darc 41

Decorative Lighting in Architecture #41 May / Jun 2021

2020 [d]arc awards | Flos | Coordinates Terme Di Saturnia Natural Destination Hotel | Fizi Collection | Outdoor Lighting | Americas Design Report | Oversized Lighting

Harvard Pendant

astrolighting.com

Sarah Cullen • Editor

Welcome to the May / June issue of darc, and my first as the official Editor of the magazine! It has been a wild past year for many reasons, but for me it was also a busy one keeping darc's Editor seat warm for Helen Ankers whilst she was on maternity leave. Upon her return in April, Helen has adjusted her role as the Managing Editor for both darc and arc magazines to a fulltime position. Not only will she continue to keep a watchful eye over myself and Matt (arc’s Editor), but she will also be playing an active role in our events moving forward, coordinating promotional materials and engagement, plus much, much more.

Helen was the Editor for darc magazine for more than six years and has grown the magazine to the outstanding publication it is today. As one of the most distinguished titles in the lighting industry, darc has become highly respected in the community as one of the best for inspiration, reference and news, and it continues to grow in presence and recognition.

I would like to say a massive thank you to both Helen and Paul James, [d]arc media’s Managing Director, for having the faith in me to take the reins of darc full time. I still have heaps to learn from Helen and we will continue to work closely together to deliver this beautiful publication to you in print and online.

Now, on to what we have inside this issue. On the cover, we are prolonging the celebrations of our [d]arc awards! Flos’ Coordinates, designed by Michael Anastassiades, took first place in the KIT – decorative lighting category. As part of our awards coverage, we take a closer look at the design details behind this winning product, plus coverage of all the winners in the decorative lighting categories. Check out the full review starting on p.41.

Further in this issue, we bring you two features – Outdoor lighting on p.29 and Oversized lighting on p.53. Both bring you some of the latest and greatest decorative solutions suited to the exterior and larger environments.

Our design report in this issue covers the Americas and features introductory comments from Canada, USA and Brazil, giving us an insight into the product, interior and lighting design industries across the region. We also cover the beautiful Oscars award ceremony design completed by David Rockwell of Rockwell Group, and a collection of project case studies and products from manufacturers of the Americas. Read the full report starting on p.59.

As well as these highlights, we also cover lots more with projects from Italy (p.12) and the UK (p.16) as well as Articolo’s Fizi collection in our Materials feature (p.22).

Cover: Coordinates

Michael Anastassiades, Flos

Welcome

BLOOM BY KARICE LIGHTING

KARICELIGHTING.COM

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Contents Regulars The Magazine 010 Focal Point | Private Residence | France Managing Editor | Helen Ankers h.ankers@mondiale.co.uk

022 Materials Feature | Articolo | Fizi Collection

+44 161 476 8372

082 In Focus | Duncan Meerding | Propeller Blossom

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

Projects

+44 161 476 9401 Media Sales Manager | Stephen Quiligotti s.quiligotti@mondiale.co.uk

012 Terme Di Saturnia Natural Destination Hotel The Tuscan Terme Di Saturnia Natural Destination hotel has received a fresh and luxurious updated design interior, bringing added sophistication to the resor t. darc finds out more from THDP's Founder, Manuela Mannino.

008 | INSIDE ISSUE 41

016 Party at the Mill The historically-influenced Par ty at the Mill is the latest instalment of cafes from The Roasting Par ty. With interior design completed in-house, the lighting design was provided by JPLD, who worked hard to incorporate historic and industrial features throughout with decorative lighting.

+44 7742 019213 Contributing Editor Matt Waring

Design Artwork | Dan Seaton d.seaton@mondiale.co.uk

Features

Editorial | Mel Capper m.capper@mondiale.co.uk

029 Outdoor Lighting With warmer weather heading our way, darc takes a closer look at some of the outdoor lighting solutions now available.

041 [d]arc awards 2020 winners review With the delays of the global pandemic putting a pause on our [d]arc awards par ty in December 2020, we moved the cermony online for a vir tual event this April. Here darc covers all of the winners in the decorative lighting categories, with an in-depth look at Flos' Coordinates fixture, which took first place in the KIT - decorative categor y.

053 Oversized Lighting Feature Providing offerings for specifically larger environments and individual design aesthetics, darc covers some the unique oversized lighting products available on today's market.

059 Design Report | Americas In this edition of the design reports, we cover the Americas, which includes Canada, the United States and South America. We have introductory comments provided by Mônica Luz Lobo, Christine Draefer of Brazil, Meyer Davis in USA, and Matthew McCormick of Canada. We also include David Rockwell's design for this year's Oscars ceremony held in Los Angeles, plus an array of project and product case studies from leading manufacturers in the region.

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

Proudly Supporting

#readinginthedarc

info@bover.es www.bover.es

Amphora | by Alex F. Camps, Gonzalo Milà

Garota | by Alex F. Camps, Gonzalo Milà

Sisal |

by Joana Bover

Atticus |

by Joana Bover

010 | FOCAL POINT

Focal Point Private Residence Saint-Tropez, France When the days get longer and the temperatures rise, we start looking for the right lighting to decorate our garden. Tekna had the opportunity to take a closer look at this beautiful private residence project and provide it with the ideal outdoor lighting pieces. Due to the home's luxurious and traditional aesthetic, complemented with southern influences, it was very important to match the lighting to this design. The goal was to create the right balance - whether you choose lighting as a focal point or as an add-on - the overall look should always be well balanced. Around the pool and dining area, Tekna's Montrose floor was chosen; a lantern that evokes many traditional aesthetics. The light is made of bronze, is fully handcrafted and resistant to all weather conditions.

Over the years, this dark bronze finish will take on a natural patina. www.tekna.be

011

012 | PROJECT | TERME DI SATURNI A N ATURAL DESTIN ATION

Idyllic Inspirations The Tuscan Terme Di Saturnia Natural Destination hotel has received a fresh and luxurious updated design interior, bringing added sophistication to the resort. darc finds out more from THDP's Founder, Manuela Mannino.

In 2020, design studio THDP completed the full interior design services for the refurbishment of the Terme Di Saturnia Natural Destination hotel in Tuscany, Italy.

Situated in the heart of the Tuscan countryside, the new-look hotel wanted to celebrate its beautiful surroundings with a design concept that has a focus on showcasing local finishes, crafts, forms and colours.

THDP was invited onto the project as a result of its international background and experience, and working across the guest rooms and public-facing areas, the studio was given an initial brief to “refresh and update the standards to the luxury level of the resort’s LHW (Leading Hotels of the World) affiliation”.

Manuela Mannino, Founder of THDP, tells darc: “In terms of interior design, the client wanted to ‘bring the water experience to the rooms’.

This briefing meant that we had to build an identity to the interior design experience, and we used light, colours and textures to create this feeling.

“It was a very precise briefing and we kept it to the end of the project, which is always a great thing, to be faithful to the initial concept.”

With the refurbishment covering both the guest rooms and public spaces, THDP sought to use its design, and in particular the role of the decorative light fittings, as a means of differentiating these various spaces. Mannino continues: “For the guest rooms, we mixed and matched existing lighting, where we updated the electrical parts

013

and refreshed the fabric shades. In the suites, we custom designed the lights, which were produced by Gomiero Lighting, a hospitality specialist.

“For the public spaces, we made a very special custom installation, comprised of clusters of spheric glass lights, which were crushed to replicate the type of reflection made by the nearby water on the surfaces and the walls. The result is really fascinating.”

Alongside these custom-made pieces from Gomiero, THDP also looked to add a contemporary feel to the hotel through a combination of bronze finishes by Il Fanale, and rattan outdoor lights by Bover Barcelona.

While Mannino cites the upgrades to the guest rooms and the

refurbished corridors as “stand out features from a guest point of view,” she particularly admires the welcoming feel created in the reception space.

“We made sure to work on the sense of arrival by focusing on a great selection of furniture and lighting features around the entrance area.

We also designed an artwork for the reception that looks like the waterfalls of the nearby Saturnia Mill, which is in distressed metals of different colours, from bronze to Verdigris, backlit with a very gentle LED strip of warm, 2200K light.”

Due to the sheer size of the Terme Di Saturnia Natural Destination resort, renovation work is still ongoing in some spaces, but Mannino believes that the experience gained in the initial refurbishment will

014 | PROJECT | TERME DI SATURNI A N ATURAL DESTIN ATION

make any additional work easier as a result. “It is a really large resort, and it was not possible to close such a project in only one phase, so as we are going back to check the final results, we can see new areas to develop. But now that we are really familiar with the space, it would be a lot easier for us to complete the project.”

Nevertheless, Mannino is very happy with the new design of the hotel, and particularly the role of the decorative lighting.

“It gives a soul to the space,” Mannino says. “It adds mood and personality, it’s like the words added to the music, and is certainly an essential part of the project.

“We are very proud of this project as it is such an iconic location in Italy, so we are very content with the result and the feedback from the guests. I would only have liked to have had more time during site visits to explore the wonderful villages in the Maremma and spent a few more weekends there!” www.thdpdesign.com

Design Details Terme Di Saturnia Natural Destination hotel, Tuscany, Italy Interior Design: THDP Lighting Specified: Bover Barcelona, Gomiero Lighting, Il Fanale, Talenti

The Terme Di Saturnia Natural Destination hotel is set in the idyllic Tuscan countryside. This nature played a pivotel role as inspiration for the interior design scheme

by THDP, which brought in the colours and textures from the surrounding environment. Carrying through the theme of bringing the water indoors was also key for the client to see throughout the living spaces and guestrooms.

THDP achieved this through various methods, but in particular through the decorative lighting pieces. A custom-designed pendant of crushed spheres above the reception desk was inspired by the reflections of nearby water on the walls and ceilings.

Sticks

Design by Arik Levy

BOUNDLESS SPACES Sticks, a creative toolkit for integrating lighting elements in an interior.

Pure and graphic, the minimalist aluminium rods transform linear light into floating sculpture, creating Boundless Spaces.

016 | PROJECT | PART Y AT THE MILL

English Cafe Express The historically-influenced Party at the Mill is the latest instalment of cafes from The Roasting Party. With interior design completed in-house, the lighting design was provided by JPLD, who worked hard to incorporate historic and industrial features throughout using decorative lighting.

Set in the historic town of Alresford in Hampshire, Party at the Mill is the first UK venture outside of London for Australian coffee connoisseurs Kirby Sinclair, Wesley Cusick and Ed Cutcliffe of The Roasting Party.

With decades of experience in the specialty coffee market in Australia, the Roasting Party are best known for their international coffee houses, colloquially known as “parties”. Holding production at the heart of everything they do, from selecting, blending and roasting the best coffee to supplying high-end boutique coffee shops across the UK, Party at the Mill steps out of the Big Smoke to provide a unique

experience in a stunning location in an old, converted mill next to the Watercress line steam railway.

With interior design carried out by the Roasting Party trio, James Poore Lighting Design (JPLD) was approached directly by Sinclair last year to create a lighting scheme fit for the historic building that fits into the desired 1930s French bistro vibe the team were aiming to create.

The project was already on a short time frame, but due to the unforeseen impacts of the global pandemic, the turn-around time became drastically reduced, and astonishingly the team at JPLD were

017

able to flip the project from concept to installation within two months.

James Poore, Founder of JPLD, caught up with darc to explain their involvement in the project and the challenges they faced in quick succession from joining the creative team. “The timescales were quite tight but we are used to working on quick projects so that didn’t faze us too much. The biggest difference was trying to operate in the pandemic and deliver a project on time with all the constraints and issues we faced,” he explains.

“Thankfully we had a wonderful client, an excellent contractor and all the suppliers really went the extra mile to turn orders around very

quickly and deliver on time.

