Residential Lighting | Oksana Bondar | Eco-conscious Lighting George Hotel | Panthella 320 | Hilton Hotel Heathrow Airport | Sensi Collection | Stomping Ground Morris Moor
SPRING/ SUMMER COLLECTION Launching April 2022
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Sarah Cullen • Editor
Welcome to our Mar/Apr issue, brought to you ahead of Maison et Object, and packed with plenty of exciting and educational pieces to delve in to. On this issue's cover we have the beautiful Orb pendants from Biohm. Made with coffee chaff - a waste product engineers have formed and repurposed into a workable material - I sat down with Biohm's Design Director Oksana Bondar to delve deeper into the company's production history. This interview sits nicely within our bigger feature, Eco-conscious Lighting, where we have gathered industry experts’ opinions and plans for internal sustainability goals. On top of that, we bring you a selection of lighting manufacturer case studies with some of the latest sustainable products and projects. Our second feature, Residential Lighting, brings you a selection of beautiful home lighting projects from around the globe. We also spoke with leading industry experts to get their tips and tricks into lighting rooms in the home and the garden. Elsewhere in the magazine, we feature projects from across the UK, Italy, and Australia. Faber’s George Hotel in London on p.16 is a stunning renovation project influenced by Victorian elegance. The Hilton at Heathrow Airport on p.22 was re-designed by Hirsch Bedner Associates and features a gorgeous collection of decorative lighting pieces including a bespoke installation above the lobby desk. On p.50 you can read all about Ambience Lighting's work faithfully restoring a Melbourne-based beer hall into a vibrant destination that combines rustic and contemporary styles. And finally, on p.70 a private residence in the centre of Padua, Italy, receives a luxurious design from Studio Marco Piva that complements the historic architecture while adding flares of bold and contemporary lighting. Product-wise, in our materials feature on p.57, we sit down with Maria Fiter from Crea-Re studio to find out the creative processes behind the Sensi collection of paper mâché pendants. Our Product Focus on p.83 looks at the Panthella 320 table lamp - launched by Louis Poulsen in 2021 to celebrate 50 years of Danish Architect Verner Panton’s iconic design - the new version in medium size is the perfect addition to the range. And then for this issue's In Focus on p.90 we get insight into the Pebble pendant from Original BTC'S Director Charlie Bowles.
Cover: Orb
Oksana Bondar Interview - Biohm
Welcome
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ORIGINAL BTC 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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Contents Regulars 012
Focal Point | Art & Design Hotel Miura | Czech Republic
014
Focal Point | Changi Airport Terminal 1 | Singapore
034
Interview | Oksana Bondar | Biohm
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Materials Feature | Crea-Re | Sensi Collection
The Magazine Managing Editor | Helen Ankers h.ankers@mondiale.co.uk +44 161 476 8372 Editor | Sarah Cullen s.cullen@mondiale.co.uk +44 161 476 9401
083 Product Focus | Louis Poulsen To celebrate 50 years of Danish Architect Verner Panton's iconic Panthella lamp, in 2021 Louis Poulsen introduced the new Panthella 320 table lamp in medium size to suit contemporar y spaces. 090
Contributing Editor Matt Waring Media Sales Manager | Stephen Quiligotti
In Focus | Original BTC | Pebble
s.quiligotti@mondiale.co.uk +44 7742 019213
010 | INSIDE ISSUE 44
Projects 016 George Hotel British interior design studio Faber created a Victorian-influenced scheme for the newly renovated George Hotel in Cambridgeshire. Using a large collection of bespoke and off-the -shelf lighting fixtures, the team created a vibrant, homely and stylish destination. 022 Hilton Heathrow Airpor t The Hilton at Heathrow Airpor t received a redesign by interior design consultants Hirsch Bedner Associates in 2021. Matteo Pace, Associate at HBA, discusses its design approach to the public spaces. 050 Stomping Ground Ambience Lighting faithfully restored lighting elements in this new Melbourne -based beer hall, matching the rustic yet contemporar y interior design scheme by Studio Y and PlaceFormSpace. David Justice of Ambience tells darc more about their role in the project. 070 Private Residence Studio Marco Piva completed the interior design scheme for a unique private apar tment located in the hear t of Padua in Italy. The design blends old and new with bold lighting elements to tie it all together.
Design Artwork | Dan Seaton d.seaton@mondiale.co.uk Editorial | Mel Capper m.capper@mondiale.co.uk
Finance Finance Director | Amanda Giles a.giles@mondiale.co.uk Credit Control | Lynette Levi l.levi@mondiale.co.uk
Corporate
Features
Chairman Mondiale Publishing | Damian Walsh 029 Eco-Conscious Lighting As the design world becomes increasingly aware of the desire to become more sustainable and environmentally-friendly, darc hears from some industr y exper ts on what they are doing to make the design world a better one. We also take a look at what some of the big lighting brands are doing to ensure they practise sustainable product production.
Managing Director [d]arc media | Paul James p.james@mondiale.co.uk Marketing & Events | Moses Naeem m.naeem@mondiale.co.uk
062 Residential Lighting With introductory comments from leading design experts, we cover the best approaches for lighting the home and garden, followed by a selection of some of the most beautiful case study projects from around the world.
[d]arc media ltd | Strawberry Studios, Watson Square, Stockport SK1 3AZ, UK | Printed by Buxton Press, Palace Road, Buxton, UK | ISSN 2052-9406
086 Maison & Objet Preview Catch some of the new products and exhibits on show in Paris this March.
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012 | FOCAL POINT
Focal Point Art & Design Hotel Miura Celadna, Czech Republic Designer Lucy Koldova has recently completed her latest Brokis project, this time in collaboration with Labor 13 Architects. Commissioned to create a new signature lifestyle concept for the hotel's restaurant. The space is divided into several zones, with the heart of the restaurant accentuated by a large cloud of light above a long line of tables. The idea of the revamp was to disrupt the neutral layout, which is now divided into several zones. They are distinguished not only by different types of seating, but also by its colour and texture; however, the unifying materials used throughout the space are natural wood and metal accompanied by ultra-comfortable upholstered furniture pieces. The centre of the space is clearly defined by a cloud of Brokis Puro tube lights above a dominant bespoke wooden table with Celine chairs, from which guests have a beautiful view of the landscape on both sides. The side tables are flanked by subtle Sfera lights, also from Brokis, with a smoky effect above smaller individual tables, where guests can sit in Rendezvous chairs, custom made especially for this project and manufactured by Formdesign. A new, more intimate rear lounge is situated and hidden behind a wine cellar disguised as a column, which allows guests to appreciate large-scale pieces by Damien Hirst up close. Finally, there is the terrace, which offers a magnificent view of the countryside with battery-powered Sfera portable lights. www.brokis.cz Images: Martin Chum
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Focal Point Singapore Changi Airport Terminal 1 Singapore Changi Airport, known for its entertainment options to amuse waiting travellers and their collection of innovative design and floral installations, partnered with Preciosa Lighting to create a lighting installation for a newly refurbished area at Terminal 1 Departure/ Transit Hall. The Preciosa team agreed the lighting should have a strong narrative, rooted in the tropical garden characteristic of the airport interiors and of Singapore as a whole. Garden Metamorphosis is a sculpture that blends in unique compositions, exploring the shapes and patterns of nature. Preciosa Lighting's lead designer on the project, Anna Kralova, says: “This is the transformation that nature naturally undergoes. Here, these leaves turn into butterflies, which visually blend with the leaves. Just like in nature - when a butterfly sits on a flower or a leaf, it completely merges with it.” The installation is more than ten-metres long and 9-metres wide. There are more than 650 hand blown crystal components including butterflies and leaves of varying sizes. The metal base is champagne and polished brass for a warm feel. Component colours include clear crystal, frosted crystal, champagne, light pink, pink, and light and dark lustre. www.preciosalighting.com
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016 | PROJECT | THE GEORGE HOTEL
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Victorian Elegance British interior design studio Faber created a Victorian-influenced scheme for the newly renovated George Hotel in Cambridgeshire. Using a large collection of bespoke and offthe-shelf lighting fixtures, the team created a vibrant, homely and stylish destination.
018 | PROJECT | THE GEORGE HOTEL
The George Hotel in Buckden, Cambridgeshire, has survived as a hospitality venue since it was built in the 18th Century. But like many businesses in this sector, 2020 was probably the toughest year it’s faced for decades. It was bought during UK national lockdown by local creative Roberta Goody, who has a strong personal connection to the hotel. Having always felt so welcome as a guest, she was eager to employ creative partners Faber to transform the public areas of the Grade II listed building. Goody's love of Victoriana was a key inspiration for the new design scheme. And as a creative writer, she fell in love with Faber's narrative-
led concept, which tells the love story of traveller and inventor ‘George’ and local lady ‘Mary’ (named after a nearby church). Offering ‘contemporary luxury inspired by a time gone by’, there are subtle nods to the personalities of these fictional characters in talking points throughout the ground floor, with each area having an individual look and feel despite being interconnected by a common design language. The colonial-inspired restaurant is a nod to George’s love of travel, and the botanical-themed orangery plays on Mary’s passion for nature. Bobbie’s Lounge & Bar is inspired by a Victorian Gentleman’s Club and
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features a glamorous signature cocktail bar that wouldn’t look out of place in Paris. Consistency is key to Faber’s work. “We take a holistic approach to the guest experience by paying close attention to each customer touchpoint. Every single design detail must reflect the concept, in this case, the story of Mary and George. And the lighting is no exception. It’s an integral part of the guest experience and at The George it’s all about creating the feeling that they’re being whisked away to another time”, says Faber’s Creative Director Tony Matters. “In addition to creating ambience, all fittings need to operate as functional task
lighting because the use of downlights was kept to a minimum. It was also important that the pieces would be as visible during the day as they are at night because brunch and lunch form an important part of The George’s trade.” Large showpiece fixtures are a key feature in each of the spaces, which are also home to smaller lighting details in everything from fabric and glass, to cast iron and brass. Whether it’s the bespoke picture rail lighting illuminating George’s family portraits in the lobby and Mary’s botanical artwork in the orangery—or the hot-air-balloonshaped glass lamps in the lounge area that depict George’s love of
020 | PROJECT | THE GEORGE HOTEL
invention and travel - the ornate lighting is a nod to the story’s setting of Victorian England, and key to creating a sense of classic elegance. Ambience is integral to The George’s appeal, with skylights and decorative light fittings creating a feeling of old-fashioned glamour day and night. The two work particularly well in the lobby, restaurant, and orangery - the latter of which features a showstopping handmade glass chandelier inside the extensive lightwell. From standard lamps in the lounge area to table lamps on the bar and pendant lamps in the powder room, every source of light is decorative and atmospheric, integral to ensuring that guests step into another world when they visit The George. www.faber.design
Design Details The George Hotel, Buckden, UK Interior Design: Faber Lighting Specified: Castlegate lights, Faber Bespoke, Graham & Green, Iconic Lights, Pooky, La Redoute, Rothschild and Bickers
Taking inspiration from fictional Victorian explorers, Faber created a narrative for its design scheme for the newly renovated George Hotel. A large variety of decorative lamps create a homely yet vibrant atmosphere that allow visitors to escape to a by-gone era. The decorative lamps not only add to the aesthetic of the rooms but also provide task lighting as the Faber team made the decision to limit the amount of architectural downlights.
