired position and the light is directed where needed. www.midgard.com

A new brass version has been added to the Miira Collection. Reflecting the light softly, the brass makes the delicate design curves stand out - the effect achieved thanks to a special anodised surface. The mouthblown opal white glass and reflective mouthblown optic glass complement the new brass surface to produce a classic Nordic appearance. www.nuura.com

4. Fractal Preciosa Lighting

5. Moonlight Quasar

6. Salt & Pepper WHO Edition Tobias Grau

The Fractal family features an industrial aesthetic inspired by nature. Metal branches and handcut crystal plates mirror natural motifs through a modular structure and reflecting patterns of crystal light.

The chandelier is available in five sizes, single solitaires are also available for a contemporary look in a smaller space. www.preciosalighting.com

Use as a single pendant or combine the two sizes to create your own imposing feature.

The ring is made of cast aluminium; while the outside is polished, the inside is untouched.

The material on the inside shows the skin of the mould and gives the fixture a soul. The ring is mounted to the canopy with two black subtile stiched leather belts. quasar.nl

With this limited WHO edition of Salt & Pepper, Tobias Grau will donate profits from each sale to the COVID-19 Solidarity Response Fund for WHO. A portable lamp that is touch-sensitive and features integrated warmDIM technology, it provides up to eight hours of light on full power, increasing up to 100 hours when dimmed. www.tobiasgrau.com

Noctambule – Flos: 2019 Winner, Kit (Decorative)

[d]arc awards, MC Motors, London 3 December 2020 NOW OPEN FOR ENTRIES Enter projects and products online at darcawards.com.

All entries are displayed online and will be voted on by independent designers making the [d]arc awards the only peer-to-peer awards in the lighting industry. Each company that enters will receive a free profile page in the [d]arc directory. So what are you waiting for? You may just be a winner‌ Entry deadline: 7th September 2020

www.darcawards.com

Organised by

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1. Camila 67 Weplight

2. Radial Willowlamp

3. Radiant Drop Swarovski

New from Weplight, the Camila 67 - made of flexible wood veneer - is a protagonist in itself with its own independent character. The texture and alternative finishes makes Camila 67 an original; with strong communicative value, high quality, functionality, resistant and lasting in time, it lives in every place, where it gives off its personality. www.weplight.com

Radial is an extension of Willowlamp's Lineal.

Inspired by the idea of creating a textured grid around a repetitive matrix of lights - adding chain in layers and in different finishes to add a richness and warm glow. The design is both decorative and understated at the same time - individuals can also decide on the intensity of light by adjusting the lamp source. www.willowlamp.com

Radiant Drop is composed of a single large Circle crystal designed by Tord Boontje suspended from the ceiling. An addition to the Luminous Reflections Collection for Swarovski, the Circle crystal has an unfaceted fluid surface that twists the light, creating rippling reflections like sunlight on water. www.swarovski-lighting.com

4. Fante by Stilnovo Linea Light Group

5. Keil Aerin

6. Chatter Schonbek

The EPDM printed rubber truncated cone, available in two colours, is combined with an E27 globe lamp, which is an integral part of the design project. Completed by placing the white painted aluminium lampshade on top of it, without the use of any joints or mechanisms, the light can be directed by moving the metal disc. www.linealight.com

Practical and stylish, the Keil light was originally inspired by mid-century modern design, and comes with a linen shade that emits a soft glow. It is easily moved to concentrate light exactly where it is needed, particularly in larger spaces. The perfect sconce to add character to a home office or study. www.aerin.com

Part of Schonbek's Contemporary Collection, the Chatter chandelier, is an eye-catching and classic piece with a modern structure. This chandelier is available in stainless steel or gold mirror, and can be adorned with either clear crystals from Swarovski or clear spectra crystals. www.schonbek.com

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7. Floating Series Segula

8. Veer SkLO

9. Purolinea 360 Sonneman - A Way of Light

Featuring the latest LED technology including the patented soft filament – the Floating Series is not only efficient and economical but also innovative in design. Fully dimmable, creating warm light colours in different glass variations, the fixture size ranges from small reflectors to large globes in stylish smoked glass with 200mm diameter. www.segula.de

The Veer pendant makes use of a fourarmed brass assembly, each ending in an individually lit handblown spherical glass diffuser. The arms are short and extend in different directions, creating a compact but organic composition. Available in two sizes of glass 11cm and 18cm diameters, and five different colours. www.sklo.com

A system of linear tubes set within the geometry of surface-mounted cylinder brackets that rotate individually to direct the illumination in 360º along their axis. Arranged in a linear pattern or along a single path, the possibilities for compositions are endless.