“The brief remained fairly consistent throughout with very little deviation, partly due to the time-scales, but, largely down to the client’s consistent vision and concise brief from the outset.”

As Party at the Mill is housed in a leased building, this limited the amount of modifications the team could do to the structure, infrastructure and wiring.

“The location is in a converted mill building adjacent to the historic Watercress Railway Line in Alresford, Hampshire. So, a sense of place was therefore crucial to the scheme" continued Poore.

018 | PROJECT | PART Y AT THE MILL

“The client wanted a 1930s French cafe/bistro vibe and we wanted to take the 1930s context through to pick up on the age of steam from the adjacent historic railway line. We also wanted to nod to the industrial nature of the previous incarnation of the old mill building.”

Picking up on the influences of steam trains, the team chose wall lights that echoed the same style as those that would have been found in carriages in the 1930s. Using reeded glass shades also allowed the transmission of daylight throughout the space.

“We could not find the exact fitting we needed or had in mind. So, after talking to a number of manufacturers and explaining what we were trying to achieve, we selected fittings from Mullan Lighting that we customised by combining different arm and shade types and lamp holders with raised mounting plates to work with the surface mount conduit and wallplates,” explains Poore.

“Lamp choice and lumen output in the wall fittings was dictated by location with lower output, softer, warmer lamps over the customer seating areas and higher lumen output and separate switching over the serving counter and barista area.”

Then, picking up on the building’s industrial background, the team selected factory-style fittings as the main lighting features in the space.

“Again, we looked at a number of options here and one of the key factors was going to be the ability to tie in the decorative lighting.

We had worked with the client and picked a colour that we wanted to carry through the metal work of the wall and pendant fittings, so we selected further fittings from Mullan Lighting as they were able to paint the gooseneck arms of the wall lights and the outside casing and cage of the pendants in the same grey colour.

“As these fittings were going to be providing the majority of the light in the space, we selected a high output lamp source.

“As a final indulgence we contacted the wonderful team at Skinflint and selected a trio of prismatic railway lights salvaged from decommissioned signalling equipment in Hungary. In order to be able to achieve the specific light output we needed, we asked them to replace the lamp holder to be able to take a GU10 lamp and we used fittings from the Soraa range to achieve the beam angles, finished off

020 | PROJECT | PART Y AT THE MILL

with two metres of suspension chain, elephant grey braided cable and ceiling mounting plate.

“These stunning statement luminaires give a nod to both the industrial and railway heritage and give a wonderful talking point in the space,” he adds.

In the lower ceiling areas that were only suited to downlights, JPLD replaced the contractor-installed, off-the-shelf fittings, which were uncomfortable to look at and were unsympathetic to the new design.

“As we were trying to keep costs and building works to a minimum, the issue with a retrofit was going to be finding something that could fit in the large cut-outs already formed by the generic downlights. We were mindful of walking that fine line between selecting stunning decorative pieces that fitted with the vernacular and the Roasting Party’s unique style while also remaining cost effective.

“Fortunately, Orluna came up trumps here. Not only could we find fittings with the obligatory, deep, set back light source we could also install a honeycomb louvre to make them even more comfortable to view. The icing on the cake was the ability to select fittings from

the gorgeous looking Curve range, which smoothly swoop back up into the ceiling and the wide bezel fits perfectly across the oversized aperture left by the previous fittings.”

Overall, the project was a big success for both the Roasting Party team and JPLD, considering the setbacks created by the global pandemic, as Poore elaborates: “The biggest challenge was the elephant in the room, which has loomed over us all for the past 12-14 months. Carrying out site surveys, meetings, design reviews, design, supply, installation and commissioning were all affected by the COVID-19 pandemic and shifting lockdown restrictions both in the UK and globally.

“Socially distanced meetings, remote zoom calls, additional supply chain reviews prior to specification all became additional aspects of the project process.

“Fortunately, at JPLD, with many of our international projects we have extensive experience of working remotely on projects and holding meetings virtually. So, much of this was not new to us. The specification and supply of fittings was also an exercise in logistics

021

working out what would be available and in the tight time scales dictated.”

For the final impression of the decorative lighting and how well it worked in relation to the architectural lighting fixtures, both Poore and his clients were pleased with the outcome. “The decorative lighting really does give the space a character and an identity, and cements the sense of place.

“The choice of fitting types hints at the history and heritage without being slavish, while the feature pendants from Skinflint really pulls everything together.

“The client was really pleased with the end result and they have received some excellent feedback on the space even though they haven’t been able to open fully yet,” says Poore. “The only thing we would have liked to push more is the uplighting of the vault.

However, the modifications required to the fabric of the building and the additional budget needed to achieve this was not viable.” jpld.co.uk theroastingparty.co.uk

Design Details Party at the Mill, Alresford, UK Interior Design: The Roasting Party Lighting Design: JPLD Lighting Specified: Factorylux, Mullan Lighting, Original BTC, Orluna, Skinflint, Vexica, Weaver & Ducre.

Taking inspiration from both the building's historic industrial mill past as well as its proximity to a steam railway, the team at JPLD chose light fixtures that would incporporate an industrial feel. Using fixtures from Mullan Lighting, they could consistently keep the same industrial grey tones used throughout, and additions of unique railway lights from Skinflint helped to complete the look.

JPLD worked closely with The Roasting Party to create their design brief in a matter of two months, due to the time restrictions caused by the global pandemic.

022 | M ATERI ALS FOCUS | FIZI COLLECTION

Champagne Action Founder and Creative Director of Articolo, Nicci Green, caught up with darc Editor Sarah Cullen to give more of an insight into the creation of the Fizi collection and its inspirations.

Exemplifying the truly individual nature of mouth-blown glass, the Fizi Collection, by Australian lighting design studio Articolo, represents the effervescence of light.

Explored across a range of forms – from wall sconce to table lamp and pendant – Fizi is the purest expression of the art of light to emerge from Articolo’s workshop.

“The Fizi collection is a mesmerising explosion of bubbles in champagne-esque effervescence. The design was inspired by a collection of my late grandmother's paperweights that she gifted me when I was a child,” explains Articolo's Founder and Creative Director,

Nicci Green. “I love the artisanal nature and nuances of mouth-blown glass and solid metals. The Fizi collection encapsulates this wonder, but it’s also incredibly technical to achieve. Working with our artisan glassblowers to perfect the desired finish has been a long journey with much trial and error. I can’t reveal the exact methodology as that’s something very close to our hearts, however what I can say is no two Fizi balls are ever the same and every piece is made by artisans’ hands and to order.”

Reminiscent of the glass paperweights, the made-to-order Fizi collection comes in both glass spherical orbs and as flattened

023

024 | M ATERI ALS FOCUS | FIZI COLLECTION

Technical mechanisms Collaborating closely with local glassblower artisans, the final designs of Fizi were the result of lots of trial and error to perfect the desired bubbled effect.

Images: Top Left, Sharyn Cairns; Bottom Left & Far Right, Sirap Film

025

026 | M ATERI ALS FOCUS | FIZI COLLECTION

Sketch: Nicci Green

Image: Sharyn Cairns

oblongs of glass, each with a core of champagne-toned bubbled glass. The wall sconces, pendants and table lamps are completed with varying available finishes in brass, polished nickel, bronze, black electroplate and natural stones.

“The unpredictable nature and intricacies of mouth-blown glass means the organic shape of each piece within the Fizi Collection is completely one-of-akind,” adds Green. “This beautiful reality means each piece is genuinely unique, casting a shadow on the world as unique as its owner. A bespoke light artwork in itself.”

Suitable for abundant applications across residential and commercial settings, the Fizi collection’s unique bubble detail creates breathtaking shadow play when illuminated, creating an artform from within itself, like a piece of wall or ceiling jewellery.

“The Fizi Ball is one of our Articolo signature collections. The Fizi bubble detailing is impossible to replicate, it represents true light art, or as we know it, ‘art of light’. The design is representative of our commitment to artisanal craft and mouthblown glass,” says Green. “I love shadow play, how ambience is achieved and controlled in the contrast of light and dark.” articololighting.com

Artist Images (L&R): Alex Watson

The Fizi collection, inspired by the designer's grandmother's glass paperweights, is a unique series of handblown glass lights. Each made-to-order product contains a one-of-a-kind bubbled effect that ensures each light is an individual artistic expression that emits a beautiful shadow play in its setting.

a company of Quadrifoglio Group

karboxx.com

STARLIGHT design by Serena Papait

STUMP

Photography © Jan Dallas

TABLE - LIGHT - STOOL

INFO@DUNCANMEERDING.COM.AU WWW.DUNCANMEERDING.COM.AU

Oppulant Outdoors

Gränbystaden Uppsala, Sweden 029 | OUTDOOR LIGHTING FOCUS

The main street through Gränbystaden is a pedestrian street situated between a large commercial building and three small blocks of residential buildings. The street section varies in width giving it both the feel of a narrow road between high façades as well as that of an open square. The space is used by both visitors to the shopping centre but also daily by the residents in the buildings next to it. The space should be exciting for people visiting as well as relaxed for those living nearby, and one of the main design challenges was to make it feel inviting as opposed to deserted when there are only a few or no people present.

Lighting design was completed by Sweco architects for the exterior pedestrian street. Catenary lighting was decided on at an early stage as it maximised the useable space of the street as well as providing a canopy to the perspective – favouring the impression of a street over that of an open square. Inspiration for the layout and choice of lighting fixture came from two other projects in Stockholm – a street, Jakobsbergsgatan, and a square, Mariatorget. Both feature Zero Lighting’s Brass fixtures, which the lighting specifiers saw had the qualities they were looking for when it came to light distribution and visual impression of the luminaire.

“We wanted to break up the space by introducing a visible and balanced variation in contrast to make the lighting feel more natural – shading but not shadows,” say designers Per-Henrik Branzell of Sweco and Anastasia Iliadou, formerly of Sweco now Light Bureau. “The luminaire should have a large volume, with low wind sensitivity, and emit a visible glow to increase the impression of a canopy. We also took into consideration the daylight appearance in that we favored a fixture with a more visible daylight interaction.”

The resulting installation is one with a soft surrounding light on façades and people but with pools of light underneath the fixtures melting into each other. Overall, the products themselves give off a warm glow that blends well with both the wood and brick façades. www.zerolighting.com

030 | OUTDOOR LIGHTING FOCUS

Private Residence Warwickshire, UK

Offering original archive designs of quality and authenticity, heritage manufacturer Davey Lighting provides a beautiful catalogue of unprocessed, characterful lighting with a story to tell.

Founded in the shipyards of nineteenth century London, Davey Lighting ’s IP43+ rated exterior lights are manufactured in the UK with the same attention to detail required for its original industrial purpose, with a timeless aesthetic equally suited to traditional and contemporary homes.

From rugged, weathered brass industrial bulkheads and bracket lights straight from the brand’s archives, to box wall lights and exterior box pendants, there’s something to suit all schemes.

As seen at this Georgian country estate in the heart of Warwickshire, being renovated and

restored by Dean Poulton and Borja De Maqua of @mytinyestate on Instagram, the Davey Lighting outdoor fixture choices were selected for their historically-influenced finishes, ensuring the styles remained in-keeping with the house’s traditional aesthetics. Pictured here are the Exterior Bracket Light with swan neck in black, the galvanised Exterior Bracket Light, and the Ship’s Small Decklight in weathered brass.

Davey Lighting’s hand-crafted traditional ship’s lights were designed to withstand extreme conditions, making them particularly suited to inclement weather. Natural materials with interesting patinas such as weathered bronze, copper and brass are low maintenance, age well and weather beautifully. www.originalbtc.com Images: @mytinyestate

032 | OUTDOOR LIGHTING FOCUS

Fuglevangsvej Horsens, Denmark

Providing a glare-free downward light that lands softly on the terrace, the Flindt Bollard, designed by Christian Flindt for Louis Poulsen forms part of a complete lighting design at Fuglevangsvej in Horsens, Denmark.