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022 | PROJECT | HILTON HEATHROW
High Flying Design The Hilton at Heathrow Airport received a redesign by interior design consultants Hirsch Bedner Associates in 2021. Matteo Pace, Associate at HBA, discusses its design approach to the public spaces.
The concept for the redesign of The Hilton at Heathrow Airport is centred around connecting guests to the great British landscape with a “view from above”, inspired by the sights captured when flying in and out of the airport. Building on the existing architecture, HBA’s new design included a full refurbishment of the ground floor entrance lobby, café, bar, and restaurant. “We started the project in November 2019, and completed it at the beginning of April 2021,” Pace tells darc. “The initial briefing was to create a synergy between the landscape, and the view from above. This concept was the starting point and direction that Hilton
wanted us to go towards. “The brief was very clear from the beginning and well received by our team, so we didn’t face any major challenges when developing this project. We were brought in to enhance their preliminary ideas and bring our expertise to the fore,” he explains. Elektra Lighting was appointed to work on the project by the hotel as lighting consultants to aid the design teams with the overall scheme. “The hotel appointed Elektra as we had worked on many projects for them before, we were fully familiar with the brand’s standards and had a wealth of experience in independent restaurants,” says Neil Knowles,
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Director of Elektra. “This experience was very important as T4 was one of the first sites for the new Hilton F+B concept, Oxbo, so the lighting was to some extent left open to interpretation.” Pace continues: “Each of the spaces reflect a different element from above, whether it be breaking through the clouds to see the greenery of the trees with soft lighting in the countryside to reaching the city, which is reflected with distinct and dynamic lighting features. The lobby evokes the city/urban perspective with street-styled lighting. Giant pendant lights hang down as though they are directing the flight path, acting like large signage for a plane. The middle area is the bar
and café space, which demonstrates the rural view from above. Softer tones and lighting are placed with intimate moments such as by the chef’s table. Finally, the restaurant reflects the sort of hidden places that one can’t quite make out from above and so the aesthetic is darker and cosier. The lighting gives an added layer to create a moody kind of ambience. “Finding a balance between natural and artificial light is an element that one can tend to overlook. The Hilton space is vast and so the natural light can have a big impact on the colours. They look most vibrant when the sun sets and the lighting is adjusted to set the mood.
024 | PROJECT | HILTON HEATHROW
Understanding the benefit of natural light in conjunction with artificial light with design is crucial when planning a space,” he adds. Pace believes that lighting was a key item when it came to the final design, and that the team had to explore ways of manipulating it sculpturally as well as in a soft, decorative way. Being able to create moments of cosiness and intimacy in the vast open space of the airport terminal was just as important as creating eye-catching centrepieces. “From a lighting point, the space represented a challenge,” reflects Knowles. “The main reception, bar and restaurant are all located in a five-level atrium, a huge open space that was also painted entirely white. This does not make it easy to create an intimate atmosphere and from the start, we were focused on this. “Lighting in the bar is largely built into low level items – all the planters
have at least three light sources (uplights to trees, linear under plinths, linear around plant beds to make plants glow). The bar is lit in every shelf both front and back bar, as are the kitchen servery units. “In addition, free standing steel frame elements have tiny little spotlights built in (the size of a small lipstick) to add accenting and focal points. These are used both for servery display areas and to add spots to table tops in the restaurant area. “The floor finishes were retained in some areas and we wanted uplights to many of the decorative screens that separate areas. So these were designed to have small plinths detailed in, and these plinths include small floor recessed uplights. “The interior design required a lot of decorative lighting to create focal points in the space and these tended to be oversized pendants, creating artificial ceilings.
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“Lighting is, of course, all on a modern dimming system with multiple scenes set over the day to accommodate the varying needs and uses of the space.” Pace explains the importance of working with a lighting specialist on projects, and how flexibility is key to the success of a collaboration, particularly as HBA work on highly bespoke projects. “We work with lighting designers all the time, and for this particular project, we worked with Elektra Lighting. Working with lighting specialists is a highly important part of the job. Lighting designers tend to follow the brief and nothing really changes once we’ve discussed the items required in a highly detailed fashion. You also have to find the right manufacturer that can produce specialised elements with quick turnaround time and luckily we know some excellent people in the industry.” Nearly all of the decorative lighting pieces were made bespoke for
HBA, with Imagin Lighting providing a large proportion of pieces. Penta Lighting created fixed lamps for the balustrades in the restaurant and Flos supplied the unique lamps and wall lights. “The areas were divided up based on different perspectives of the ‘view from above’,” says Pace. “One perspective is from the standpoint of the plane landing, so this impacts the surroundings and therefore the lighting. Part of the design process included designing lighting to create unexpected vignettes. “The lighting is part of the architecture. It became part of the interiors as a structure and an integration of the elements and joinery.” Despite not facing any initial challenges when designing the brief at the beginning, unfortunately the team struck obstacles when it came to the installation, which coincided with the global pandemic. Pace elaborates further: “The original brief didn’t change over time, however,
026 | PROJECT | HILTON HEATHROW
the project was underway during the Covid-19 pandemic and so this did pose challenges. Design teams were ever-changing and so trying to connect our ideas with teams that didn’t stay the same throughout the process was at times difficult. “Given time restraints, we had to be fast when working out elements such as weight within the architecture. Co-ordination and adjustments were key. Another major issue was the ceiling height, as this created issues such as hanging statement chandeliers and feature pendants from significantly high reaches. “Despite all of this, we managed to orchestrate the principal ideas without affecting the final design.” Upon reflection of the final design, despite the challenges it brought with it, Pace was very pleased with the outcome. “We were very happy with the final result. An airport hotel is completely different to typical hospitality structures. We have been able to create something that is quite ambitious. I think that with the considerations that went into the space and lighting, we have created an elegant and atmospheric space. “We never produce the same projects; we don’t do roll outs of projects. Each development is always very different, which of course brings varying challenges. I really enjoyed working on this brief as it isn’t something you see every day and had a very clear concept.” www.hba.com
Design Details Heathrow Airport Hilton Hotel, London, UK Interior Design: Hirsch Bedner Associates Lighting Design: Elektra Lighting Lighting Specified: Bespoke, Flos, Imagin Lighting, Penta Lighting
Taking inspiration from the skies above, HBA created an open and inviting scheme for the hotel lobby and F&B public spaces of the Hilton Hotel at Heathrow Airport. Using inspiration from the British landscape as well as the aviation location, the team created moments of cosiness as well as bright and welcoming environments for guests. Lighting played a key role, and with the help of Elektra Lighting, a beautiful balance between the vast amounts of natural daylight in the terminal and the architectural and decorative lighting pieces was achieved.
AUTHENTIC AND PURE LIGHTING Please note that the picture used is indicative and may differ from the final product.
Adv. Darc Garden Montrose Pendant 23.02.2022.indd 1
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029 | ECO-CONSCIOUS LIGHTING
Eco-conscious Lighting As the design world becomes increasingly aware of the desperation to become more sustainable and environmentallyfriendly, darc hears from some industry experts on what they are doing to make the design world a better one. We also take a look at what some of the big lighting brands are doing to ensure they practise sustainable product production. Graphic: Vecteezy.com
030 | ECO-CONSCIOUS LIGHTING | BIID
Raising the Industry Standards During 2021, the British Institute of Interior Design (BIID) launched a new Sustainability Strategy as part of its mission to become more environmentally conscious and to encourage the interior design industry to follow suit.
As part of its sustainability mission, the BIID released various documents outlining their Values, Strategic Plan for 2021-2024, and a Code of Conduct. In its strategy introduction, the BIID quoted Greta Thunberg, saying “The climate crisis has already been solved. We already have all the facts and solutions. All we have to do is to wake up and change.” Speaking on the strategy’s aims, former BIID President Lester Bennett and current President Lindsey Rendell say: “As interior designers, we are part of an industry that accounts for around 40% of the UK’s entire carbon footprint. Through our projects and businesses, small, considered changes could together make a huge positive impact on our environment and emissions. “The climate emergency is one of the biggest challenges of our time and the BIID is committed to rising to this challenge. Our 2021 strategic aims include: ‘to further embed sustainability into interior design practice’, additionally the new 2021 Code of Conduct includes ‘lessen the environmental impact of your work and promote sustainability’. “In February 2020, the BIID committed to become net zero by 2050 along with the Construction Industry Council. We believe the BIID can achieve this much sooner and have decided to audit our carbon footprint from April 2021 and aim to achieve net zero by 2023. “We understand that for most, becoming more sustainable is a journey, one that many of us have been on for years and others may not yet have started. We also recognise that solving the climate crisis
requires a collaborative force between clients, designers, suppliers, and governments. We have therefore produced a framework that sets out clear goals and actions, to affect real change at many different levels. “We hope that by our members and industry partners embracing these goals and actions, we will achieve better design outcomes, increased business opportunities and will build a greater awareness of environmentally and socially positive options for their clients and colleagues.” To fulfil some of these promises, the BIID has stated its commitment to Awareness – Knowledge – Promotion: “Build awareness of the Climate Crisis and the positive role members and the industry can have in response. “Develop knowledge for members on practical measures, actions and policies they can adopt in their businesses and projects – in order to become more environmentally and socially responsible. “And prioritise promotion, advocation and celebration of technologies, practices, materials, and products that improve sustainable outcomes – by members, the industry and the world.” The report also identifies four key areas where members and the industry can create positive impacts. As a framework, they used the UN Sustainable Development Goals (UN SDGs) to set out how the BIID and reaching audience can operate more sustainably, benefit from more considered design, improve their business practices and contribute to the sustainable goals for our planet.