The system can transition between wall and ceiling mounting using corner connectors. www.sonnemanawayoflight.com

10. Kembleford Tekna

11. Q-Bot Tightrope

12. Ray Wave Murano Glass

Kembleford, one of Tekna's new lighting fixtures, is part of the Arton collection, which focuses on an audience that loves striking, unique design lighting. The dimmable pendant in brass, with glass outer and inner tube, is 154cm in length, with a projection of 74mm - the height at which the pendant hangs can be specified by the customer. www.tekna.be

This spider-like chandelier can work as a series of spotlights, downlights, and uplights using the ceiling as bounce for a diffuse light.

Made from brass and mild steel finished with eco-friendly black patina, the lights are fitted with brass swivels to position each light in any direction. Available as a four and six light configuration with dimmable LED sources. tightrope.nyc

Ray, designed byTerence Coton, is a lamp made of Murano glass encased in a metal box. The lantern can be used as a table lamp or floor lamp combining the modules with a magnetic system. The cone creates a play of lights and colour and is opaque with a vertical and transparent cut that reveals the underlying light. www.wavemuranoglass.com

ct re g r co in re rint a p es at e of d l Al t tim a

On Show A look ahead to forthcoming design shows during 2020 with a strong lighting element.

LIGHTOVATION •

DALLAS, USA

24 - 27 June 2020 (dallasmarketcenter.com)

096 | CALENDARC

CLERKENWELL DESIGN WEEK •

LONDON, UK

INDEX • DOHA, QATAR

14 - 16 July 2020 (www.clerkenwelldesignweek.com)

13 - 15 October 2020 (www.index-qatar.com)

CRUISE SHIP INTERIORS •

BIENNALE INTERIEUR • KORTRIJK, BELGIUM

MIAMI, USA

2 - 3 September 2020 (cruiseshipinteriors-expo.com)

22 - 26 October 2020 (interieur.be)

MAISON ET OBJET •

HONG KONG LIGHT FAIR •

PARIS, FRANCE

HONG KONG

4 – 8 September 2020 (www.maison-objet.com)

27 - 30 October 2020 (event.hktdc.com)

LONDON DESIGN FESTIVAL • LONDON, UK

BDNY • NEW YORK, USA

12 - 20 September 2020 (www.londondesignfestival.com)

8 - 9 November 2020 (www.bdny.com)

INDEX • DUBAI, UAE

DOWNTOWN DESIGN •

14 - 16 September 2020 (www.indexexhibition.com)

10 - 13 November 2020 (www.downtowndesign.com)

DESIGN LONDON • LONDON, UK

SLEEP + EAT •

16 - 19 September 2020 (www.designlondon.co.uk)

17 - 18 November 2020 (www.sleepandeatevent.com)

LIGHT + BUILDING • FRANKFURT, GERMANY

HIX •

27 September - 2 October 2020 (light-building.messefrankfurt.com)

19 - 20 November 2020 (hixevent.com)

DECOREX • LONDON, UK

[D]ARC AWARDS • LONDON, UK

11 - 14 October 2020 (www.decorex.com)

3 December 2020 (www.darcawards.com)

DUBAI, UAE

LONDON, UK

LONDON, UK

AD INDEX AND Light.......................................................... 74

Curiousa & Curiousa....................................... 79

Innermost. . ......................................................... 55

Archilume........................................................... 23

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[d]arc Awards............................................. 91, 93