Defining the outdoor space in an appealing way, the Flindt Bollard has been placed elegantly on the terrace to create a pleasant ambience against dark winter afternoons, while in the summer, the bollard can be used to prolong an evening on the terrace with colleagues or customers.

At the start of the project, the building had not been altered since its construction back in 1977. The renovation of the building has included the exposure of roof structures, new façades with new entrances and new surfaces throughout. The project includes both a new company headquarters and production facilities.

The project architecture is simple, rough and industrial. The building has features such as visible steel rafters, and the idea was that lighting should be used to supplement and consolidate each element.

Christian Flindt explains how all of his light fixtures for Louis Poulsen have evolved out of a single cut and how he first came to work with the brand: “For the first eight years of my professional life, I mostly focused on furniture and over the past eight years, I have been focusing on lighting design. When I started designing I was using clay a lot. When you design a chair, it is a fantastic material for testing

functionality, shapes and forms. I spoke to Louis Poulsen one of the first times I exhibited at Bella Center in Copenhagen. They said that they could see I concentrated on furniture, but that they liked the way I worked with materials and textures. ‘Maybe you could develop a lamp for us?’, they asked. I think it took me about five years before I got my head around it. It was a big leap, and I could not figure out how to work with light – it was just so different compared to designing furniture.

“When a company asks me to design a product for them, I try to understand what they are about. For Louis Poulsen, Poul Henningsen is kind of the godfather of light. He created all these lamps with a lot of very thin metal shades that reflect the light and are positioned in such a way that you avoid glare. I try to keep it simple. I see the Flindt lamps as very simple shapes, I make a cut through them and then the light comes out. It really depends on how you make the cut and how it then renders natural daylight, but also how artificial light is emitted and how it is cast on the ground. So, for me, there is an endless investigation into just taking simple shapes and cutting them. As for the cutting, I started out using small sticks, cylinders and cardboard tubes, and I made these cuts to find out how they work, how much I could get out of something so simple.” www.louispoulsen.com www.christianflindt.com

PILLAR COLLECTION

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Unique Timeless Lighting, Handmade in England Authenticity, attention to detail and an interesting mix of materials are hallmarks of our lights. These are created by skilled craftspeople across our UK-based factories, using the best quality raw materials to ensure the longevity of every light.

Discover the complete collection at originalbtc.com

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034 | OUTDOOR LIGHTING FOCUS

Private Residence London, UK

Situated in North London, J Adams & Co’s client Bianca Hall was renovating her garden and terrace and wanted outdoor lighting for the rear garden wall. Choosing the Ash medium lantern wall light in the manufacturer’s contemporary bronze finish, the trio of lanterns were installed in a row across the boundary wall.

With the client adverse to interfering with the brick work, J Adams & Co created a bespoke machined aluminium conduit mounting box in textured black finish, with the Hall choosing fluted glass, which is the newest addition to the lantern range. Alongside clear and frosted glass options, the new vertically fluted glass option provides a more architectural feel, diffracting the dimmable 93CRI filament LED lamps the brand supplies as standard with all the lights in its lantern collection.

Constructed from solid brass, each Ash Lantern light is meticulously made by hand in J Adams & Co’s UK factory using a combination of

traditional hand tools and modern machinery.

Cut from flat sheets of brass, each piece is hand-folded then skilfully silver-soldered. The frames are glazed using special brass beading, and then satin-polished before being dipped and waxed to give the perfect surface finish.

Finally, each light is hand wired using bespoke machined brass lamp hardware.

IP44-rated, the Ash Lantern collection is suitable for exterior and bathroom use and is ideal for hallways, stairwells, porches, and gardens.

Reflecting on the project, J Adams & Co tells darc: “Bianca Hall loves the smart, contemporary look the lanterns add to the refurbished space and the warm magical feel that the lanterns cast, illuminating the garden space in the evenings with a soft functional, but not obtrusive light.” jadamsandco.com Image: Bianca Hall

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036 | OUTDOOR LIGHTING FOCUS

Private Residence South of France

This beautiful private residential terrace can be found in the magical south of France, bordering picturesque hilly landscapes and lavender fields.

To enjoy the warm summer evenings, the client chose battery-operated table lighting from Tekna. Lighting plays a crucial role in helping to set the perfect mood and surrounding atmosphere, pictured in this project is Minor, part of Tekna’s Arton Collection. Made from brass, with finishes in dark bronze and distressed brass, the battery operated light fixture has a lifespan of seven hours making it ideal for enjoying the summer evenings. Inspired by the Art Deco movement, Minor also offers a handle in a t-shape or drop shape. www.tekna.be

INTRODUCING OUR NEW STATE-OF-THE-ART STUDIO. A SPACE WHERE YOU CAN COLLABORATE WITH OUR DESIGNERS.

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info@dernier-hamlyn.com​ www.dernier-hamlyn.com

038 | OUTDOOR LIGHTING FOCUS

Government House Sydney, Australia

In central Sydney, near the famed Opera House, stands the city’s 175-yearold Government House. The official residence of the Governor of New South Wales, Government House holds an impressive collection of historical paintings, furniture, and decorative arts from Australia’s colonial period.

Beyond its state rooms, Government House’s extensive gardens offer an additional attraction for visitors. Leading landscape architect Jane Irwin recently redesigned the Eastern Terrace there, lending a more contemporary and wild look to the grounds. Almost 3,000 new plants were added, loosely grouped by colour in three beds, with an emphasis on native Australian flora. The project also opened up a clear view across the lawns, reconnecting the House to the harbour and sea beyond.

Along with new stone pavers and a restored fountain that set off the redesigned gardens, Irwin installed Vibia’s Bamboo fixtures to illuminate walkways and highlight specific plantings. Designed by Antoni Arola and Enric Rodriguez, the lamps are composed of slender stalks studded with LEDs, reminiscent of their namesake plant.

The organic profile perfectly integrates into the gardens in both form and finish, an unobtrusive accent positioned symmetrically opposite one another. During the day the fixtures double as another landscape feature; at night they cast a warm wash of light like natural haloes illuminating the gardens. www.vibia.com Images: Jackie Chan

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THE L ANTERN COLLEC TION Made by hand in the UK

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041 | [D]ARC AWARDS 202 REVIEW | COORDIN ATES

Cubic Configurations The winner at the 2020 [d]arc awards for Best Decorative Lighting Fixture was Coordinates from Flos, designed by Michael Anastassiades. darc finds out more behind the design.

Image: Santi Caleca

Originally created for New York’s legendary Four Seasons restaurant, Coordinates by Michael Anastassiades features a series of interlocking linear LED luminaires that take their formal inspiration from the mathematical precision of the Cartesian grid, illuminated and expanded to three dimensions.

Coordinates is available in a broad array of set configurations, including four suspended chandeliers of different sizes and three ceiling-mounted luminaires, available in two lengths to suit both standard and high ceilings. The collection also features a repeatable module that can be suspended, or ceiling mounted, ideally suited to large-scale installations.

The range is completed by a vertical floor lamp featuring a simple

round base and two light bars, which can be set at the preferred beam angle during assembly.

Speaking of his winning product, Anastassiades says: “[Something] that I like to explore in a lot of my Flos products, which started with String Lights, is that sense of the gesture of handing creativity back to the user. With Coordinates it’s this idea that you can actually create all these compositions by combining these different elements when creating larger units that suit your own needs. This is what people like, very much - is this idea, the opportunity - to personalise something to make it theirs.

“Because that way they're more in a position to consume it. So, I didn't do it from a consumption kind of point of view… I did it more as a

Image: Tommaso Sartori

042 | [D]ARC AWARDS 202 REVIEW | COORDIN ATES

Technical drawings With inspirations based on mathematical properties, the Coordinates collection is available in numerous configurations, designed with linear luminaires in both horizontal and vertical positions. The final product allows designers the flexibility, to a degree, to create their own artistic impressions suitable for their applications.

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Images Above & Below: Tommaso Sartori

Image: Ben Murphy

gesture as a designer because usually designers like to control everything.

“So, I continued the exploration of this gesture later on through Arrangements, which is the other collection that I designed for Flos, where you have all these geometric links that you could touch and form this vertical chandelier of illuminated geometric shapes. And then later on it kind of became Coordinates. The idea of this grid somehow being able to create these vertical, horizontal arrangements - it’s like the gesture of touching with a pencil, or in a sense of shading in an area I would like to illuminate but doing it in three dimensions.”

He adds: “By combining - there isn’t an overwhelming level of freedom that you have there, but at least the possibility of being able to put things, align things, and create larger areas through the different modules is a great thing to have.”

Coordinates is made from extruded aluminium with an anodised champagne finish, and an opal-white platinic silicone diffuser. The LED light strips used are available in 2700K, CRI 95, and are dimmable with a choice of protocols including Push, DALI and 0-10V. This collection, as Anastassiades explained, offers a flexible yet formally rigorous solution for a diverse range of applications for indoor environments.

“Coordinates is a lighting system consisting of horizontal and vertical strip lights that form illuminated grid-like structures of various complexities. In addition to bespoke solutions, the Coordinates standard collection includes a series of pareddown configurations of chandeliers that can be used in any setting,” the designer concludes. flos.com michaelanastassiades.com

Image: Santi Caleca

Coordinates for Flos by Michael Anastassiades is the winner of the KIT - Decorative 2020 [d]arc award. The geometric, mathematically-inspired configurations give designers a vast selection of chandelier options for indoor applications, as well as a floor lamp option that completes the collection.

Nordic Collection

Decorative pendants

We are extremely proud to present two Luxo families receiving the Red Dot design award in the product design category.

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is movement

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KIT: TOP TEN DECORATIVE LIGHTING PRODUCTS

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2nd Place: Yayo Islada Lighting Pictured is a prototype for the table version of Yayo. Made with a slim and robust lacquered stainless steel structure that holds a linear LED light source, which is embraced by a wide matte curved aluminium shade that reflects light back, and at the same time projects a captivating organic pattern on the surface behind the object. Yayo is the result of a collaboration between two international lighting designers, Lalio Penev and Nora Imaz, who met in Stockholm while working on their Master's degrees at KTH. “Multiple shadows were seen as something negative, and this is where we saw the beauty.

The opportunity of creating something different, a reason to produce a new luminaire range in our already overloaded market,” says Nora Imaz.

3rd Place: Last Order Flos This small, exquisite table lamp is portable, rechargeable and has been designed for use both indoors and outside. Designed for Flos by Michael Anastassiades, Last Order is an evolution of his bespoke table lamp created for the Four Seasons restaurant in New York when it relocated and reopened in 2018. Last Order diffuses its LED light through an elegant clear crystal base that is available in two designs – smooth for a simple minimal finish and fluted, referencing ancient Greek columns. The top, which discreetly houses the light source comes in four attractive and contemporary finishes – satin copper and brass for the indoor version, polished steel and matte green for the outdoor model. The light source is 2.5W LED delivering 200lm at 2700K with a CRI value of 90.

4th Place: Cleardrops Dan Heap Cleardrops is a bespoke series of jewel-like cast resin pendants in two sizes created for a private residential project in Ibiza. The idea was that these clear jewels would hang in the trees and catch the sun by day and then illuminate the terrace via a 2200K concealed LED light source, delivering different sized pools of light depending on their hanging height. The body of each fitting is cast in optically clear resin and shells or grasses are set in by hand at this stage.

A thread is then turned on to the top of each to allow the lighting element to be attached. The top section, made by Stoane Lighting, contains a 2200K Cree XPE 1.45W emitter mounted on a heat sink and set within a hand turned brass cap, the cable is secured by a hidden IP67 cable gland. The brass is left in its raw state to allow it to patinate and blend with the tree bark.