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The first release to members is the BIID Sustainable Specifying Guide. This guide is intended to provide interior designers with broad knowledge of sustainability issues associated with specifying products, materials and technologies. It is a living document written by members, for members. At the end of the day, clients will have the deciding vote, however arming designers with the knowledge and ability to encourage positive choices to minimise impact will have benefits for the project and the wider world. This document doesn’t link to specific examples of products or suppliers, instead it gives an overview of supply chain/lifecycle considerations followed by a series of useful questions that can be implemented into conversations with suppliers and project install teams. The plan is to then release further information, organise events and create accredited CPDs over the next three years to provide interior designers with the tools, resources, and knowledge to promote, create and implement sustainable and ethical design. Some of the questions asked as part of this document include: “Where do products and materials come from and how they are made? What impact do they have on their immediate and wider environment? What is the durability and ‘end of life’ for products and materials?” An annual review will take place in April this year, with subsequent years receiving updates and new objectives as necessary, announcements of achievements, and where useful provide practical information on how members can also achieve similar goals within
their practices. “Interior designers have a unique role to play in contributing to a lasting and sustainable design industry,” added Rendell. “The BIID is committed to leading the interior design sector towards more sustainable design practices and as part of that, the BIID Professional Practice Committee researched how we can best assist our members with tools and support to do their work in the most environmentally and socially responsible way. “As a result, we launched the BIID three-year sustainability strategy last year. Since then, we have published the first Sustainable Specifying Guide for interior designers, which was created to provide interior designers with a broad knowledge of the sustainability issues associated with specifying products, materials and technologies. “We have also increased our CPD content on sustainability topics to help designers to grow their knowledge on this vital and wide-ranging subject. This includes our Sustainability Showcase event on 30th March that will be a full day virtual conference of exciting talks from sustainability experts in the interior design sector. “It has never been more important to show our commitment as an industry to sustainable design practices. Our role as designers is to advise our clients on the environmental and social impact of their projects and we hope these BIID initiatives will help designers to do that.” biid.org.uk
032 | ECO-CONSCIOUS LIGHTING | GL A
Giving the Green Light The lighting initiative GreenLight Alliance works together to aid the lighting sector to understand their role in adopting and promoting the circular economy. It works towards industry standards that are universally recognised, trusted and sought-after. Emilio Hernandez, Founding Member, provides darc with some comment on their approaches and advice.
The GreenLight Alliance (GLA) has a regular piece in arc, and has now been invited to introduce circular principles in darc magazine. We’re focussed on creating a community to help the lighting sector understand its role in adopting and promoting the circular economy Circular design sits under the umbrella of sustainability. At its core, its principles of ‘Reduce, Reuse, Recycle’ seem simple, but dig a little deeper and you become embroiled in topics such as policy, right to repair, eco design, embodied carbon, reverse logistics, warranties etc... (this is what I’ve spent the last 18 month’s doing). It’s all hugely interesting and exciting to me not just because of the opportunity to reduce the mountains of WEEE (electronic waste) we as lighting designers contribute to each year but because I feel we’re reaching a plateau of how we add economic value as an industry, and circular economy offers a refreshing opportunity for relationships and
conversations with new partners in different parts of the supply chain.. The best route to a circular design will vary and will be specific to the type of project and client you have. There isn’t a one size fits all in the same way that there isn’t just one way to value engineer a project. It’s also worth noting that a product can’t really be circular in isolation. This is a way of working and thinking not just a manufacturing technique and as such the project and indeed the supply chain need to employ these principles to ensure materials stay at their highest state of usefulness for as long as possible. As lighting designers, recent years of focussing on ‘efficiency’ have seen us paint ourselves into a corner with the clients’ key perception of value being on payback vs capital expenditure, but there are some other ways that we can focus the client’s eye with regards perceived value. Here are some initial principles that we can follow as designers.
Below we have laid out some approaches to countering obsolescence: Reduction: This is both subjective and objective. Aesthetic judgement on the how many lights we use & objectively using luminaires that either use less material or use recycled or reusable materials. Products are increasingly being supplied with a Life Cycle Analysis or EPD (Environmental Product Declaration), which can inform you for the origin and embedded carbon of components, which is a more accurate way to determine a product’s environmental impact.
Product attachment: Countering emotional obsolescence by selecting timeless forms, factors or products that will be loved, liked or trusted longer is not to be underestimated. There are countelss examples of long lasting products that are not inherently durable but survive because they are cherished.
Product durability: Addresses countering functional obsolescence by developing products that can take wear and tear for their designed life and beyond. We need to move away from a current trend of engineering out durability purely to reduce cost without considering the impacts on obsolescence.
Standardisation: The goal here is countering obsolescence of the lighting system through use of industry standard components, protocols and formats that will outlast a particular technological trend. There is an argument that this can actually add cost, carbon and sometimes complexity to a product but again looking at the designed installation life cycle as a whole is critical rather than just on a product level.
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Ease of maintenance and repair: Aimed at countering functional obsolescence by enabling products to be maintained throughout life. Recent legislation means this ‘right to repair’ is a requirement and while this counters planned obsolescence in products, it requires proactive maintenance and goes against the misleading ’fit and forget’ motto that has been the selling point of so many LED upgrades.
Upgradability and adaptability: This is aimed at countering systemic obsolescence by allowing for future expansion and modification. As a designer we should be mindful of specifying products that can only ever be used in one application. So while custom beam angles, finishes and materials are great tools, its important to consider if these can be modified in the future of the product to have a second or third life. The end user or owner will also need to be diligent about who they approach for their repairs as quality and circular economy competence can vary immensely.
Disassembly: With real world recycling processes in mind, disassembly should be considered at the design stage. ‘Material passports’ are being developed for new products by more reputable suppliers and manufacturers, which will help determine this. Specifying suppliers who are part of a WEEE compliance scheme is the bare minimum that should be written into your specs for when fixtures do eventually reach their end of life.
I mentioned relationships at the start of the piece because I feel that a collaborative approach is the key to unlocking these new avenues. In promoting the Circular Economy we’re not trying to discourage other sustainable routes (such as energy efficiency or products made from waste materials) but to help people understand that while a circular
product doesn’t need to ‘look’ different to a non circular one on the outside, taking the above steps, one at a time, to make the process more circular can have just as big an impact. www.greenlight-alliance.com
034 | ECO-CONSCIOUS LIGHTING | INTERVIEW
“THE PASSION TO CHANGE THINGS FOR THE BETTER HAS ALWAYS BEEN WITH ME. IT WAS AT UNIVERSITY THAT I STARTED LOOKING INTO MY PROFESSIONAL INDUSTRY AND REALISED HOW DAMAGING AND DESTRUCTIVE IT IS.”
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ksana Bondar, Director of Design at Biohm, is a Russian designer and innovator. She sits down with darc Editor Sarah Cullen to discuss her journey from marketing and PR into bioengineering design for sustainable products for the home. Growing up in Perm, Russia, but born in Taldykorgan, Kazakhstan, Bondar began her professional career in marketing PR and media. “Product design and industrial design, which I was obsessed with, wasn’t an option in Russia, hence my other creative choices took me to marketing,” she tells darc. Pursuing this avenue, Bondar moved to Prague to complete a Bachelor’s degree in Communications, Mass Media & PR at The University of New York. She then moved to the UK and rediscovered her design-led passion. Here she completed a second degree in Product and Furniture Design at Kingston University in London. “It was in the UK that I discovered the design discipline and had to go back to uni to re-study,” she reflects. A core value that has run through Bondar’s life is to be as resourceful and kind to the planet as possible. “The passion to change things for the better has been with me all along. It was when I was at uni that I started looking into my professional industry and realised how incredibly damaging and destructive it is. For me, being very passionate about making things to be better meant I couldn’t go down the route of normal design practice. I believe designers and materials and the materiality of things are interconnected.” A few years ago, Bondar attended a talk held at the Design Museum, London, by Artist Zoe Laughlin, which sparked a realisation of the type of designer she wished to be. The talk revolved around designers who are farmers of their own material. “That was exactly how I would
identify myself. You become an innovator, because you are looking into ways to turn abundant waste matter into something that is valuable using all your traditional training as a designer. Then, the more you learn about it, the more you understand it’s not just about waste, it’s far bigger than that. It’s about biomimetics and ways that nature solves these problems. There’s no need to reinvent the wheel! All these solutions are out there, we just need to learn to look for them. In nature, waste is non-existent. When something perishes, it becomes fit for something else – for a new life, and it’s continuous circles. “That was my journey. All of my work started from uni, and since then has evolved around innovative materials derived from waste and transforming waste streams,” she explains. Bondar went on to be the Co-Founder of Luna Lab, a circular design studio that aims to design out waste and reimagine products, services, and system. She then joined Biohm, firstly as the Business Innovation Manager, and then onto the Director of Design. Biohm is a London-based innovation studio that was founded by Ehab Sayed, a designer, engineer, researcher, and entrepreneur, to bring the principles of biomimetics into the construction industry by adapting and applying the ingenuity that is found in nature to our built environment. Its aim is to revolutionise the built environment, and the way businesses are conducted, through the development of bio-based materials, circular construction systems and innovative business models. At a time of climate crises, it believes radical change is needed, requiring systemic innovation on a large scale to re-address the multifaceted issues interwoven in economies that have led us to where we are now. “If we are to venture beyond merely reducing our impact on the planet
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and our health, contemporary approaches to waste management, manufacturing and building must undergo a step-change towards having a positive and regenerative impact,” says the studio. “Our goal is not only to build a successful company, but moreover, to improve the quality of people’s lives through enabling the use of healthy, environmentally friendly, circular materials and building solutions for applications across the design and construction industries, eliminating the concept of waste and demonstrating how business can equitably and ethically work in collaboration with the natural world, industry, academia, government and community.” More than 5,000sqft of space is dedicated to Biohm’s warehouse, lab, and offices, which together form a biomimetic research hub. Working with industrial partners, it repurposes waste materials and industrial by-products into useful materials. Whether it is through mycoremediation processes or using its unique Orb binder, it now works with a wide range of organisations across London, including a number of councils, research institutes, educational institutes and businesses. It produces two unique materials: Mycelium and Orb. Mycelium - the vegetative filament root structure of mushrooms - is used to grow Biohm’s materials using organic and synthetic substrates that are the by-products or ‘wastes’ of other industries. This material has been used to create the world’s first accredited mycelium insulation product. Orb - organic refuse biocompound - is manufactured from difficult to reuse or recycle by-products, utilising resources that would otherwise go to landfill. Biohm converts one of the world’s fastest growing waste streams - food waste - into valuable and functional materials that can be moulded to create 3D products. Orb is 100% biodegradable, vegan,
sustainable, and renewable. “Biohm was established just five and a half years ago,” says Bondar. “Founder and Director of Innovation, Ehab Sayed is my personal twin - I have never met a person who was so like me. We finished each other’s sentences, it was that kind of connection. “He established Biohm for various reasons, but it started for him back when he was doing his Master’s in engineering. The design profession evolves a lot around problem solving, or finding better solutions to problems, or better ways of doing things. The problem he was looking into was waste and waste in construction. “That evolved into the solution and construction system that had biomimetics embedded into the design, but it was also solving the problem of waste, as in on-site waste, waste when buildings are being built as well as when buildings are being demolished,” she continues. Bondar recounts that once Sayed began prototyping and evolving his construction system, he realised the materials he was working with were either produced by “greenwashing brands or products that were deemed eco”, but when researched further, they were sometimes proven to be “worse than synthetic materials or plastics”. This ethos of sourcing or creating unique materials that are truly ecoconscious is something that runs through all the team members at the Biohm studio. The current team is formed of people from various professional backgrounds including designers, engineers, scientists, and lawyers with business backgrounds. “We all start from a point where we’re obsessed and passionate about the problems and finding the solutions. And the problems and threats are to all the creatures and life that walks the earth. Waste is just one of the prominent ones,” explains Bondar. “That’s what’s beautiful about Biohm and how it came
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about. It aligns with an individual’s passions and ideas and impacts that we all want to achieve.” When asked about how she accrued all her technical knowledge after jumping career paths from media to design, Bondar expands: “I came into Biohm when it was fully established, having gone through the same journey myself previously. That’s why it was such a beautiful merge because I was doing the same thing, just separately. “In the early days, I was researching and studying myself; it was self-taught chemistry and biology. And then I would reach out to people when I was stuck. I remember when I was experimenting with materials at uni, I reached out to the chemistry department for help and got a great response. People were fascinated because it’s not often they end up in a room with a designer. I also needed help to build a machine, so I went to the engineering faculty where Formula One cars were built. There I was with a little design for a shredder and asking questions about a motor I had bought from eBay that came
from a conveyor belt! “I think it’s an agility and passion that drives you either to reach out or pick up a book. And, I think it’s fascinating that suddenly your design becomes ever more important and valuable, because it’s no longer aesthetics or trends that define it.” Mycelium insulation is the primary export from Biohm, however last year it launched its first ever commercial product, a lighting range, that harnessed its unique and sustainable materials. The Obscure lampshades are created using its Orb material, consisting of orange peel and coffee chaff (the outer skin of a coffee bean that is removed when roasted). Wanting to expand their expertise into objects that are more accessible to wider markets and are suitable for homes, offices, restaurants, and more, the team’s first instinct was to create a light product. Bondar expands: “Lighting was the first option because it seemed an easy-ish product to look into in terms of matching our material and our capacity to design and produce it.