Karboxx. . ............................................................. 19

Astro Lighting..................................................... 4

darc TV. . ................................................................ 2

Karice.................................................................. 43

Atrium/Flos . . ...................................................... 57

David Trubridge . . ............................................ IBC

Louis Poulsen................................................. 111

Bert Frank.......................................................... 60

Designheure...................................................... 67

Original BTC. . .................................................... 21

Blond................................................................... 81

Elstead Lighting. . .............................................. 51

Scabetti. . ............................................................. 71

Cameron Design House.. ................................ 66

Gabriel Scott................................................... 8-9

SkLO.................................................................... 31

Catellani & Smith............................................. 33

Hammerton Studio.......................................... 39

Tom Kirk Lighting............................................. 41

Cerno.. ................................................................. 73

Hubbardton Forge........................................... 85

Weplight............................................................. 37

Chelsom. . .......................................................... 6-7

INDEX & Workspace....................................... 97

INDEX 2020 Exprom 236x333-print.pdf

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INDEX DUBAI MAKES IT EASY FOR INTERIORS PROFESSIONALS TO FIND YOUR PRODUCTS The United Arab Emirates has USD$443Bn worth of projects currently in design & fit-out phase and requiring interior products and solutions. INDEX has been accelerating growth by enabling companies to access this high value market to meet this consistently growing demand for 30 years.

Exhibiting at INDEX from 14-16 September 2020 will ensure you make new connections and have immediate access to a flow of new leads and projects for the year ahead.

14 16 SEPTEMBER 2020

SHOWCASE YOUR SOLUTIONS TO 30,000+ DESIGNERS, CONTRACTORS AND REGIONAL DISTRIBUTORS THIS SEPTEMBER

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098 | IN FOCUS | EDITION 27 COLLECTION | GL ASS EFFECT

In Focus Edition 27 Collection - Chelsom Will Chelsom What is the concept behind Edition 27 Collection? Our main focus - as always - was to create innovative and beautiful lighting designs. Edition 27 shows an array of new wall lights, with the Glass Effect range being one of our favourites. The main concept was to focus on how we could create light effects on the wall and within different types of glass so that the sconces were not just about ambient light but also about the projection, pattern and play of light on surfaces and the refraction of light through different coloured and shaped glass. We have used some traditional components in totally different applications to achieve this light effect and one of the key features is that the glass can be fully interchangeable to create totally different results.

How long have you been working on the product for? The creation of a Chelsom catalogue takes around 18 months and different designs take different amounts of time to perfect within that period. The Glass Effect collection involved a lengthy prototyping period as we had to refine the shape, translucency and colour of all glasses used before we could make our final decisions on the collection.

Can you describe the design process and materials used? The main focus was to keep things simple. The overall design marries three key components: the brushed brass back plate, a mirror top E27 lamp and then the glass shades. The hero element is the glass itself, which comes from Italy’s Veneto region and in three designs: a flat deeply ribbed elliptical shape available in smoked, mirrored gold and opal; and then two styles of glass dish, one with built in concentric lines and one that is smooth.

They are finished in a Veneto crackle gold leaf to create a brilliantly intense golden light effect, which shines like the sun. The final shape is a clear bowl made from cross hatch glass that sparkles as the light refracts through it.

The mirror top lamps form the golden centrepiece for all designs.

What was the most challenging aspect of producing this product? As we developed the collection, we soon realised that the different colours and types of glass were going to manipulate the light in different ways. I had hoped that all glass types would blast the light reflections across the wall in the same way as the smoked glass version, but it became clear that we could create different types of light effect within the glass itself, so we decided to focus on that. The overall design intent evolved as we worked through the manufacturing and prototyping stage, resulting in an evermoving set of goal posts and endless opportunities. The challenge was narrowing down the options to form the final collection!

What makes the Glass Effect collection different? We haven't played with light effect as much as we have done in this range before, so this makes the collection truly stand out for us. I feel that because we are using traditional Italian glass in a totally innovative way, this makes the range different. The glass would have normally been used in traditional Venetian chandeliers and sconces but this modern application makes for a very different lighting product.

What kind of environment is this range suitable for? Given the neat size and the fact that there are an array of glass options to choose from, I feel that this range can be used in all sorts of applications. These are not subtle products by any means and they should be used to create powerful and striking light effects. Because of the pattern and reflection, I think these wall sconces will liven up a corridor superbly as they throw light across the walls. Equally the intense and vibrant colours and light effects will enhance any bar and restaurant interior. I would love to see the lights by the bed in a guestroom scheme. chelsom.co.uk

For Every Space, a Masterpiece Cloud Light - NEW! For indoor projects Kitset, Birch Plywood E27 LED Lamp x 2 davidtrubridge.com

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DISCOVERY SPACE Ernesto Gismondi

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15/01/20 19:03