5th Place: Apex Neoz Lighting Apex is a lamp body that is precision-milled from solid brass or aluminium alloy and mechanically joined via a clear acrylic machined tube to an internal injection-moulded form. Its robust construction ensures the Apex can tolerate everyday handling for many years. The lamp has only mechanical fixings and is therefore simple to repair, upgrade, or recycle.

In the event a part replacement is required, the lamp can be easily disassembled without any tools by the user to ensure product longevity. The Apex features Neoz’s time-tested cordless lamp control unit with a commercial ready recharging docking system that can cater for up to 48 lamps. The lamp is fitted with a custom-made slim-profile disc LED to provide dimmable 2600K, 94+ CRI, 100 lumens+ illuminations.

The delicate, freestanding luminaire represents the perfect blend of material and colour. It combines outstanding quality of workmanship and light, intuitive control and extraordinary features such as colour tune in one graceful, curved design.

The characteristic, circular head floats elegant and effortless above the furniture as if weightless on the tapered, minimalist carbon body. Mito largo can be switched on/off and dimmed at the head of the luminaire using touchless gesture control.

The up/down fading function lets light spread continuously between uplight and downlight. Alternatively, the Occhio air app or air controller with Bluetooth provide maximum ease of use. A new feature: colour tune lets the colour temperature be adjusted according to the situation.

7th Place: Blossom Series Lladró Lladró launched Blossom in the autumn of 2020. Nature is an endless source of inspiration for Lladró, and this collection of lights resembles the moment in time when flowers begin to open when bathed in the first rays of sunlight. Reminiscent of organic elements and an exquisite yet contemporary approach, Blossom celebrates the subtle dance of petals and the timeless beauty of nature while taking full advantage of the qualities of LED technology to release a magnetic flow of light and convey depth. The Blossom pendant lamp (43cm x 320cm), the floor lamp (48cm x 165cm high) and the wall light (36cm x 18cm) combine the white of porcelain with a gloss finish with touches of golden lustre and in Spring 2021, a new pink finish for the ceiling and floor versions.

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6th Place: Mito Largo Occhio

KIT: TOP TEN DECORATIVE LIGHTING PRODUCTS

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8th Place: Bonbori Outdoor Brokis The first outdoor lighting collection in the Brokis portfolio, Bonbori was created by world-renowned Japanese designer Fumie Shibata, who took inspiration from the traditional paper lamps that line the paths to shrines and temples during the annual paddy harvest festivals in Japan. Manufactured in compliance with the IP44 rating for outdoor use, Bonbori makes use of a simple stainless-steel base finished in an environmentally friendly weather-resistant powder coating.

The easily removable LED light source, which can withstand below-freezing temperatures, casts a gentle glow through a diffusor and laser-cut openings in the stainless steel. The likeness to the traditional bonbori lamp is achieved with an elegant handblown glass shade, an extraordinary piece crafted from multiple layers of carefully moulded glass.

9th Place: Lambda Teúkhō The Teúkhō Lambda fossil oak lamp is the product of the extraordinary and unique Garzitto family timber business in Italy. Lambda, conceived in cooperation with product designer Luca Degano, takes its name from the homonymous Greek letter “λ”, used to this day to denote wavelength. The lamp, and light embedded within its core, effortlessly follow the natural shape of the sinusoid undulations created by a wavelength. Contemporary in design, each piece of fossilised oak is entirely unique and finished by hand. At 46cm x 26cm x10cm Lambda presents a quiet yet absolute authority suited to any living space, from residential environments to hotels, high end offices and boardrooms.

10th Place: Flask system Copper The Flask system is an evolution in bespoke illumination via a highly modular set of components, a modifiable luminaire, and an efficient made-to-order process. The system allows near limitless possibilities of architectural illumination. Copper created more than a product, but a process that enables controlled bespoke outcomes and client collaboration, whilst challenging industrialised production and supporting the resurgence of localised manufacturing in Australia.

A collaborative process with its local scientific glass blower allows the glass flasks to be customisable in numerous shapes and sizes, and over 47 colours and glass materials.

www.tekna.be

MONTROSE FLOOR IN DARK BRONZE - NAUTIC COLLECTION

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ART: TOP THREE BESPOKE LIGHT INSTALLATIONS

1st Place: Carousel of Light, Italy Preciosa Together with architects Vasku & Klug, Czech Republic-based lighting brand Preciosa created an interactive, sensory-based lighting piece that emphasises its signature joy for light, which guided visitors on a design journey.

Launched at the 2019 edition of Euroluce, the installation Carousel of Light from is a playful immersion into light.

Preciosa creates lighting with emotion, lighting that connects people, refined from its cultivation of the past, and to emphasise the idea of the joy of light, visitors to Carousel of Light were guided through a sensory design journey.

Composed of nearly 8,000 spheres in opal, amber, clear and pink

frosted hues, stretching eight-metres in diameter, the spheres were hung in groups of four, totalling almost 2,000 suspensions altogether.

As the visitor wandered through the strings of pearls, the lights above illuminated, fading away as they move through. The carousel’s platform slowly rotated, creating a shared experience for everyone discovering the installation. Visitors could choose to walk through on their own, or allow the carousel to move them through the lights.

And of course, no carousel would be complete without horses.

Visitors could ride the horses, creating a whole new experience for themselves and their fellow passengers. www.preciosa.com

2nd Place: Copenhagen Panorama, Denmark fortheloveoflight & JAC Studios Located at the very top of the Museum of Copenhagen, the Copenhagen Panorama installation offers a very different, serene, and tactile experience of Copenhagen.

Designed by architects JAC Studios, the installation features two component horizontal lighting elements by fortheloveoflight, a data wall by dark matters, and a 23sqm model of Copenhagen casted in jesmonite that reacts to Lazerlight.

The Copenhagen Panorama is a poetic universe that speaks to all

senses. A universe, where the city’s heartbeat and life unfold through a play of light, laser projections, animations, as well as a dynamic soundscape of a 24-hour cycle in Copenhagen. Surrounded by the city’s panoramic horizon, visitors can gather around the elaborate elliptical casted model of Copenhagen’s centre.

The oval model is surrounded by the panorama wall consisting of 32 embossed panels giving depth and a soft feel to the horizon.

The panorama wall includes two dynamic lighting solutions that have different functions. The integrated top-light references the daylight and is bathing the central model in diffuse cool daylight. The integrated horizon light mimics the low evening or early morning sun, grazes the model and sculpts the façades of the model's buildings.

The total experience is condensed into a 24-minute multi-sensory experience including data-wall, laser light and integrated artifcial panorama light. During these 24 minutes, the room evolves to support the cycle. The panorama wall that frames the room changes through a series of lightscapes, each based on Scandinavia’s unique daylight. Just as life in Copenhagen has always taken place in the long bright evenings and low crisp winter sun, the Copenhagen model lives in these same lighting scenarios – recreated in an abstract form.

A mirroring disc above the model extends the visitor’s experience to multiple perspectives. The disc conceals eight lasers and 12 DMXcontrollable pin-spots. These can be activated by visitors from a button panel, highlighting landmarks and revealing historical layers of information about the expansion of the city over time. The lighting in the space is constantly changing and everything is controlled through 16 bit DMX allowing for smooth fades. www.fortheloveoflight.dk

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3rd Place: Capella Basket, USA Jason Krugman Studio Inspired by the “wiring” of organic creatures, Jason Krugman’s Capella Basket sculpture uses a new electrical medium to route energy through space. The sculpture is a centerpiece for Capella Tower, a class A office tower in downtown Minneapolis. From its hang-point 70ft in the air, the artwork floats centrally in the large glass-walled atrium. Viewers are able to get a 270º view from the mezzanine and peer straight up and through from the floor below.

Although massive in its dimensions of 22in x 22in x 17in, the artwork is mostly empty space. Its primarily constructed from fiberglass circuit boards designed around a patented three-layer circuit

connector. This unique circuit system uses concentric circles of goldplated copper pressed against one another to create stable, multifaceted electrical connections. Over 10,000 boards are connected to form one, giant, electrical circuit. Low voltage power flows through the sculpture’s surface to the main attraction: 2,000 custom 2in LED lights Krugman designed specifically for this project. The intricate grid of lights describes a rolling toroidal form that transitions from a flat surface at its lowest point to a full tube at its top.

To create the sculpture’s unique shape, a rectangular sheet of circuit boards was meticulously assembled into a 1000sqft mesh using small hand tools. The mesh was then carefully mounted onto a minimal aluminium frame, much like the hull of a ship. The resulting shape resembles a diatomaceous skeleton or a roiling smoke ring.

During assembly, Krugman’s team developed a technique for viewing the sculpture with a thermal camera to locate and eliminate any short-circuits caused by misplaced or damaged circuit boards.

Capella Basket is a 10-times scale version of an original 2ft-diameter Basket sculpture the artist developed in 2009 and Krugman has been exploring electrical meshes and novel building techniques since.

Nearly every project presents fascinating electrical and geometric problems. Often, the solution involves inventing new tools and jigs to ensure everything lines up and elegantly connects. His ongoing goal is to allow the multitude of lights to float softly in space, describing a form but without the distraction of a heavy structure or obtrusive wiring. Like much of Krugman’s body of work, the medium is as much the artwork as its final form. Taking artistic cues from natural forms provides Krugman’s work with a unity of design rooted in the minimalist efficiency of natural objects. jasonkrugman.com

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053 | OVERSIZED LIGHTING

The Big And The Bold Valeo Cerno Designed by Cerno co-founder and designer Nick Sheridan, the Valeo oversized floor light fixture comes in at a staggering maximum height of 8ft. When reaching such a distance with a fixture, it is important that it feels visually efficient in its form but that it is still far from fragile, inviting people to linger underneath.

The adjustability in the reach and height of the shade make it possible to custom fit the piece to its surroundings, which is an important characteristic for such a large piece.

Making use of solid wood and metal with a linen shade, the Valeo is dimmable and offers a light output of 800lms, light colour of 2700K, with 90+ CRI and uses 11W of power. Weighing 95lb, the fixture also includes a 72in clear silver cord with in-line foot switch, 24in from the base and uses a medium base E26 socket. cernogroup.com

054 | OVERSIZED LIGHTING

HC Tavern + Kitchen Indiana, USA

American custom lighting manufacturer Hammerton was recently commissioned to create a series of fixtures for the newly opened HC Tavern + Kitchen near Indianapolis, Indiana. Described as an American grill “with a splash of sophisticate sexiness”, the expansive restaurant required several oversized lighting installations, including a signature statement piece that would punctuate the two-story entrance.

The client, Phanomen Design, was intrigued with the geometry of Hammerton’s popular ‘Hedra’ blown glass design yet recognised the need for a more durable damp-rated solution that would accommodate the massive scale of the exterior entry. Minimising the visual weight of the fixture and weather resistance were two additional concerns.

“The ‘dirty little secret’ about exterior decorative lighting is that it rarely looks as good as the day it’s installed,” says Hammerton President Bill Shott. “The reality is that climate factors like sun and salt can cause fading and corrosion to quickly take hold, often in just one season.”

Hammerton uses a three-step process certified by the American Architectural Manufacturer’s Association (AAMA) to resist the damaging effects of UV rays, ocean

air, humidity and extreme temperatures, even in harsh climates. “First we fabricate in aluminum, which is a naturally corrosion resistant material,” explains Shott. “Second, we pretreat with a marine-grade coating that inhibits oxidation. Finally, we use AAMA 2604-rated powder coats, which are super durable polyester resins formulated to provide superior protection against UV, weathering and corrosion.”