Built of harmony The Secto Design lighting collection is designed by the award-winning architect Seppo Koho. The diligent handwork is carried out by highly talented craftsmen in Finland from top-quality local birch wood.
www.sectodesign.fi
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and orange materials due to the high quantities of local waste streams available to them. However, with a strong recipe in place, the possibilities of exploring other bi-product waste substrates is always an option to create variations of lampshades. With a strong focus on the production of the lampshade materials, the other components of the lighting fixture as a whole were also a large consideration in the beginning of the design concept. “The brief was so ambitious that we actually weren’t even looking into light sources at the beginning. There are so many mushroom species, for example, and some that are bioluminescent. We were looking into ways to not have electrical lighting, but instead maybe tap into the ability of an organism to glow in the dark,” she explains. “We also looked into the natural ability to bounce light. But we realised a lot of that was very complex and would need years of research and development, so it was parked. The use of natural-based materials could be a concern for some in terms of the product’s longevity, but Bondar reassures that the material is made to last. “I don’t have a number for longevity, but our products go through in-house and third party testing against relevant standards and mechanical properties,” she explains. “The lampshades have gone through mechanical testing and flexural strength testing. The material has similar properties to plywood and mdf if the waste stream is fibrous. So it’s very strong, it’s not going to just crumble and fall apart. “Furthermore, in-house we test for environmental conditions. The lamps will sit in a tent with 88-90% humidity and a lot of heat, and they’re absolutely fine – it’s crazy! “These are not realistic environments however; we wouldn’t recommend people to take them into the tropics or under rainfall. They’re not IP-rated so not suitable for bathrooms or outdoors. We’ve also done impact testing by throwing it down and bumping into it and it’s proven to be a very sturdy material. These are all stress tests to push the product to its limits. “In terms of the mould, again, we do a bio-resistant test where we expose materials and products to contaminants. They sit in a chamber with mould, yeast, and a lot of bacteria. The orange peel and coffee chaff, because they have a lot of natural acids, repel all bacteria and mould naturally. “We also have a natural top coat we add that is a mixture of linseed oil and beeswax that protects it further, although we are trying to replace beeswax with plant-based wax or just oils. “The way these materials behave is very similar to wood. If you were to get it wet, it would mark and potentially grow things – or like an outdoor table, for example, typically has things growing on it. It just needs a bit of extra care or housed in an environment that it thrives in. It also inspires good culture for a respectful attitude to things around us. “If you did change your mind or re-decorate, Biohm takes materials and products back. The Orb material can be shredded down and re-moulded, so it’s infinitely recyclable; or it can be recirculated either back into a lampshade or something else. And Mycelium is the same, but it eats itself! It would find nutrients in itself as a cured material, shred it up, feed it back to the life organism and it would consume it. For us, it’s a value to take a product back and use it as a substrate again. “The trend in recyclable fashion - as long as there’s businesses and systems, infrastructure, and technology, and places to deal with it - is fine. But at the moment, current materials, infrastructure and tech is not fit for that and that’s why longevity is a bit of a playing card. It’s the same when you look at nature - seasons change, trees lose their leaves and they grow back again. The change, trend and fashion is there, but it’s not too shameful so long as we can deal with the cyclical trends. “The world is different to what it was 5 years ago,” she continues. “My work used to be called art because it was funky; nobody saw a reason to do it. But, as a company, we are speaking to some of the biggest multinational companies that are looking for answers to questions that we have been talking about and working on for a long time. We are now the key holders. People are interested and passionate about it, they
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“We began by looking at how nature forms things. For example, when leaves get wet, they become moldable and take the shape and form of what they wrap themselves around. That, in addition to gravity and all other natural forces that surround us, impact the various matters into a shape. And that’s exactly how our lampshades are made. “Typically, shapes are created when matter is injected into a mould, but for us our mould is like a skeleton. The material is layered on top of it, and it forms itself. This means each lampshade is completely unique, and in some ways design-less. This is how biomimetics comes into the design; nobody is holding or forcing the shape. “Designing becomes very involved and as the designer you are the driver that determines the shape and finish; you determine everything. For us it’s not an ego-driven approach, it’s more of a collaboration with the material that we are respectful towards. For the Obscure collection, a local office building approached approached Biohm with an abundance of orange peel as a waste product from their high production of fresh orange juice. “Orange peel is very problematic,” says Bondar. “You wouldn’t think so, but it is due to its acidity; it can’t be composted because it destroys pH levels in soils. But, for us it works amazingly well because of the chemical composition. It’s got peptides and other chemical compounds in there that makes it elastic. So for lampshades, when you work with it when it’s not cured, it’s kind of rubbery. It likes falling and forming and shaping over things, it’s just brilliant. The colour is quite interesting as well because usually natural materials are very earthy, this one is a little different. We’re also looking into pigmenting it as well and developing a bit of a colour palette. “Coffee chaff is the same, it too is very acidic. This material is incredibly beautiful and has such a deep chocolate colour, and to work with it’s more leather-like. You could see when it forms itself, in the crevices, they actually have wrinkles like an elephant foot - they have such unique personalities,” she describes. In order to turn the waste substrate into a workable material, Bondar explains the various techniques they use including chipping or granulating. Coffee chaff doesn’t need to be processed as it is suitable in the form it already arrives in, whereas fresh orange peels need to be broken down into smaller pieces. These elements are then combined with a bio-based binder as a hardening component that the studio developed. This ensures the product is completely natural, and even ranked as food-grade, although Bondar doesn’t recommend eating it because “you would break your teeth”. This part is then combined with a filler, fibrous cellulosic substrate to form the final material used to create the lampshade. “Once the lampshade is formed, it is then cured. This can be done simply via air-drying or to meet our target of batch production, we custom-made a dehydrator that is super low on energy consumption; it’s not an oven or a kiln. It just speeds up the drying process.” Mycelium is a secondary material that the studio is experimenting with to produce a follow-on lighting collection that is scheduled to be launched later this year. Mycelium is a living, breathing, moving and growing organism that will present a very different final product. Again, lamp production will follow a similar process to that of the Orb-based Obscure collection, as the mycelium material has a character of its own; it cannot be forced into a mould, yet will form naturally, growing inside a mould. “ The concept was called self-formed finding; it’s a biomimetic approach to design,” explains Bondar. “In nature, when cells or bubbles in water accumulate, they start to form themselves and accumulate. “It’s very complicated - I was reading biology books and discovering how things grow and form in nature - and then I looked into the root concept and how I could use that in what we do here at Biohm. “It’s matter with other matter,” she continues. “And because of the properties of the material, it is a structural and dense form that can also act as an acoustic absorber. “The Mycelium lamps are currently prototypes, with final prototypes ready at the end of this month.” For the time being, the team will continue to use both the coffee
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want to change.” In terms of sourcing all of the components for light fixtures, Bondar claims it has been a painful experience to find products that match their strict sustainable ethos. “There is not much out there that matches our militant our approach or ambition,” she says. “We have been looking into wooden fixtures, lampholders, as well as ceiling roses, but I’m always suspicious of what people declare their product as, and tracing down the supply chain can be difficult. They could say that they’re working with European companies, but actually their components are made in China. So all of a sudden, your product or the components that you’re getting from your partner, company or supply, actually have a breached supply chain. “We’ve procured as militantly as we can for now, but we always plan to build on that, and keep a close eye on what’s available. This is not something that we do, and maybe can’t do. But coming across new technology like OLED excites us, but they’re not readily available to us at the moment.” Moving forward, Biohm is opening a new warehouse facility on the outskirts of London. The space is mainly dedicated to the production of its insulation products, however the hope is for embedding other product lines and technologies in one large factory space. “The big idea is starting with the Mycelium insulation but then potentially having hubs, hyper-localised (zero travelling miles) everywhere. That means we are able to draw on the local waste streams as well as help communities thrive and take control of their prosperity locally. “However negative Brexit is, it does kick-start this sense of pride and not turning your eye far away but looking right in front of you and seeing how amazing it is. Individuals and professionals turning back into their communities is fabulous! We call it ‘Glocal’ - working with local formulas, systems and ways of working but implementing globally. By doing so, you have figured out how to set up a manufacturing facility that draws on local resources, waste streams and people, and give them the power to do it and make money for themselves and livelihoods, as well as play in the economy and industry. That model can work anywhere in the world. “We are still finding our feet for ways of distributing, or wholesaling, or sending our lighting products to a design shop to retail them. I think we will launch within our own network for the time being, but we also want to give people the opportunity to experience the materials, innovation and products. We are looking into hosting a once-a-month open door event as we have a lot of requests for a showroom experience. Hopefully there will be an option to do a product launch on one of these evenings,” she concludes. www.biohm.co.uk
Biohm is a revolutionary design force that is challenging the common waste industry to salvage and produce products that are respectful to the environment. Oksana Bondar joined the team in 2019 and has driven the shared-passion to deliver options to the construction industry that use natural and eco-friendly materials. The most recent venture the studio has embarked on is a range of lighting that highlights the issues facing the design industry as well as F&B waste sources. Using coffee chaff and orange peels, the team has produced unique materials that naturally form over skeleton frames to create the Obscure lampshades. Bondar is excited to launch this new range into the commercial world to bring eco-solutions into the everyday home. It reinforces a culture of respect for products and their longevity, as well as their impacts on our environment.
Nans by Joana Bover
Nans is an extensive collection of luminaires that pay tribute to small cove in the Costa Brava. Designed for outdoors, Nans can also be used for indoor use We wanted to highlight the craftsmanship of the lampshades and to look for a different way of weaving by combining different colours and formats to create a true Mediterranean style.
www.bover.es | +34 938 713 152
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2022-02-18 2:56 PM
The Lanesborough, on London’s Hyde Park Corner, sits between Knightsbridge, Belgravia and Mayfair, the most affluent and one of the most beautiful areas of the city. Built in 1719, by the last Viscount Lanesborough James Lane, by 1733 it was the original St George’s Hospital that served as a medical facility for almost 250 years until the hospital closed its doors in 1980. In 1988 planning permission was secured to turn the property into a hotel. Fitzroy Robinson Partnership was appointed to prepare plans to transform Lanesborough House and create a luxury hotel incorporating as much of the original façade as possible, while completely renovating and converting the interior. It was designed in the style and manner of a grand 19th century town house. Managed and operated by Rosewood Hotels in December 1991, it is now part of the iconic Oetker Collection. When it came to production of the lighting, appreciation of history and heritage was vital. Bespoke lighting product designer and manufacturer Dernier & Hamlyn was commissioned to craft around 300 light fittings in solid brass for the hotel’s public areas, bedrooms and corridors. All were recreations of classic styles including empire pendants, Indian lanterns and drape and bag crystal chandeliers. While in the conservatory restaurant, which is now the Michelinstarred Celeste, Chinese lanterns emulate those in Brighton’s Royal Pavilion. These light fittings, handcrafted by artisans and fitted with individually-designed glass shades, would have been admired by many of the famous people who have stayed in the hotel. This includes Stevie Wonder - who has played the piano in the Library Bar under Dernier & Hamlyn’s chandeliers.
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Lanesborough Hotel London, UK
By 2018 the hotel was due extensive refurbishment. The new owners were keen to update the lighting while maintaining its period appropriate styling and commissioned designers Pinto in Paris, who in turn called on Dernier & Hamlyn’s expertise to determine appropriate ways to incorporate LED lamping while retaining the historic look and feel. Reference material from Dernier & Hamlyn’s extensive lighting archive provided inspiration for the classic elegance that the designers were looking to achieve and led them to their highly experienced artisans using a wide variety of skills to design and produce a range of truly stunning chandeliers, while also restoring existing fittings. Most of the people who worked at Dernier & Hamlyn’s factory in the 1990s are still there, and were delighted to be involved in giving these works of art a new lease of life. Glass was replaced, metalwork including brass chains, rings and hand-cast honeysuckle leaves was cleaned, repaired and where needed replaced. In addition, 20 glass bowl pendants in a range of sizes up to 1-metre diameter, which were originally manufactured by Dernier & Hamlyn back in the 1990s, were fully refurbished. Dernier & Hamlyn’s Head of Design, Mark Harper, comments: “It was an honour for our team to be involved in re-imagining the hotel’s lighting. And it was a tribute to the owners and the designers that they worked with us to determine ways that the fittings could be remodelled and converted to be more energy efficient so that they were fit for purpose in the hotel’s revitalisation, rather than simply producing new fittings and disposing of such wonderful lighting.” dernier-hamlyn.com
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Origin Coffee Cornwall, UK
Origin Coffee’s new roastery, cafe and HQ in Porthleven, Cornwall, is the brand’s third UK location to utilise the distinctive restored fittings of Skinflint. The relationship between the two companies is one that has grown organically over the years thanks to a shared ethos focusing on product provenance and sustainability: Skinflint bringing their salvaged pieces up to modern-day technological and environmental standards with LED fittings (restoring while preserving each light’s unique heritage and character); Origin similarly respecting the people, processes and raw coffee beans they source from all over the world. Visually, the interesting surface patinas of Skinflint’s original fittings complement the texture within Origin’s spaces. Skinflint first supplied a pair of elegant 1950s opaline globe pendants salvaged from Czechoslovakia to Origin’s first dine-in space in Penryn, Cornwall. Housed in the same converted Victorian warehouse next door to Skinflint’s studios and restoration workshop, the lights make a bold statement in the entranceway while bringing a sense of scale and softening to the industrial space. Next, tucked away beneath the railway arches in Origin’s London Southwark location, four of Skinflint’s 1940s airfield taxiway lights salvaged from an RAF base in north west Wales are suspended above the counter, their metallic finish complementing the coffee taps below. A row of mottled conical Eastern Block pendants from the 1950s also hang in the window, catching the eye of passers by, while a run of reclaimed German cargo ship bulkheads illuminate the narrow hallways leading to the restrooms. At The Roastery, the latter
two fittings are installed in the employee areas, with two statement converted industrial fluorescent LEDs illuminating the main café counter. It’s a clean, open, minimal space, offering full transparency of their roastery operations visible through glass windows behind. As a purveyor of reclaimed lighting, the circular economy has always been embedded within Skinflint’s ethos. The launch of its Full Circle buy-back scheme takes this a step further, completing the loop on the lifecycle of its products. It gives clients the opportunity to trade-in their Skinflint lights in exchange for 50% credit off a future purchase. The idea being that these beautiful, well-engineered pieces are kept out of landfill and in use forever. And more widely, to promote a circular approach to design and consumption. It’s aimed at both residential and commercial markets, but particularly companies like Origin, who are sustainably aware and are likely to refresh their busy shop spaces every few years. Although it’s early days for the reclaimed fittings installed at Origin’s various outposts, Skinflint has already had a strong response to the initiative. Tom Sobey, founder of Origin Coffee, says: “Collaborating with a local, forward-thinking brand whose unique product range not only works aesthetically for our interiors, but helps tell the story of our values, and aligns with our environmental goals, is a win-win for us. As a fellow B Corp, we are committed to using business as a force for good, and Skinflint’s buy-back scheme makes complete sense when it comes to updating our stores.” www.skinflintdesign.com
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Scarlet Hotel Newquay, UK
Tom Raffield was recently commissioned to install its No.1 Noctics Giant pendants at the Scarlet Hotel in Newquay, Cornwall, UK. The Scarlet is a beautiful eco-luxury hotel, restaurant and spa located on the edge of the ocean. Tom Raffield selected its steambent monochrome Noctis range as they provide a sleek aesthetic for the opulent interior scheme. The pendants compliment the modern interiors of the restaurant and showcase Tom Raffield’s unique, sustainable, handmade designs. “The Noctics range sees our most iconic lights take on a whole new aesthetic,” says Founder Tom Raffield. “We’ve ebonised the steam bent wood to give a sleek, darkened effect that contrast incredibly well with metallic brass. The final designs are luxurious, unique and symbolise an exciting next step for the brand.” Handcrafted into the most intricate of sculptural spheres, the Noctis No.1 pendant strikes a balance of timeless grace and ebonised, architectural design in every twist and turn. Crafted from ebonised tulip wood, these fixtures are finished in eco-friendly, hard-wearing water-based varnish in a satin finish. www.tomraffield.com
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Ca L’Andreu Allela, Spain
The old masías or county houses represent an architectural legacy within the Catalan landscape, they remind us of a by-gone age and their survival depends on making them habitable today. For Ca l’Andreu, a masía that dates back to the 15th century located in Marina (Alella Municipality), the Puig-Mir architectural practice came up with a double-refurbishment in order to create multi-functional accommodation as well as a private residence, following the premise of respecting the building’s origins with the least impact possible. Locally found materials inspired this project, which is furnished with the Serena and Nus lamps as well as the Bodrum table, in walnut wood, by Let’s Pause. The owners of the old house commissioned Puig Mir with the complete refurbishment of the ground floor, which was going to be let to visiting tourists, as well as a new type of meeting space for company events and experiences; at all times respecting the building’s heritage and with minimal environmental impact. They wanted an eco-masía that reflected their own values: sensitive to the land and as sustainable as practically possible. Ca l’Andreu has views over the Mediterranean Sea in an extraordinary setting just 20 minutes from Barcelona city centre. Both the client as well as the design team agreed that the character of the masía had to be highlighted and celebrated, respecting its origins and the found traditional materials, but with the best of modern comforts and under strict sustainable criteria. Happy with the final results of the ground floor refurb, the clients
trusted the team with the refurbishment of the first floor as a private living space for them, which was recently completed and where some pieces from Let’s Pause were incorporated. The proximity to the Serralada de Marina mountain range park and its renowned “sauló” trails that are so typical of the area, together with the found handmade ceramic tiles, the south facing orientation and the Mediterranean light, all came together to influence the interior architects with the selection of materials and the decision to make new openings and reorganise the plan. The Serena lamps are handmade from cane, a natural fibre that is braided and bound for its lamps and baskets. The Nus pendant’s shade is hand woven using sisal fibre, a plant that is indigenous to the Andes. The final product is the result of age old craft skills by local women who can work from home allowing them to also maintain their families. They use a single thread and a repeated crochet stitch in order to produce a vegetable mesh that allows light to pass through. Again, no protective treatment nor varnish or waxing is used. In practicing its work, the Puig Mir doesn’t differentiate between architecture, interior design and decoration. Everything is the result of the same thinking in order to come up with the desired ambience. At Ca l’Andreu, this course of action has been as simple as highlighting the local materials so that they age in a natural way with the passing of time. letspause.es
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Six Senses Shaharut Hotel Shaharut Negev Desert, Israel
Nir Meiri provided a selection of Desert Storm Sand lamps to the Six Senses Shaharut Hotel. Located in the south of the Negev desert, Israel, is the Arava valley where traditional desert hospitality is expressed by generosity of spirit. This inspiring location, named Shaharut, which translates as the moment just before dawn, adds yet another dimension to the portfolio of incredible natural settings that Six Senses Hotels Resorts Spas call home. Curved into a dramatic cliff, the Six Senses Shaharut hotel comprised just 60 suites and pool villas occupying a total footprint of approximately 46 acres, including a Six Senses Spa. The Villas have been thoughtfully designed and integrated into the desert topography to preserve the natural terrain, and are inspired by local rocks and pigments. Sustainability is at the top of the Six Senses’ agenda, and it has an environmental commitment to prove it is possible to enhance the guest experience while respecting nature. The hotel has developed a range of programmes to conserve energy
with opportunities for guests to offset their carbon footprint. Where possible, it also grows its own organic vegetables and herbs to achieve self-sustaining and zero waste targets, and drastically reduce its environmental footprint. Located on the hotel’s lobby desks, Nir Meiri’s sand lamps greet guests with a natural, warm light. Using lamps made of desert sand was the perfect match for this project. The shape of the sand lampshades brings to mind primitive desert structures, while the fixture’s overall figure resembles that of plants that bloom in the Mediterranean seashore. The use of sand as the main material plays on the tension between its wild nature – that of sand storms and vast deserts – and the delicacy of the molded end design. Despite their apparent fragility, the lights are sturdy, and their strength partners with that of the fixture’s metal pole. Once the LED lamp is lit, it spreads a soft light, which accentuates the amorphous shapes still present on the lampshade’s surface, reminding us of the sand’s original untamed nature. www.nirmeiri.com
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Reclaimed Beauty Ambience Lighting faithfully restored lighting elements in this new Melbourne-based beer hall, matching the rustic yet contemporary interior design scheme by Studio Y and PlaceFormSpace. David Justice of Ambience tells darc more about their role in the project. Images: Derek Swalwell
Melbourne-based interior design firm Studio Y and building designer PlaceFormSpace transformed an old cigarette factory boiler room into a unique beer hall, Stomping Ground at Morris Moor, situated amidst an outer suburban industrial and residential area of the city. The Stomping Ground brewery needed to be a welcoming, inclusive, and energetic gathering place for locals to enjoy, while incorporating resourcefulness and sustainability into the core of its running and production. The existing conditions and relating structure of the current building had to be carefully investigated and incorporated into the architectural
design. The large site meant that zoning had to be exceptionally considered to ensure sections felt intimate but also retained the openplan beer hall experience. The large structure remained open-plan, with finishes staying mostly untouched to create a contemporary and industrial aesthetic that took inspiration from the original factory. “A mesmerising full-height timber grid structure is the main architectural feature; it was designed to be modular and exposed, visually linking the outdoor and indoor spaces,” describes Studio Y. “Internally it serves a practical purpose, carrying services such as
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lighting, AV, brewery mechanical equipment and beer pythons, with planters as a secondary functional use. Externally, the grid is used to support retractable roofs, translucent roofs, and walls. Intertwined with the landscaping, it allows the space to develop character and evolve over time. All connections are bolted, and the timber beams can be re-used at the end of the building’s lifespan or when a different use is required.” A separate function area was designed to be elegant and timeless whilst remaining flexible. High ceilings, vertical pendants, feature arches, custom distressed paint and a private bridal suite all enhance
the unique space while paying homage to the original building. “The beer hall staircase leads up onto a bridge above the brewery area. It links to the amenities area and offices and offers an elevated perspective of the beer hall as well as insight in the brewery area from atop. The U-shaped bar separates the beer hall from the beer garden and is one of the key and central elements of the space. The hero bar is clad in existing switchboards and the existing blue floor paint is also a nod to the warehouse aesthetic,” continues the design studio. “Every light fitting across the project has its own story. The lighting concept was designed to replicate the idea of a sunset beer session.