Phanomen Design specified aluminium construction along with the AAMA 2604-rated exterior powder coat finish to ensure long-lasting protection against the elements. Using the Hedra as inspiration, the Hammerton team echoed the blown glass shape in five hexagonal pendants at HC Tavern + Kitchen, each 122cm in height, and playfully grouped them in an asymmetrical assemblage that towers above the main entrance doors. Woven fine mesh paneling lends airy weightlessness and urban sophistication to the overall installation.

Commenting on the project, Phanomen Design said: “Specifying custom lighting can be a challenging process, but Hammerton made it easy and the results speak for themselves.” www.hammerton.com

The Langley, a Luxury Collection Hotel in Buckinghamshire, combines historic legacy and contemporary style.

Originally built for the third Duke of Marlborough in 1756, Dennis Irvine Studio set out to restore this majestic building to its former glory, protecting its listed building status and resurrecting its place in British history.

The timeless luxury interiors encompass modern sensibilities and aspirations with an understated aesthetic and reference the grandeur of a very distinctive British heritage.

Lighting required similar high quality, attention to detail and a deep appreciation of Britishness and what that means. Having worked with Dernier & Hamlyn on several projects previously, Dennis Irvine selected the studio for this demanding commission, confident that it would rise to the challenges that it presented.

The statement chandelier that highlights the impactful entrance of The Langley’s reception comprises 221 curved arms made in solid brass and hand finished in antique brass in Dernier & Hamlyn’s London factory. Each arm has been fitted with a handmade glass spear, each hand cut to form facets to either side to provide playful reference to the hotel’s setting as a former royal hunting ground.

The fantastic chandelier, also made in Dernier

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The Langley Slough, UK

& Hamlyn’s London factory, which adorns the hotel’s Drawing Room comprises hundreds of metres of swags of differing lengths, embellished with individually positioned handcut crystal balls, fixed to a brass frame almost two-metres high, exuding luxury for this special part of the hotel.

The third chandelier the studio’s craftsmen created was for the hotel’s private dining room and is made of antique brass, which has been fitted by hand with some 824 solid glass rods to express an undulating organic flow.

Elsewhere, Dernier & Hamlyn made lighting for the hotel’s main guest bedrooms, which was inspired by foliage in the hotel’s grounds and surrounding countryside, with antique bronze leaves and porcelain English rosebuds.

Dennis Irvine says: “We’ve commissioned Dernier & Hamlyn for hospitality and residential projects around the world. We like working with them because they are always innovative and help us create the bespoke lighting of the highest quality that meets the brief and the clients’ requirements while staying within budget. Their work for The Langley exudes quality and craftsmanship and both we and the hotel’s owners love it.” dernier-hamlyn.com Images: Adam Lynk

056 | OVERSIZED LIGHTING

Istanbul Grand Camlica Mosque Istanbul, Turkey Commissioned to detail, design and manufacture 99 matching wall lamps, the chandelier for the main prayer area and four smaller 12-metre wide chandeliers, CreArt Creative Art Group provided Turkey’s largest mosque - opened in 2019 - with stunning decorative lighting designs, bringing the building to life.

With a capacity for 63,000 worshippers and a dedicated section for women, with its own capacity of 5,000, the mosque covers an area of more than 57,500sqm and includes six minaret, four of them 107-metres high and two 90-metres high. The mosque’s dome has a diameter of 34-metres and a height of 72-metres and the building itself houses an Islamic Arts Museum, library, art gallery, conference hall, children’s playrooms and art workshops.

While the mosque corner domes are illuminated with four smaller 12-metre diameter chandeliers, the main chandelier from CreArt consists of three staggered rings, measuring 32-metres, 24-metres and 18-metres and weighing more than 6,000kg. It is suspended from a pulley beam, 72-metres above ground level, and the 18-metre diameter lower ring is positioned at a height of six-metres from FFL. The construction of the chandelier consists of a rigid aluminium core

structure. The top and bottom is covered with 3D formed brass sheets with a matte gold plated finish. The top layer, circular in the transverse and arc shaped in the longitudinal, is produced of gold, titanium PVD coated stainless plates, decorated with floral patterned perforations.

Specially designed and produced diffusers were made from 30% lead crystal glass and stylised based on the “Sufi” profile symbol. The diffusers produce a smooth colour transition from blue to white and contain a special bubble in which the light is focused with a symbolic representation of the heart spreading the light.

The chandeliers incorporate three lighting systems: LED sources with tuneable white 2500>4500K providing an ambient >250lx; display lighting that highlights the decoration and artistic works inside the dome, special lenses and honeycomb louvres are used to tightly control distribution; and the third system is a dedicated three-hour Emergency UPS. A comprehensive DALI lighting control and automation system has been implemented requiring complex networking with CAT6 and fiberoptic cables, linking to a full SCADA system within the building. www.creart.com.tr

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Eximius Park Zabierzow, Poland Oversized lighting can mean a unique design created specifically for a customer, meeting all lighting regulations and offering advanced features to enhance human comfort. The possibilities are endless, particularly with the offerings from Glamox Luxonic, which is part of a global organisation and can therefore supply a vast range of products and expertise from within the Glamox Group. Eximius Park is a great example of this.

Eximius Park in Zabierzow, Poland, was created with a very ambitious mission – it was meant to become a place where work would harmonise with passion.

Each element of this modern office complex was designed with the comfort and safety of its users in mind, and Glamox Luxonic’s sister company, ES System, did a fantastic job in creating a solution.

The task was to equip the hallways of the 200 and 1000 buildings at Eximius Park with well thought-out,

spectacular lighting. An area of 300sqm, with a height of 20-metres made for exceptionally demanding conditions. Above all, the proposed luminaires were required to be a statement piece in the massive space, in addition to evenly illuminating it and creating the right atmosphere.

Ensuring proper lighting parameters was a very important aspect in both buildings. Working with MOFO Architekci design studio, custom made luminaires were designed and supplied, fitted with opalescent diffusers that evenly diffuse the light in addition to inner reflectors that increase the efficiency of the optics. The 4000K colour temperature and the excellent colour rendering index are what guarantees great visual comfort for everyone who frequents the hallways, while highlighting the elegant interior design. glamox.com

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modern light fixtures for homes + hospitality made in the USA www.cplighting.com

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Americas Design Report The Americas provide an array of design talent, spreading from Canada and the United States, and down into to Brazil and South America. Here we take a look at the trends, products and projects that are emerging from this region.

060 | DESIGN REPORT | AMERICAS

South America As part of our Americas report, founder and lighting designer of LD Studio and IALD President-Elect, Mônica Luz Lobo, along with Christina Dreager, Cultural Director of AsBAI (Brazilian Association of Lighting Architects) and co-founder of Estudio Âmbar, give darc an insight into the lighting design community in their home county of Brazil.

“In my opinion, the Brazilian lighting design market owes a lot to its pioneering lighting designers, who – with their outstanding work – have helped establish a culture of good quality lighting design,” says Luz Lobo. “That culture – and the initiatives of those pioneers – paired with some of the immediate second generation lighting designers, continue to shape the Brazilian lighting design community, along with AsBAI, who has helped to expand and maintain this legacy.

“Looking at the sector generally, I don’t feel Brazil has found its unique voice as yet, we are very much influenced by the high quality of the international lighting design community. One thing we have always experienced in Brazil is a delay in receiving the latest innovations, as well as a limited portfolio of products from the major international brands. However, as a result, we must celebrate the fact we have developed a consistent and local pool of good lighting manufacturers.

“Through my role with the IALD, my goal first and foremost is to continue the outstanding work they have developed to establish and promote lighting design. The mission to advance the global profession of lighting design through leadership and advocacy, and serve members by promoting education, community and engagement is our guiding star. The core values of collaboration, community, innovation, integrity and leadership are what drives all of our actions. One of the main focuses at the moment is to strengthen our IALD Regions and Chapters, as well as relationships with partner associations in order to listen and stay close to our members during these disruptive times.

Collaboration and community are concepts that this pandemic has put in the spotlight. Certainly, this will be a good legacy and people in general are more open to collaborating to build communities.”

Christina Dreager, meanwhile, sees an increasing interaction between technologies – the integration with natural light and a growing concern for the environment and nature as a trend around the world. “In Brazil in particular

there is an urge to preserve the environment and design can play a very important role in this,” she says. “Advocating the use of products that consume small amounts of energy, for sustainable disposal, for projects that promote people’s wellbeing, for the preservation of the fauna and flora and also for the social development of cities and communities.

“Brazil has continental dimensions and there are plenty of opportunities for good design in this country. But there is also a huge population without access to resources, and we realise that many lighting designers have the desire to help with this. AsBAI has a social action working group that is currently looking for ways to do this.”

Commenting on the impact of Covid-19, Dreager continues: “As with the rest of the world, everyone had to adapt to a new way of life. Remote working, online meetings, new tools that impact the way projects are presented; there was a significant movement in which people became aware that it is possible to develop a lot of activities remotely.

“At the beginning of the pandemic the AsBAI conducted a survey together with LEDforum, and we found that most offices maintained the number of partnerships, while employees also maintained their productivity remotely. At the time, the number of new proposals did reduce but the interesting thing is that, as the months passed by, we all started looking at our homes and workplaces more closely.

This contributed in raising awareness that good lighting is essential for a healthy and harmonious environment.

As obvious as it might sound, many people are only just becoming aware of this now. Therefore, we saw the lighting market begin to warm up again and I believe the number of new proposals for lighting design has actually now increased.

“In addition to this, we have seen a movement of scenic lighting professionals migrating to architecture as the pandemic is not allowing them to work in the live events industry, exhibitions and so on and we believe this exchange could greatly enrich our work.

“We are still adapting to the new conditions even today, unfortunately (at the time of writing) our country is still extremely affected by the pandemic and we need to take care of ourselves more than ever. Our currency has devalued and lighting equipment is now more expensive - even the domestic products, because there is often a need to use imported inputs. The lack of resources is something we have to deal with often, but it does mean we end up looking to our most effective tool - creativity.

“Nevertheless we can say we have a lighting community that is very active, people from all corners of the country are communicating all the time, which strengthens our position even more.

Associations such as the AsBAI and IALD have an essential role in this process. www.iald.org asbai.org

EXPO Astana | Creart | Tree of Life www.creart.com.tr

North America, USA

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Meyer Davis is an award-winning, multi-disciplinary design studio best known for its portfolio of iconic hospitality projects and high-profile residences, including the Rosewood Little Dix Bay resort in Virgin Gorda and the expansive Auberge Mauna Lani on the island of Hawaii.

Having become one of the go-to designers for luxury brands including Four Seasons, Mandarin Oriental, Dream Hotels, and Ritz Carlton, impressive in its breadth and depth, the Meyer Davis’ portfolio also includes residences for former J. Crew Creative Director Jenna Lyons and restaurants such as the Harrods Brasserie in London.

Alongside its design studio, last September, it launched William Gray - a thoughtful collection of furniture, lighting, and bath products that draws upon 20 years of custom designs for clients. The brand boasts collaborations with an impressive roster of international manufacturing partners, including Stellar Works, Rich Brilliant Willing, Claybrook, Contardi, and Watermark.

For studio founders Grey Davis and Will Meyer the interior design market in the US has really stepped up a gear, rivalling that of highend European and Asian hospitality spots. “The best hotels in North America easily rival the best in Europe and Asia at this point,” Davis tells darc. “Years ago, when people thought of luxury hotels and the best design-focused travel opportunities, they were most likely considering incredible cities or resort destinations in Europe and Asia. North America has become a target destination for the most seasoned travellers now, with design-forward hotels in every major (and most minor) American cities, and an enormous boom of designcentric travel to Mexico and cities like Miami or Chicago. It feels like hotel owners and brands are cluing into the fact that incredible hospitality design can pull travellers to a destination, and that more authentic design with a sense of local history is impactful no matter the location. The quality of North American products is what makes the sector stand out to us. We love the craft that is found throughout North America – there is so much variety, and a lot to be inspired by.”