052 | ECO-CONSCIOUS PROJECT | STOMPING GROUND
All light fittings were tailored to have layers of optimised filters that replicate the natural colours of a sunset. In a commitment to sustainability and integration, the lighting designers, Ambience made a number of the light fixtures themselves including the refurbishment of original factory light fixtures. David Justice, Managing Director at Ambience, discussed the design journey for the reclaimed space: “We used fixtures found and reclaimed from the original factory because we wanted to foster an authentic representation and design that is at home within the space. And from a story telling point of view, it’s quite captivating and elevates the character of the interior. “A bold idea with creative and technical excellence was paramount. We also wanted to use the lit environment to help elevate a concept that worked just as much aesthetically as psychologically (feeling, mood
and emotion). From here the fantastical idea of having a beer in an eternal sunset was born. “We tailored and engineered all the light fittings to have layers of optimised filters that replicated the natural colours and tones of a sunset – a massive but ultimately rewarding undertaking as it’s one that patrons find extremely inviting. The design approach utilised natural light during the day, and we simplified the dimming controls but still provided the flexibility to control the light levels through the day or evening. “The tricky part was decommissioning the old lights and then refitting them to be constant with the sunset theme. The budget wouldn’t allow us to use cutting-edge technology, so we had to look at theatre and photography techniques to help achieve that desired effect,” he adds. Light fittings from Encapsulite and Symphony Lighting were combined
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with Ambience’s bespoke fittings and the reclaimed pieces salvaged from the original building. “The process of restoring took old-fashioned elbow grease, pulling them apart, cleaning them, removing the webs out and giving the (deadly) spiders living in there a new home, before we gave them a facelift,” explains Justice. “Because the refurbished fittings had poor quality materials in the diffusers, we had to revitalise them, so they paired and married with the other new fixtures. “It was critical to ensure that the distribution of the light falls on the skin consistently across the space. So, we did a lot of naked eye testing and modifications to make sure distribution was consistent throughout. It wasn’t just about applying sunset filters of a colour temperature to achieve the sunset look, we had to not only achieve
the colour characteristics but also make sure every light had the right dispersing properties to achieve the grazing illumination,” he continues. “A hallmark of the space was the intricate architecture, so this called for a lot of customisations and creating of a lighting strategy to integrate within the architecture. For example, linear fixtures within beam coves. The lights also had to be concealed within the spaces, so it looked like sunlight filtering down from within the beams. “The space also featured pub novelties such as a shuffleboard, so that called for custom pendants to fit the space perfectly. In the vast open plan space, there were key areas that needed a carefully considered lighting approach, i.e., dining, beer garden function space, bridal space, brewery, kitchen and alfresco. “The vertical arches behind the bar follow circular AC jets that give it steampunk/machine feel inspired by the old boiler room,” says Justice.
054 | ECO-CONSCIOUS PROJECT | STOMPING GROUND
“Both the function space and beer hall take you to a unique bird’s eye view looking down at the space and action. With so many areas it was a feat to perfect delicate light pools of illumination gently grazing across surfaces. This was married with perfecting task lighting so the core of the business can operate safely and efficiently. “This was a follow-through and tradition from previous collaborations with Stomping Ground that not only permeate through each experience but act like a stamp of authenticity upon the space. “Being so hands-on in installing all the filters in replicating a sunset ourselves made it possible to experiment with our innovative approach, giving us absolute assurance that our desired effect was not only possible but being executed successfully.” Steve Jeffares, Co-Founder Stomping Ground Brewing Co., added a concluding note: “We first collaborated on our flagship Brewery & Beer Hall in Collingwood in 2015 and set a new benchmark for brewery hospitality venues in Australia. We have worked with the team for all our venues ever since, culminating in the opening of Stomping Ground Morris Moor. While sharing design DNA with Collingwood, the result is both unique and stunning.” studioy.com.au www.placeformspace.com ambiencelighting.com.au
Design Details Stomping Ground Moris Moor, Melbourne, Australia Interior Design: Studio Y Building Designer: PlaceFormSpace Lighting Specified: Ambience Lighting, Encapsulite, Symphony Lighting
Salvaging lighting pieces from the original structure of the beer hall was a key component to the design of the new space. Sustainability lies at the core of Stomping Ground's brewing ethos and played an important role in the design of its new hospitality venue. Ambience Lighting worked hard to rescue and bring new life to some of the original fixtures and combined them with new pieces from Encapsulite, Symphony Lighting and from its own catelogue to deliver a contemporary yet rustic finish to the overall design scheme.
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057 | M ATERI ALS FOCUS | SENSI COLLECTION
Natural Forms Maria Fiter, Founder of Barcelona-based studio Crea-Re, talks to darc about her new collection, Sensi. Inspired by parts of the human body, the new range of lamps are eco-friendly, using paper waste to form the main body of the pendant.
The Sensi collection, created by Maria Fiter of Crea-Re Studio, is a selection of lights that are self-dubbed “ecological, aesthetic and colourful”, inspired by the organic curves and movement of the human body. Each individual lamp comes directly from part of the body. Fiter caught up with darc Editor Sarah Cullen to discuss more of the influences of the collection and how she solely created it. “It is not obvious which lamp comes from which shape. I don't like obvious and easy to read things. They don't leave a space for the imagination. My lamps have abstract shapes and I don't reject any interpretation. “The thing I like the most when talking with people about them is that most of them realise it is something connected with a human shape. People don't know what it is, but they feel it. This is what I like the most,
when my message gets to the observer,” she says. Despite their natural forms, these lamps turned out to be the most complex in terms of shape for Fiter. “The most difficult was to create a large scale of the bozzetto in clay and then make a mould for it in plaster. The Sensi I lamp has a plaster mould that consists of five pieces. It is necessary to divide the mould to be able to take out the papier-mâché lamp. All of Fiter’s lamps are made with paper waste and cellulosic glue. Combining these two materials, Fiter creates the papier-mâché, which is then painted in natural, earth pigments. “Papier-mâché, when dry, is very solid and resistant. It is not like normal paper but much more dense and stronger,” explains Fiter. “I like to use this material because it is ecological and easy to work with.
058 | M ATERI ALS FOCUS | SENSI COLLECTION
Natural Elements Using paper waste and cellulosic glue, Maria Fiter creates unique and anatonomicallyinspired shapes to create the Sensi collection. She uses a technique typical to that of sculptors to create the forms, starting with a clay mould before finalising the design and creating a large plaster cast.
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060 | M ATERI ALS FOCUS | SENSI COLLECTION
"I can make any desired shape and colour. It provides a lot of possibilities.” Fiter uses paper that she purchases from locals in Barcelona that work with segrgation of waste: metal, wood, electronics, and paper. "The newspaper I get comes from the recycling centre. The best paper for papier-mâché is the simplest one, not plasticised or thin, which I would deem as bad quality paper. It has to be easy to blend with a blender that I use to make the paper powder." For this particular Sensi collection, Fiter used a technique that is typically used by sculptors. “First, I made a positive form in plaster, and then a negative form in clay. This allows me to repeat the shape of the lampshade many times,” she explains. “Even though the lamp has the same shape there are always some variations with the surface. So each lamp is different and unique; it is not possible to make the same piece.” Describing the length of the process, she elaborates on how the collection was formed in a matter of months: “First, I was preparing many small buzzettos in clay. Then I chose three forms that I liked the most. After that I was preparing each form on a large scale in clay and casting it in plaster. When the plaster mould was ready, then I could
prepare papier-mâché and make a lamp. Usually the process of drying takes around a week or two. “Then, when the lamp is ready, I need to sand it and paint it. I have a special technique to paint the lamps with natural pigments that is quite laborious but it makes an amazing effect. The lamps have a few tonalities of the same pigment. The darkest ones are in the cracks and wrinkles on the lamp surface. The rest of the lamp is more bright and delicate. "I discovered the technique I use for painting my lamps by accident by mistake. I was painting the lamp and accidentally stained it with a different colour than I had intended to.Wanting to get rid of it, I started to wash it with water immediately. I noticed that I got rid of this bad layer of paint plus the underneath layer. To fix this, I re-painted this area but it turned out very badly. So, I washed the whole lamp and I ended up getting this amazing effect with a varied tonality on the surface of the lamp. There were some darker parts in the holes and cracks of paper as well as brighter areas. "I loved this effect and started to implement it in many of the following lamps I created." To create the earthy-toned colours, Fiter buys her paint pigments from
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Poland. "I have one brand that produces my favourite pigments called Kremer, which I always gravitate to and bring with me to Spain," she says. "I love earthy colours because they are so natural and look great in interiors, and they suit my paper lamps. However, I also love strong colours, for example dark ultramarine (Ives Klein blue) which gives life to every space." Due to the scale of these pendants, Fiter believes they would be best suited to larger spaces in order to fully appreciate their visually strong presence. “It is like a statement lamp, it brings attention to the viewer. I see this lamp in some high and large spaces. It looks very good above the dining table in the centre of the room, or in a wide hall entrance. “This collection is more elaborated in terms of form and it is more sculpturesque,” she comments on how this collection differs to other pieces from her studio. “Each side of the lamp is different so you can admire it from many points of view and change its position. In this way the same lamp looks different and is more interesting. Working with light is making our lives brighter.” crea-re.com
The Sensi collection, inspired by parts of the human body, is a range of uniquely shaped pendants that are painted with earth pigments in rich, natural colourings. Fiter used paper waste to form a malleable pulp to create the forms, each with their own individual finish, making them unique to each other.
Home Comforts
062 | RESIDENTI AL LIGHTING FOCUS
As part of our residential and garden lighting feature, darc sits down with a handful of leading designers to get their expert opinions on approaching lighting design in key areas of the home. We follow these industry opinions with a selection of manufacturer case studies that cover some of the latest and most stunning residential projects across the world.
Kitchen & Dining
Marcus Steffen, Founder of MS Lighting Design, started in lighting in 2004. Right from the beginning, he has had a passion for lighting spaces we live in; “I fell in love with creating beautiful spaces for my clients to enjoy”. Alongside his career creating lighting schemes, he also had the opportunity to teach interior designers about lighting as a guest lecturer for Inchbald School of Design and Chelsea College of Art. “I started MSLD in 2014 with the aim of providing a more tailored lighting design experience for residential and hospitality clients,” he explains to darc. “We have worked on projects ranging from super-lux mansions and penthouses, all the way down to small side returns on terrace houses.” With such a wide array of experience in the field, darc asked Steffen to impart some knowledge on how to light the kitchen and dining spaces in the home. To start off, we asked Steffen about the first things he examines when starting a residential project for a client. “With residential, budget is often not fixed, and can vary wildly, so we do not really discuss this at the beginning. We start with understanding how the client lives, how they will use the space, and what they are passionate about. We want to know where everything is going, so an interior design scheme is ideal, but often is not the case. I can’t count the number of times I have asked about the dining table position, and then had to tell a client it will not actually fit there. “Once we have a good understanding of what the client cares about, we can then put together a concept, to show them what is possible. Often clients have no idea about how transformative lighting can be, so we show them what is possible, then refine from there,” he says. It is important for Steffen to gain an understanding of the entire house and its design and the way it feels from the beginning. “I will start in
one room (either the main entrance or the main living hub) and design each room from there. I will pick out elements where I need light, and gradually build up a lighting scheme from there. I do find though that as we do this process, common themes get repeated throughout the property, tying it all together,” he explains. When broaching the scheme for the kitchen, the biggest priority for Steffen is to get the task lighting correct. “Look at how this is going to be applied to the work surfaces throughout the kitchen, and then also lighting for cupboards (though the illumination for these does not need to be as high as work surfaces). After this, we start to look at features and adding ambient lighting. We will break the circuits up, and almost always have an island/peninsula switched separately so it can be left on (dimmed down) for a night light.” When incorporating decorative lighting into a design, Steffen regards it as one of the most intrinsic elements that should be introduced at the start. “Sometimes it is just future planning for the wiring for decorative lighting, but other times the precise decorative light fitting is chosen at concept stage. “We make a really big effort to reach out to the clients’ interior designers and architects to get their input as well so we can resolve these discussions very early on. With the advancements decorative manufacturers are making in using LEDs in new and innovative ways it is becoming more important to decide earlier, since they are using a variety of dimming types as well. If we cannot get it planned then it is likely there will not be cables in place to allow the decorative fittings to dim.” Selecting the correct light fixture for the functional space and ensuring the client supports these decisions comes down to education. “One of our key company principles is ensuring clients can make informed decisions,” says Steffen. “We start with the light: where are we placing
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it and what is its purpose, and explain this to the client. We then choose the fittings that will provide that light, and review them with the client to ensure they are happy with them, refining until we have a final choice. This way they are fully involved, and this reduces the delays and costs of changes later on.” Key aspects to consider when choosing fixtures for the kitchen and dining room, or perhaps open plan living space, is the height of the room and the materials of the fixture. “Making sure pendants are going to drop at the right height (are they long enough?) and wall lights are positioned correctly. Then there are materials; kitchens are working environments, there will be grease and oil, so the light fittings need to be easy to clean. Fabrics are often a bad choice because they will age so badly in this environment. “One of the most complex choices can be whether to have decorative pendants above an island as well as a dining table. It can work, but making sure they go well together and do not clash is a key concern.” Being able to balance the architectural and decorative lighting elements for function and aesthetics to create a comfortable living atmosphere, but also ensure correct lighting levels for task areas, is typically where a lighting designer is key to a successful project. “I think this is where having a lighting designer really helps the rest of the design team. We can look at the decorative light fittings and assess if it will give us the actual light we require. If it doesn’t, we can then plan for concealed architectural lighting to do that job. “A classic example of this is a dining table with crystal pendants. These will naturally want to be dimmed down to reduce the glare, but then you do not have any task light for dining. We will keep the decorative fittings, which are there for the aesthetics of the scheme, and then supplement it with focused spotlights that will produce good task lighting just on the table itself. That way, a beautiful, soft environment
can be made, while the table is highlighted as a feature and practical light is there to eat by. “When it comes to light levels, I am not a stickler for measuring them across the entire home. We are generally looking for 350-500lux on kitchen work surfaces and around bathroom mirrors, but it is much more important to get the feel and atmosphere right, and to do this we need dimming. Clients can then vary it to their tastes. “For colour temperatures, our default is 2700K, but we will go up to 3000K sometimes. We often use even warmer colours for low level lighting, since that is often used for creating the more relaxed, moody “night” scenes. Dim to warm light sources (which go from 2700K/3000K down to 2000K when dimming) are starting to reach a quality we are happy with, so that is something we are using more and more now as well. I think the key is not so much the colour temperature, but achieving a harmony throughout the room. If there are variations in different areas then the human eye is far more likely to pick it up than a particular colour temperature.” To conclude, Steffen advises that both kitchen and dining spaces both demand flexibility, but that doesn’t mean flooding them with light. “Make sure every light has a purpose and is focused on the area it needs to illuminate (if task lighting), since this will give light and shadow, and create that wonderful atmosphere. “In addition to this, smart control allows you to adjust the amount of light in the space, and not have it over-lit. Having a button that can effortlessly transition from good cooking light to a romantic dinner setting, in one press, is quite magical.” www.mslightingdesign.co.uk
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Living Room
Louise Lythe is the Associate Director of David Collins Studio, a renowned interior design practice based in London. Beginning her career in the fashion and lifestyle sector where she worked for seven years, Lythe then completed a stint of work in New Dehli before returning to the UK to change industries and begin working at David Collins. She tells darc: “My experience working with textiles and crafted artisanal objects along with my background having studied fine art and gaining BA Hons History or Art and Architecture degree fitted really well with the studio’s approach to interiors. I have worked in residential design for 11 years for David Collins Studio with a focus on FF&E design and procurement for both private homes and residential developments both in London and across the globe.” As part of this residential feature, Lythe sits down with darc to walk us through the best lighting approaches specifically targeted at the living room. Firstly, it is important to consider all elements of the interiors when starting out a project, as well as the client’s desires for the space. “The overall schemes are always considered holistically to ensure there is a flow and consistency in the lighting systems and design. The decorative lighting is where we may focus more on each room to communicate the use and aesthetic of the scheme - however still always considering the overall concept and design language. “Lighting is a really key element of all interiors and really sets the tone of the room – the lighting needs to work for the client from both day to night. It is important to understand how the client wants to use the home and to work on the layout and the architectural lighting ensuring that everything works cohesively within the space, aesthetically and functionally, along with the decorative lighting and furniture,” she says. As mentioned, lighting is a key player in interior schemes and Lythe reinforces that it is “integral to all our designs and comes in at an early stage when the architectural language is being developed”. Looking more specifically in the living room space, Lythe says it’s
important to consider what the client wishes to use the space for the “hierarchy of the room within the home”. Determining whether the room is used for relaxation or as more of a formal space, the layout is “key to defining the placement of the lighting”. When looking at decorative lighting and how these elements are factored into a design, Lythe explains how it typically forms part of their FF&E package. “It is an integral part of the scheme, which is often a feature in the room and has to work aesthetically with all the other elements of the architectural design and furniture selection. “We use visual images and physical materials to aid the clients understanding of our design proposals, which always align to the bespoke design concept we create for each client. The lighting fixtures are always checked for scale, weight and wiring requirements and certifications – such as a damp rating or UL certification. “For hardwired lighting the weight of the fixture must be checked and the appropriate support must be built into the ceiling, for example for a chandelier. Wiring on a table or floor lamp for example is always checked in terms of length of cord, colour and type of cord and switching, and we will often re-wire pieces to ensure they are tailored to suit the scheme. Everything is considered from the materiality to the fine details of the cord, lampshade, trims, lamps and quality of the light, dimmer circuits etc.,” she says. In order to balance the architectural and decorative lighting elements, Lythe and the studio typically engage with a lighting designer to ensure each side “works beautifully to complement the schemes in terms of location, light levels and temperatures,” and to make certain the functionality is seamless throughout. When asked if she has noticed any lighting trends happening in the home at the moment, Lythe comments: “As a studio we don’t typically follow trends – however I have noticed that organic and sculptural forms are very desirable today.” www.davidcollins.studio
Home Office
fixtures. We make recommendations to the client on this basis filtering out those that won’t work to ensure the process is as easy as possible for the client who makes the final decision based on our expertise. “Structural constraints, aesthetics, task lighting are all important considerations when selecting the most appropriate decorative lighting fixture. Equally, the desired style and feel we are trying to achieve needs to be front and centre, but the most important factor of all is the lighting temperature and the fixtures’ compatibility with technicalities.” As an interior design studio, Matteo Bianchi has the capability of carrying out a lot of lighting design specifications in-house. However, they have turned to the aid of a lighting designer on occasion to gain further expertise on certain lighting situations. “To balance the need for functional task lighting and an aesthetically pleasing atmosphere in a room, we divide the space into different circuits. We once worked on a fascinating residential brief in Chelsea, which required an ‘East meets West’ brief with a hotel feel for the clients who are a family based in Hong Kong and came to work and study in London. The design brief called for an exploration of colours and styles, whilst creating a space that is functional and appropriate for both the couple and their children. The existing space had many constraints being on the top floor of a Victorian mansion, including small bathrooms and kitchen, so intelligent space planning, the design of bespoke furniture and a well-considered lighting scheme played a key part in the succes of the scheme,” he says. “Typically, our clients love and appreciate a fantastic lighting scheme. As interior designers, it is our job to ensure there is enough passion and budget invested in the lighting, and it is not something that is only an afterthought. “When it comes to selecting and purchasing lighting, we do not cut corners by choosing cheap spotlights, for example, or replicas. These create multiple problems later down the line and as a designer, you will always be the one to get the blame.” www.matteobianchi.co.uk