For Will Meyer, lighting is also a huge part of the North American interior design success story, telling darc: “You can’t design an interior without lighting as a key component, whether it’s architectural or decorative. Lighting designers are assumed on every major project, and even smaller scale projects demand the expertise of a lighting designer to push a project to its highest potential. Lighting can easily become a huge focal point of an interior, equal to a large piece of art or featured architectural moment. It can absolutely steal the show, so we dedicate a lot of energy to designing feature light fixtures and making opportunities for amazing effects.

“Indoor/outdoor design is becoming more and more important in the

US, so we are hoping that the quality and design of outdoor lighting will continue to get better and more interesting. We’ve developed countless pieces of outdoor lighting for hospitality clients and are working on our own collection to use on our projects.”

Looking specifically at decorative lighting, Davis tells darc: “Decorative lighting can be a challenge – we learn something new with every fixture we design. Lighting is a lot of fun, and it incorporates all of our favourite elements of being designers – problem solving, materiality, and form. We’ve developed lighting collections for both Rich Brilliant Willing and Contardi under our product company, William Gray. Each of our products is designed with the goal of solving a problem and creating flexibility for designers.

“Some of the most popular lighting designers out there at the moment are Rich Brilliant Willing, Allied Maker, Thomas O’Brien, Apparatus and Roll & Hill. Each of these companies is very different, but we like that they all have amazing in-house collections, as well as great custom capabilities, and a wide range of artful fixtures.”

In terms of challenges facing the market at the moment, like everyone, the global pandemic has made things more difficult for the industry in North America. “Covid-19 impacted the market mostly because there was such a disruption to shipping and lead times,” says Davis. “The pandemic was hitting different areas at different times, sometimes more than once. This meant that projects that depended on global manufacturing had to grapple with the reality that things were going to hit pause for a while.

“It’s easy for us as designers and project managers to continue working remotely, but we rely on makers, and the pandemic made us ever more grateful for the role that fabrication plays in our process.

One positive aspect of this disruption is that we were able to sway clients to work with local vendors and manufacturers that could safely meet our lead times and keep them working.”

Looking ahead, for Meyer, sustainability is continuing to become more engrained into project development. “Clients are realising there is a lot to be gained from working in a more sustainable way. There is certainly a long way to go, but sustainability actually breeds ingenuity, and working locally on a project creates a lot of opportunities to collaborate with local designers and makers – and to learn more about the locale for which you are designing.” www.meyerdavis.com

Canada Founded in 2013, Matthew McCormick Studio is a Vancouver-based multidisciplinary design house that specialises in decorative lighting and artistic installations, manufacturing and distributing to a global clientele.

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Starting his career as a graphic designer, McCormick soon realised a computer-based job wasn’t for him. “I wanted to take that graphic creativity and apply it with my own two hands, using new tools and material, but specifically in regard to lighting, a long-time obsession for me,” he tells darc. “While I never expected to do it as a full-time job, I made a conscious decision to follow the opportunities that continued to present themselves and here I am today - making a living out of lighting and product design, which I’d say actually started out as a pastime.

“Today, the company continues to grow and I’m extremely proud and grateful for the team that’s helped us get there. We’re a group of passionate leaders; driven by doing the best we can every day.

I’m excited to see what comes next for us and the brand as a whole.”

Looking at the product design market in Canada, McCormick notes that today the playing field has grown to include a larger diversification of designers. “In the early days, I’d say there was a smaller number of ‘key players’ on the main stage, so to speak – certain brands that really dominated the space,” he says. “Today, while this may still be the case to some degree, we are starting to see others enter the game and playing with new material, technology, etc. It’s nice to see that there’s room for everyone and the industry continues to diversify, shining a light on our country.

“In terms of technology, I’d say evolution is inevitable; the lighting industry is no exception. There’s an increased action for more efficient LEDs, better dimming controls and systems, more requests for 0-10V – it’s really important that we stay ahead of the game as much as we can.”

Looking at Canada’s design industry more closely, McCormick adds: “Canada is a very young country, but we come with a notable pioneer spirit, bringing the ability to create art and light from a new perspective. It’s this essence of exploration in our craft that differentiates us, even from places like Europe - a place that naturally comes with a deep history in both art and culture.

I’d also say that certain places in Canada also spend a lot of time indoors, especially over the chilly winter months. With that in mind, similarly to Scandinavian countries, we pay attention to the kind of light we use; they might look good, but they also need to feel good.

“Canadian craftsmanship shares a combination of playful optimism, mindfulness, and the appreciation of simple things in life. I think we are forging our own path as a hotbed for innovation – we continue to see new and emerging talent bringing their own unique aesthetic to the table, and that uniqueness should be celebrated,” he says.

In terms of interior design trends and aesthetics, McCormick notes Canada’s ability to adapt to different trends. “I see Canada as a bit of a chameleon when it comes to trends, especially as a resident on the west coast. Classically, we look at west coast style as a hybrid of mid-century modern, perhaps with some Nordic and Dutch influence. It’s a combination of minimalism, natural material, post and beam,” he explains. “That said, I’d say that

we’re starting to see designers dare to be different, experimenting with cutting-edge architecture and more eclectic, global design palettes, for example using Parisian accents with wild colours, patterns and finishes. It’s nice to see people break out from the norm.

“I think popularity depends on what you’re looking for, and we’re lucky here in Canada because there’s plenty to choose from. From architectural lighting companies like MP Lighting, to the staple design brands like Bocci who have been holding their own for some time, I’d say there’s something for everyone.”

Looking at decorative lighting more specifically, McCormick adds: “There’s definitely been a return to craft, and I don’t mean that in a hokey, do-it-yourself kind of way. Instead, we are back to experimenting with our hands – playing with material, process and collaborating with the best artisans out there as part of the process. In doing so, we are in pursuit of achieving ultimate, hand-touched quality in the final product. This is what makes a sustaining, lifelong product worth the investment, and that’s what people want: a unique investment piece that stands the test of time in both beauty and function.”

In response to the recent global pandemic, McCormick remains optimistic that the region has a lot of opportunity ahead, with particular hope for the independent smaller companies.

“Although we do manufacture some product in Italy, in areas hit hardest by the pandemic, we’ve also remained diversified enough through our valued partnerships in a way that allowed us to be nimble when it came to sustaining our production and distribution models,” he tells darc. “However I know that distribution has been taxing for a lot of companies this past year, not only in terms of manufacturing delays, but also due to major shipping challenges.

“In saying that, Covid has also presented a lot of opportunity to look inward, especially for the smaller companies out there. Many of us have stayed close to home for the last year or so, revisiting our values and what is most important both personally and professionally,” he says.

“While being ‘hyper-local’ has never been core to our story, we’ve also recognised the importance of where it all started here in Vancouver. As such, we’re taking the leap this summer and opening a flagship showroom in our hometown with a goal of reconnecting with the design talent right outside of our front door and we couldn’t be more excited.” www.matthewmccormick.ca

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Canada Anony is a Toronto-based lighting and product design studio that works with local manufacturers to create sustainably conscious products. Anony was founded

by Christian Lo, who trained in industrial design and lighting design before establishing the studio.

Using her vantage point as a Canadian designer, Christian Lo offers her views on Canada’s design industry and how it has evolved since actively working in it. “I’ve noticed a lot of my contemporaries put effort into being international - whether it’s selling outside Canada, or selling designs to producers outside. LED technology, which we’ve championed since our beginning, is also being embraced for both its technical and environmental qualities, she tells darc.

“Domestically, there is a push for Canadian manufacturing, which I think is very beneficial and important to our industry. Several new online markets, such as Fabrique 1840 by Simons, exclusively sell Canadian designed and made products.”

Describing how the lighting design market stands out in the international field, Lo identifies Canada’s diverse design community. “People’s varied experiences create wonderfully different lights,” she says.

“There are few expectations of “Canadian design” so there is more freedom. ‘Canada’ carries positive associations, but ‘designed in’ doesn’t carry a specific meaning yet.

Maybe, I think, not having a dominant design identity makes it harder to understand what ‘Made in Canada’ looks like. It’s liberating to not have those expectations,” she continues.

Looking at the developments in design currently occurring in Canada, Lo notes the fast-paced retail and hospitality sectors. “With the challenges they currently face, a lot of new thinking is being put into their design. There are so many new experiences that these spaces have to think about; people’s pandemic habits will last even when it’s over.”

Moving on to the decorative lighting market more specifically, Lo adds: “I think the divide between decorative and functional lighting is being blurred. A lot of architectural lighting is introducing clean and minimal designs that are decorative in their own way.

“The market for online lighting sales is also growing.

More people are buying lights online than before, because they’ve become comfortable purchasing more expensive items over the internet.

“And the local production revival that’s happening consumers are becoming more conscious of what local means and supporting it.

“I think there’s a battle in people’s minds between convenience and responsibility. We like Amazon because it’s convenient, but we like our local stores because they’re culture. We like low prices and we like to pretend the bad things it takes to get those prices don’t exist. Whatever habits form as a result of these battles will be what sticks around long after the pandemic,” she concludes. anony.ca

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064 | PROJECT | THE ACADEMY AWARDS

Award Worthy Design David Rockwell, FAIA, Founder and President of New York-based Rockwell Group, returned as scenic designer for this year’s Oscars ceremony. He sits down with darc to discuss the design influences and custom lighting used in his scheme.

The 93rd Academy Awards ceremony was held in April of this year at Los Angeles' Union Station, a vast space with an 110ft-long ticket counter and 40in windows. Rockwell Group was responsible for designing the spaces for the event, creating an elegant environment for Hollywood's elite to celebrate their accolades.

Rockwell Group has a relatively long-standing working relationship with The Academy of Motion Picture Arts & Sciences that started more than 20 years ago when the firm designed the Dolby Theatre – the permanent home for the Oscars ceremony. Later, the design firm

was also asked to design the 2008 and 2009 Oscars productions.

David Rockwell, Founder and President of Rockwell Group and Production Designer for this year’s Oscars, tells darc about their initial involvement and the planning process for this project: “We were asked

by The Academy to design this year’s award ceremony and after an incredibly difficult year, it seemed more important than ever for us as designers to create ways to allow people to come together for shared, joyful experiences—especially ones that celebrate the arts.

“The producers made it clear early on that they were interested in

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looking at alternative spaces for this year’s Oscars. So, with all of this in mind, we started looking to the very first Oscars ceremonies for cues,” he says. “Images of the very first Oscars ceremony in the ballroom at the Hollywood Roosevelt Hotel inspired us, both in our treatment of the main room and for the pre and post-show space.

All of these early ceremonies were these formal seated dinners for a very select group of people: the nominees and their guests. This year, given all the ways in which the pandemic has impacted our ability to gather, we really wanted to recapture that same sense of intimacy and

community.

“We also researched the Biltmore Hotel’s Crystal Ballroom. In 1927, The Academy of Motion Picture Arts & Sciences was founded in that room. The same ballroom would go on to host eight Academy Awards, starting with the third annual ceremony in 1931. Given this history, we looked at this space as a possible venue for this year’s ceremony, but it didn’t give us the scale we needed to create a room within a room, which was always an important part of our design strategy.

One of our main design challenges was, given the landmarked status

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of Los Angeles Union Station, nothing could be affixed or installed.

Nothing could be mounted from the ceiling - no lighting, no speakers, no microphones. All hanging elements need to be ground-supported,” continues Rockwell.

“The main ceremony was held in Union Station’s Ticket Concourse, a vast space with a 110ft-long ticket counter crafted from American Black Walnut and 40in tall windows. Because this production began in daylight and ended at nighttime, you got a sense of both location and passage of time. We relied on different lighting sources, including the ceiling lights, the ticket concourse’s over scale windows, and the warm glow from our table lamps.”

Utilising his background in lighting, Rockwell paid close attention to

the atmosphere and effects of lighting on those in the room and the architecture surrounding them. “My first job after graduating from college was with the Broadway lighting designer Roger Morgan in the early 1980s when he was working on the Cruicble of Blood, starring Glenn Close.,” he explains. “I’ve learned a lot from theatre in terms of how to use light to set the tone and mood. And I find myself constantly drawing upon my theatre experience while working on our architectural projects. Lighting is everything - it shapes the space and has dramatic impact on the atmosphere and perception of space.”

Looking more specifically at the decorative lighting used, Rockwell goes on to explain: “One of the ways we dealt with the challenge of working in landmarked space was to localise as much of the lighting

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as possible. Nominees were primarily lit from custom lamps on each table to give everyone a beautiful, almost candle-lit glow and to create a special kind of intimacy. The custom table lamps were also a main feature of the set and the most important element to light the nominees faces from a closer, softer source, since the primary theatrical lighting positions were far off in the corners of the room.

“We worked with our Art Director Joe Celli and our Lighting Designer Robert Dickinson, a local scenic design fabricator, and a custom LED tape manufacturer called SBS Lighting to fit as many colour-tunable LED diodes behind the lamp shades as possible so that the lamps would have an impact even in the earlier parts of the show when the sun was still shining through the windows. The 55 custom lighting

elements were controlled by the lighting console and were individually adjustable for brightness and colour temperature between 3000K and 6500K.” He continues: “The primary theatrical moving light used on the customclad truss towers was the Vari*Lite VL2600 profile. These compact and relatively lightweight high-output LED fixtures fit nicely on the towers and allowed us to add toning to the building walls, ceiling and provide fill light to the audience and stage when needed to balance out the sun.

“We used 10 remote-controlled follow spots as the primary lighting source for acceptances on the stage and various presenters positions around the room. These utilised the PRG Ground Control system, which allowed us to hang a modified version of a traditional moving

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light on a truss tower towers, and then have that light remotely operated by crew members stationed in work-zones outside of the Ticket Concourse.

“For the North Patio, the courtyard outside the train station that served as the pre and post-show event space, we were inspired by the artist Maxfield Parrish’s lush floral imagery, particularly his work, Garden of Allah. We installed teak elevated platforms over all of the planted areas of the courtyard. Then we created a hanging garden of flowers with more than 100 nylon lanterns that were customised with ribbon and tassels and lit from within.”

Upon reflection, the team achieved just what they set out to, creating a safe yet dramatic and exciting environment for the Oscars attendees to enjoy in a time when the population begins to emerge from the restrictions put in place due to the Covid-19 pandemic. Rockwell concludes: “The Oscar ceremony is always intimate and grand at the same time, and I think it was even more so this year with Union Station’s soaring and historic details. We conceived a room within a room that made circulation intuitive, enveloped the audience in an intimate embrace, and also created a space in which the action happen everywhere, not just on stage.” www.rockwellgroup.com

Design Details The Academy Awards Oscars Ceremony, Los Angeles, USA Interior Design: Rockwell Group Lighting Design: Robert Dickinson Lighting Specified: Custom Rockwell Group exterior lanterns, Custom Interior Rockwell Group table lamps, SBS Lighting, Vari*Lite

Taking inspiration from previous Academy Award party locations, David Rockwell designed this year's ceremony with flares of old Hollywood for the interior space mixed with an artistically-influenced floral courtyard for the exterior social areas.

Rockwell custom-designed the portable decorative lighting due to placement restrictions inside the historic Union Station building. Creating a safe yet intimate space was key to the design approach and the table lamps utilised colour temperature and dimming controls to create a candlelit experience.

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070 | DESIGN REPORT | AMERICAS

Image: Jenner Egberts

Barrington Residence, USA Hammerton

Decorative lighting manufacturer Hammerton, based in Salt Lake City, Utah, was established in 1995 in a modest garage. The company has since grown to employ a team of more than 140 and has solidified its position in the American and international market for creating beautiful, custom-designed and catalogue pieces for luxury applications.

Levi Wilson, Co-Founder and Vice President of Design, explains the trigger to creating a lighting company: “I grew up around my dad’s ornamental iron fabrication shop, so I was naturally drawn to metal work. I studied architecture and ornamental design in college and then travelled extensively throughout Europe, photographing hundreds of iconic structures. The match was struck shortly after that trip, when I pulled up to the Timberline Lodge in Oregon and saw an equally impressive yet wildly different approach to ornamental design. Inspiration for my earliest designs drew directly from those experiences.”

Using nature as the core foundations of inspirations, Wilson adds: “Our

most popular designs juxtapose organic and geometric design, both of which are firmly rooted in nature.

“We’re best known for our work at the intersection of metal and glass.

Our expertise in metal actually allows us to do unusual work in glass, since we design, engineer and fabricate all our glass jigs and tooling in-house,” he continues. “It’s a magical combination from a design standpoint. Our hot glass shop fabricates more than 8,000lbs of blown and cast glass weekly.”

When it comes to decorative lighting, luxury design professionals rely on Hammerton for its deep expertise in custom design and manufacturing. “Custom work represents a significant portion of our business,” says Paul Verbecky, General Manager of the Hammerton Signature brand. “Most off-the-shelf products are typically too diminutive in scale for high-end residential and hospitality projects.

The majority is manufactured offshore, so fixtures are deliberately smaller in scale to minimise material and freight costs.”

While the standard industry definition for custom lighting assumes a

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limited choice of finishes, shade colours and rod lengths, Hammerton’s definition is “anything is possible”. More than 50% of the company’s production involves some level of custom design, from modification in size, shape, and scale to customer-specified materials. About 10% of production includes one-off designs created from scratch. 100% of its custom work is designed, engineered and fabricated at the company’s 50,000sqft manufacturing facility in Salt Lake City, Utah.

Installation is an important consideration that often requires a customised solution. Exposed beams, sloped ceilings, and distinctive features such as open stairwells and stunning window views are common architectural elements that pose significant installation challenges. “If you’ve ever tried to hang a light that is not designed to have the canopy mounted on a sloped ceiling or a narrow beam, it can be a nightmare,” explains Verbecky. “Determining fixture size and scale, drop, and canopy size and position for large spaces and custom stairwells are the types of problems we solve every day.”

This recently completed 12,000sqft suburban Chicago home illustrates

the importance of scale and proportion, both relative to the actual design of a light fixture as well as how it fits the intended space.

Fortunately, the homeowner - an engineer by profession - kept this well in mind when specifying his decorative lighting. “Several large spaces demanded fixtures of a size and scale that required customisation,” he explained. “So, we took that opportunity to approach the lighting in each room as a focal point, both in dimension and design.”

Members of the Hammerton design team worked on-site with the owner and builder to facilitate fixture selection, dimensions and materials, using full scale composites to verify size and scale. The final decorative lighting schedule included a wide-ranging series of transitional fixtures that combined the warmth of traditional design with the clean-lined geometries of contemporary design. Artisan kilnfused glass in various textures served as the unifying motif, adding an element of intrigue while minimising the visual weight of each fixture. www.hammerton.com Images: Matt Mansueto Photography

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Torrey and Rincon Cerno Proven old-world manufacturing techniques inspire Cerno’s new line of spun metal LED light fixtures. Twelve years after three childhood friends founded Cerno, its team elected to not pivot over the last year but rather look inward, leaning on its existing strengths as innovators and makers. The company’s new line of architectural products demonstrates a passion and commitment to designing beautiful objects built to last. A standout in its new line is a family of spun metal fixtures featuring the Torrey and Rincon pendants and flush mounts, named after local California beaches.

Speaking with Cerno’s founders, it’s evident that they are energised and know how to enjoy the creative process. “Running a business is a wild journey; there are many opportunities for the challenging parts of entrepreneurship to cannibalise the fun aspects of our work,” explains Bret Englander, Co-founder of Cerno. “We are at our best as designers when we are having fun, which is what is happening right now.”

Driven by performance, the Torrey and Rincon deliver a high quality of light via an indirect source, emitting an even and diffuse light while

not neglecting the need for a powerful delivered lumens package. The solid metal shades are sleek, robust and offered in an array of finishes, all done in-house. The round disc, which houses the LEDs and driver, is where Cerno inserted its signature use of solid hardwood available in walnut and oak; the disc is also available in metal. The scale of these fixtures is impressive and makes a tasteful statement in any environment. The Rincon has a 28-inch diameter and is voluminous with a gaping cavity. The Torrey has a shallower depth and is offered in a 30-inch diameter.

Nick Sheridan, Co-founder, and Director of Design spoke proudly about the latest creations: “The Torrey and Rincon are not about strict minimalism or feeling ultra-modern. The shade mixes subtle curves with hard facets creating a nostalgic form that pays homage to the ubiquitous reflector shade while feeling fresh with a simplified geometry.”

Elaborating on the importance of the quality of the light, he adds: “The way we approached delivering the light was critical; the light engine

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disc nestled in the centre allows for a beautiful soft gradient of light fading outwards, preventing any chance for glare.”

Reflecting on Cerno’s new products and looking at the breadth of its line, it’s clear that the people behind the products are willing to explore outside of their comfort zone. The line is cohesive yet unpredictable.

Rigid modernism bleeds into more whimsical forms. “Nick is a student of modernism and architecture, but he’s also an artist,” explains Englander. “These different sources of inspiration inform our aesthetic.”

Manufacturers were forced to evaluate every aspect of their business over the past year. Unforeseen obstacles popped up each week. The fragility of the supply chain required all companies to be nimble and resourceful. Cerno’s is a vertical manufacturer, with raw materials coming in and finished products going out, which places it in a better position than most to navigate the pandemic.

Co-founder and Director of Engineering Daniel Wacholder spoke about the last year with an optimistic and humble tone: “The cracks exposed in the entire manufacturing ecosystem gave us the confidence to

double down on our long-time commitment to manufacturing nearly everything in-house,” says Wacholder. “It also caused us to look very closely at the reliability and integrity of the companies that we choose to purchase materials from.” Cerno’s new line of spun products is a reflection of this thinking. The pendants are made from a small number of raw materials processed in-house in a just-in-time fashion.

Wacholder elaborates on their approach: “The Torrey and Rincon are a result of a philosophy that is the exact opposite of the typical manufacturing thinking of the last 50 years, which emphasised large batches, outsourcing, and taking advantage of cheap offshore labour.”

The founders’ passion and excitement for design continue to burn bright, and the lifelong friends share a deep appreciation and respect for their team and their customers. “Daniel, Nick, and I had a dream, fueled by believing in one another and our passion for design and building things, but none of this is possible without our inspiring team and our inspiring customers,” concludes Englander. cernogroup.com

074 | DESIGN REPORT | AMERICAS

new-Growth & RoughHewn CP Lighitng

Since the early 1990s, CP Lighting has been creating made-to-order decorative light fixtures and custom furniture for an international client base. Working mainly with the trade but also with select private clients, the studio’s output typically is evenly distributed between residential and hospitality commissions with occasional large scale commercial jobs like custom lobby and atrium installations.

CP Lighting typically uses unconventional materials that reference wood: aluminium carved to resemble rough hewn lumber but painted in vibrant hues, cartoon-inspired woodgrain carved into blocks of acrylic that captures light, and fabricated and carved aluminium tree branch fixtures.

How does a small company survive when fighting for a share of the market with the larger competitors, much less weathering a global pandemic? For CP Lighting, it has been a matter of focus on design, innovation, sustainability, and the notion of mass customisation - or

rather customisation for the masses.

More than three decades ago, company founder Christopher Poehlmann began designing and building furniture and decorative light fixtures from salvaged materials. That foundation led to the development of CP Lighting, a company that has garnered an international reputation for it’s innovations in re-use and recycling.

This drive to create functional objects has led Poehlmann down many paths, but he often finds himself back to nature in some sense.

Perhaps its roots are in his life long understanding that re-use and recycling are gravely important to the life of this planet.

Regardless, the result is a constant flow of new ideas that always circle back to, or sprout from, the co-aligned ideas of nature, Modernism and up-cycling.

Poehlmann’s most recently released product series, new-Growth, continues to expand with each commission. Every fixture is unique

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and typically developed with input from each client. This has led to his tree branch-inspired fixtures growing into new forms and tackling new challenges over the past 15 years. The branch form is perfectly suited to CP Lighting’s dedication to customisation and has resulted in commissions as large as a 35ft x 14ft suspended tree branch chandelier, or as small as a 12in wall sconce to compliment residential scale chandeliers in its portfolio.

“There is rarely a week in the year that at least one or more tree branch inspired fixtures are not growing on the workbenches at the workshop,” says Poehlmann.

This constant reference to nature has also inspired further collections, the most recent of which is the RoughHewn series. The idea of making rough hewn dimensional lumber from aluminum occurred to Poehlmann one afternoon while experimenting on a new carving technique for his new-Growth fixtures. Some experiments quickly led

to a technique for carving the face of aluminum planks and rectilinear extrusions to randomly cut the surface like an axe would rough out lumber, while also occasionally piercing through in order to allow light to escape from the otherwise opaque material. The result is a group of luminaries that are both rational and organic, built with the “meticulous imperfection” that Poehlmann’s production has become regarded for. Wall sconces, pendants, surface mounts, and linear suspension lamps, as well as custom furniture that can be custom-coloured and custom-sized to suit the needs of both residential and commercial/ hospitality clients alike. Lamped with energy efficient LED and made from recycled aluminum, the RoughHewn series fits firmly within the CP Lighting ethos. www.cplighting.com

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Image: Jenner Egberts

Trapeze and Ovolo Archilume Archilume, like many others, ended last year with a long, hard reflective look back. Now, the Vancouver-based company is set to launch some new products, and is determined to both stir things up and bring a little peace to the design community.

First launched in 2018, the Balance LED luminaire consisted of a pair of disc shapes suspended by twinned cables, one beneath the other, hung in perpendicular directions. The upper half of each disc is opaque machined aluminium while the lower half is an acrylic lens with a frosted edge emitting a glare-free, warm tone. The design is a balanced composition that creates visual tension.

Upgraded, the new product, Trapeze, incorporates that same single disc shape suspended by twinned cables, but now has two independent micro canopy ceiling mounts. Simple and sleek, Trapeze is reminiscent of a Newton’s Cradle object, and draws inspiration from the dynamic movements of trapeze artists frozen in time.

Trapeze offers an arresting sculptural accent in a beautiful, adaptable luminaire. Archilume’s signature application of total internal reflection optics allows for Trapeze to emit a flattering, warm light. Trapeze has very strong diagonal lines that, when installed in arrays of linear,

random, or radial configurations, creates an impactful luminaire installation.

Saleem Khattak, Archilume’s Owner and driving force, has been designing lighting products for architecture and interiors for more than 20 years. His studio thrives on the design development of sleek luminaires.

“We love the beauty of machined and anodised aluminium contrasted with the transparency of polished optical acrylic, mixed with frosted areas to control and celebrate light while eliminating glare,” he says.

With the stability of balance and the dynamism of Trapeze established, Archilume sought a peaceful state of being, which resulted in the creation of Ovolo. As Archilume’s first OLED technology pendant, Ovolo represents a new form in the brand’s innovative lighting collection.

Archilume’s unassuming simplicity masks the design vision that transforms energy-efficient lighting into sleek, statement-making luminaires. Inspired by nature, Ovolo is derived from a bed of river rocks - minimalist with an ultra-shallow, soft, organic form that is calm, soothing, and unencumbered.

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Archilume’s inspirational departure point was a form follows function approach, blended with the idea of organic shape. Ovolo’s contours provided a great opportunity for the brand to work with OLED. It features a naturally diffuse human-centric OLED light source that provides soft yet bright full-spectrum illumination resulting in an artificial light that resembles daylight. The light source is ultra thin with a broad surface area, and the quality of light mirrors the formal expression of the luminaire - soft, diffused, and comfortable.

“In this unprecedented time, people are feeling reflective and looking inwards. In some ways this new design is an expression of our studio doing the same. The shape is meditative, soft, organic, and reduced to its basic essential function,” says Khattak.

Ovolo’s housing is fashioned from aircraft-grade machined aluminum and is available in several anodised finishes including champagne, black, gold, and silver.

The pendant is available with a dimmable 3W OLED light source with an output of 200lm, 3000K, 90 CRI, R9 >50. It can hang as a single element or in groups to create an inspiring lighting installation on a grand scale in dining areas, lobbies, and stairwells. The ultra-

shallow form allows hanging the pendant at lower heights without compromising views, performance, or visibility.

There are also several mounting options for this luminaire: a standard 4.25in diameter canopy, a micro-canopy featuring a 1.5in diameter discreet ceiling mount, or Archilume’s signature Configurate surfacemounted canopy system. Configurate is available in three geometric shapes, which allow for unique bespoke installations in various patterns.

“Ovolo is a natural progression for us as we are passionate about incorporating new and innovative lighting technologies in our designs,” adds Khattak.

The Archilume lighting line is intended for illumination at counter and bar areas, or in clustered formations as chandeliers in hotel lobbies, entrances, lounges, and dining areas. The line is versatile and offers the option to order custom configurations to create impactful feature lighting installations. archilume.com Image bottom right: Eduardo Rosales

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Phoenix Karice Lighting

The Phoenix pendant is a decorative piece designed and manufactured in Surrey, British Colombia, by father and son team at Karice Lighting, Maurice and Jordan Dery.

The artistic representation of the mythological phoenix is hand-crafted from bronze and enlighten rod, and takes inspiration from numerous sources, including the client that the product was created for; an atrium project filled with living green walls and tropical plants.

As conversations developed with the client, a love for birds arose, which provided the a-ha moment for Karice, which led to the design of the Phoenix pendant for the space.

After examining feathers from multiple birds, the Dery men were

particularly drawn to the single feather of a peacock.

“Choosing brass gave us a beautiful, mouldable material, rich with colours when heated with a torch. This helped play into the organic look and feel we were striving for and spoke to inspiration gathered from the peacock feather,” says Karice Lighting.

It took five versions of the pendant before the team felt the design was coming together, with only minor tweaks needed to be made to allow for more light to shine evenly through the acrylic bodies.

“With Phoenix we knew we had to be very intentional with where we photographed, and the story of the Phoenix rising from the ashes needed to be reflected. In the summer of 2017, the eastern shores of

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Harrison Lake, British Columbia experienced a forest fire. As planning for our photoshoot began, we knew right away that we wanted to photograph in a burnt and torched environment. Harrison Lake is a spot very dear to our hearts, as each summer we spend many days enjoying its pristine waters. Knowing about the fire that had occurred in the area, we went out to scout a location suitable for our needs and vision. We discovered something unexpected within the destruction from the fire. There was an unexplainable beauty,” the studio adds.

“The forest floor was starting to show signs of new growth. Blades of wild grass were emerging out of the earth; sprouts of new trees could be seen here and there. This told the story of Phoenix, the birth of

something new and beautiful after a fiery destruction.”

The Phoenix light suspends from a simple coaxial cable and its approximate size is 21-inches x 18-inches, although variation occurs with the specific curvature of the wings and tail. Each bird is unique in appearance. The wings and tail are heat treated to enable beautiful variation in coloration; no two birds are alike.

All lighting products are handcrafted with care and precision in Karice’s manufacturing facility in British Columbia. As with all its creations, Karice Lighting continues to promote the outdoors and the beautiful scenes of British Columbia. karicelighting.com

MINKA LAVERY TM 4103

JUNE 23 - 26, 2021 — YOUR DESTINATION FOR ILLUMINATION. Lightovation is the largest residential lighting show in North America, bringing together the best and the brightest under one roof. Discover the latest trends, innovations and products in every lighting category including outdoor, ceiling fans, lighting controls and smart lighting systems. dallasmarketcenter.com/lightovation

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Dernier & Hamlyn........................................................................................ 37

Vibia. . ............................................................................................................... 15

Duncan Meerding Studio........................................................................... 28

Zero Lighting . . ............................................................................................ IBC

Glamox............................................................................................................ 45

In Focus 082 | IN FOCUS

Propeller Blossom Duncan Meerding

What is the concept and inspiration behind the Propeller Blossom? The initial idea came about when I was experimenting with plywood and the grain of the plywood determined which way the petals twisted/bent. I was attempting to create a different form.The final product effectively meshes propeller and floral like forms together and makes a unique flat-pack light.

What technologies does the product use? The technology focuses upon how light performs through and around 3D objects. We utilise Edison screw fixtures for this item, allowing for versatility for the end user. Each item is hand-made in our workshop and coupled with this we also use some computer controlled machines such as laser cutters.

How long have you been working on the product for? The initial propeller pendant form came about back in 2011 when experimenting with plywood.

Throughout 2012 I tried to push this initial form into a fully-fledged, flatpack lighting product. I hit a range of challenges along the way and had to walk away for a bit. In 2015 I made a bit of a breakthrough in terms of the original design’s manufacturing, creating a fully-fledged lighting product.

After showcasing this light at a number of events I wanted to create a new version that was up-scalable in size. After a bit of experimentation in 2019 we managed to create the Propeller Blossom.

Describe the Propeller Blossom in three words? Calming, nature-inspired, hand-made.

What was the most challenging aspect of producing this product?

Whilst the Blossom is a follow on from the original Propeller, it was not just a simple up-scale tool that had to be hit in a computer aided drawing programme. In 2017 we developed the Propeller Bloom, which was a big floor installation. From this I realised that using our current production methods, we could not make anything quite as big as the Bloom to hang safely and rigidly, but had to meet somewhere in the middle. There were definitely some challenges creating such a light with only a single fixing point on each blade/petal whilst maintaining such an open, 3D form. This light truly pushed some of the limits in terms of materials and rigidity and this was proven during the prototyping in 2019.

What materials have been used? Can you describe the design process?

The materials used are Tasmanian Eucalyptus, powder coated aluminium, Tasmanian Blackwood (Acacia) and various lighting components.The design process involved a lot of experimentation with the lightweight veneer and various glues to laminate the items in their custom form. The design and making processes often go hand in hand for me, and working out design by experimentation in making is especially important to have an understanding of the rigidity of the different materials and how light performs in the form in the real world.

What makes this light different to other lighting products available? It’s a bit of fun executed in a pared-down simple way that we hope still appeals to a wide audience.

What kind of environments / clients is the Propeller Blossom suitable for?

This item is intended for larger spaces, be it larger commercial foyers/entry ways or stairwells in larger domestic homes. The item has a lot of presence as shown by the photo in our studio workshop. Blossom is 85cm cubed (approximately).

What makes this product different to other lighting products available on the market? These lights have been designed from an alternative sensory experience. The light effect from this design is relaxing and organic, quite similar to the dappled light effect found underneath a forest canopy. As I am legally blind with less than 5% vision concentrated around the periphery, I am hyper aware of light moving through a space, and I believe my unique sensory experience can help enhance everyone’s experience in a space.

Another large plus for this feature light, is that the item is relatively light and compact when in transit and quite easy to assemble at the other end. www.duncanmeerding.com.au

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Lenis linear pendant

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