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Matteo Bianchi is the Founder and Director of Matteo Bianchi Studio, an award-winning, London-based interior design firm, which specialises in residential design. Bianchi sits down with darc to discuss his approach to home office lighting. Bianchi always had a strong sense of design and passion for the interiors industry from an early age. “I have always had a curiosity for interior design, which I believe stemmed from my mother who always made sure our house looked pretty and in order. I took on a job at Ikea and worked with specific departments that would be responsible for the displays; this was fascinating to me. I enrolled on an interior design course at Central Saint Martins; it was then that I started to consider the possibility of a career change. I was 29 and everything became really clear - this is what I wanted to do. “After some thorough research, I accepted a place at Chelsea College of Art and Design in July 2006. The course was 10 months long, I absolutely loved it! It provided me with the freedom and opportunity to just learn and research. “Residential design is fundamental to Matteo Bianchi Studio. We are proud to have been appointed as the interior designer for a wide variety of residential projects around the world, ranging from London’s most sought after postcodes to a spectacular residential property in Lagos, Nigeria.” When tackling a new residential project, Bianchi states that the first thing the designer needs to do is listen to the client’s needs and how they wish to feel in their home. “An initial meeting will take place where we understand the budget, how the client would like to operate, and how they would like the space to function and feel. The next stage is to present the complete design proposal: plans, sketches samples and respective mood boards,” he explains. “After concept approval, we develop detailed drawings in order to implement ideas to achieve the client’s design goals. Once a concept is finalised, we begin sourcing and work closely with our trustworthy suppliers. The team then co-ordinates the project with the site contractors, to ensure quality and timing, working with trusted surveyors, tradesmen and suppliers throughout the process.” When asked about lighting and at what stage it enters a brief, Bianchi says: “Lighting design is a fundamental aspect of the brief, and as such it is always referred to in the concept presentation on day one.” Looking at approaching the design for the home office space, an evidently increasing room for many recently, Bianchi explains how it is important to understand the residence as a whole, to ensure it speaks the same language throughout, even if they present different styles. “It goes without saying that good light is absolutely vital to productivity, effective work, positive thinking and happiness. The key lighting components to consider are: functionality for example, what tasks will be carried out and where in the space; natural light source, and decorative lighting. “North light will provide a consistent source throughout the day, and a West-facing window will give you an evening sunset. At night, good task lighting is crucial as many of us will be working in the evening. “Although decorative lighting is important in achieving the overall aesthetic, it is important to focus on functionality first,” he explains. When looking at choosing the correct fixtures for your client in a space that demands function and aesthetics, Bianchi states: “We make these decisions based on technicalities, for instance, how compatible are the
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Bathroom
Riley Sanders, Head of Design at Astro, began his design journey at Massey University’s School of Creative Arts in New Zealand, where he earned an honours degree in Industrial Design. “My career has seen me work across a broad range of design-based roles both here in the UK and New Zealand, from exhibitions and interiors to furniture and products,” he tells darc. It’s this range of experience Sanders believes has helped him create timeless designs for Astro that suit a wide range of architectural settings. When asked about the process of creating a new product, and whether the install environment has an influence on the aesthetics of the design, Sanders believes it all hangs in the balance of “great performance and aesthetics that is the wonderful challenge of designing lights”. However, inspiration can be sourced from anywhere, whether it be a great piece of architecture, or even the “curve of a door handle” might inspire a new design. “The start of any new concept begins with a stringent briefing stage by our product management team before it lands on my desk,” he explains. “They study the market against our current range of products to find new areas of development, generating a brief and a set of guidelines for which we design to. This will determine criteria such as the category, type of product, and even the light source. It ensures we have done our due diligence and identified a need for this new product in the market and within our own range. “Materials and longevity of design also take centre stage. We don’t design for trends. We make considered choices that give each product enduring qualities, ensuring we are creating mindfully and for longevity,” he says. Astro is focused on producing strong collections of timeless light
pieces and steers away from special commissions in general. With a strong portfolio of products well suited to the bathroom, Sanders shares some of the key considerations taken into account for bathroom lighting. Sanders has noticed in the design industry that the bathroom is no longer a functioning only space for daily routines. Instead, it has become more of a destination that demands aesthetic attention. “The status of the bathroom has been elevated over time and has today become an important element in the design of a home,” he says. “No longer a purely functional room, people are considering this space as a sanctuary for relaxation, or to showcase their design flair. Lighting is an integral element in achieving this, from setting the ambience of the space, to allowing expression of creativity. “Safety is obviously the most important factor when designing lights for bathrooms; we all know that water and electricity is a combination that must be very carefully considered, so all our bathroom lights are IP rated with guidance on which zone of the bathroom they can be used within. Our choice of materials complements this sentiment too. This isn’t a space regularly redecorated so the elements need to sustain both in their performance and appearance,” he continues. “Bathroom lighting schemes comprise three main areas: general lighting, mood or accent lighting and task lighting. General lighting can be achieved with a ceiling light or downlighting whereby you want even illumination throughout the room. Accent lighting is great for highlighting specific areas of the bathroom and creating mood using marker lights to mimic the flicker of a candle for example, or strip lighting to highlight an architectural detail. Task lighting is concentrated on the mirror where you want the most amount of focused illumination. “The spa or hotel experience that so many people want to create in their own home requires a blend of task and ambient lighting. Early mornings you need to be up, showered, shaved etc, and good task lighting is needed on either side of the mirror for shadow free illumination. In the evening, a more mellow ambient lighting for a relaxing bath is needed. This is often achieved by candles but created equally successfully by subtle glare-free lighting. “Our experienced sales team works closely with the designers or specifiers of a project, understanding their scheme to help select which of our products would be most suitable to bring their vision to life. “If possible, in the bathroom use two or more lighting circuits, preferably on dimmers to allow control and to create the desired balance between task and calm.” Ideal lighting levels are often a personal preference, according to Sanders. “The mirror or task area of a bathroom is where you need the most amount of light in a bathroom; at least 400lm are optimum.” With regards to bathroom lighting trends, Sanders has noted a shift from polished chrome to matt black as well as a higher demand for dimmable options. As a result, Astro has expanded its own ranges to reflect this popularity in colour as well as updated established designs and created new pieces with dimmable capabilities. “LED technology has improved so quickly that it allows us to push ourselves even further with new designs that were previously only halogen-based. Some great examples of this can be seen in our upcoming Spring/ Summer collection, launching in April.” On a final note, Sanders concludes highlighting the importance of including lighting design at the earliest possible stage of the design. “Get it wrong and it can ruin an expensive new bathroom design. As with any room it pays to consider the functions of the space and develop a lighting scheme that can truly enhance it and be reflective of your needs and lifestyle.” www.astrolighting.com
Bedroom
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Sally Storey, Founding Director of Lighting Design International and Creative Director of John Cullen Lighting, is one of the UK’s leading experts in lighting. During her degree in architecture at Bristol University, Storey developed a passion for lighting design through exploring the way light interacted with architecture, both externally and internally. In her second year of studying, she gained work experience with the late John Cullen at his newly established studio. This was the beginning of Storey’s long-term working relationship with the manufacturer, which she took over as Creative Director after the passing of Cullen. Further to this, Storey also set up LDI in the mid-80s, sighting a gap in the market for lighting design services when Chase Manhattan Bank approached them to complete a full scheme for their offices on Fleet Street. It was this initial project, and later Goldman Sach’s office, that were the springboard for LDI to expand its reach into other sectors including hospitality, retail, and exterior façade lighting and become one of the leading design practices in the UK. In 2021, Storey released a new book Inspired By Light – A Design Guide To Transforming The Home. As part of our residential lighting feature, we delve into her publication to source tips for lighting residential bedrooms. “The bedroom is our sanctuary of sleep and relaxation,” she says. “But it’s also where we wake and dress. Bedrooms need a soft background light for tranquil late use, get-up-and-go morning lighting, adequate task lighting for reading and for a dressing table, and practical lighting to wardrobes. “Lighting needs to adapt to changing seasons. Getting up in midsummer is different from on a dark winter morning. “Solutions for bedroom lighting are varied and a balance of ambient, task and accent lighting are required for a complete design,” she explains. One approach Storey highlights in the book is a mixed solution. “To light clothes well, it’s best to use a high-CRI integrated wardrobe light on a door-operated switch, or downlights directed towards the wardrobe,” she says. “For general or ambient lighting, table lamps and pendants are useful, or concealed linear sources integrated into the joinery, combined with an occasional focused downlight to the end of the bed or reflected off walls, blinds or curtains. Additional solutions include using LED lights in a ceiling coffer, either uplighting the centre or as a perimeter wash of light. “Each room needs to be considered individually for lighting that best complements its style and size.” For smaller bedrooms, lighting can play a large role in determining the feel and size of the space. “Good lighting can increase the apparent size of a room,” says Storey. “If there is no room for a table lamp, a linear LED uplight behind a headboard can provide the softness needed. This and a task light for reading may be all that is required for a practical and attractive design. This may be combined with carefully positioned downlights for the end of the bed or to highlight the opposite wall. Wall lights or joinery lighting are a good solution to
create balance in the room.” When choosing task lighting for bedside reading, Storey recommends that it should be controlled independently from other lighting in the room. If there is a bedside table lamp instead of task lighting, again, the same recommendation of individual control is suggested. “How the bedroom lighting is controlled, like in all rooms, needs to be planned carefully. General light, whether from a pendant or concealed LED lighting, should be controlled separately from the lower-level lighting of shelving, picture lights and lamps. “The bottom of a table lampshade should be level with the top of one’s shoulders when reading in bed, so the light is cast over the book. If lower, one would have to lean out of bed to read. The height of the bedside table will affect the height of the lamp, so plan carefully.” In contrast, a larger bedroom demands the same balance of ambient, task and accent lighting, however additional lighting to highlight the extra space in the room such as seating is required. “Ensuring there is light to the centre of the room is important, and the additional space allows for more mid-level solutions to be incorporated, with lamps or integrated joinery lighting.” A space where you can be a little more creative and fun is in the child’s bedroom. “Children’s rooms may include an element of fun, such as a starlit-sky or colour-changing lights. A child is not young forever, so avoid a solution that may be expensive to redesign when, before you know it, the child has outgrown the design,” she says. “Lighting shelves works well: the design solution remains the same, yet the objects can change. If bunk beds are part of the theme, try wall lights at each level, lighting shelves at one end or creating detail at the back of the bed to conceal a linear LED strip light to light the back. In a small room, this helps draw the eye to the back wall of the bunk making the room seem wider and lighting the usually shaded wall of the lower bunk. A fun wall light or pendant is a quicker and easier update later,” Storey concludes. www.lightingdesigninternational.com
068 | RESIDENTI AL LIGHTING FOCUS
Garden
Vinayak Diwan is the Principal and Founding Member of Lightbook, a boutique design studio based in New Delhi, India. After graduating in architecture in New Delhi, Diwan pursued a Masters in lighting design in Milan. Working across Milan, Paris, Singapore and India, Diwan has accumulated a rich understanding understanding of a variety of culturally different projects. Diwan chats with darc to explain his approaches to lighting the external areas of a home and how to incorporate outdoor lighting with an indoor scheme. To start off, Diwan explains the first things to tackle when approaching a residential project: “Residential lighting design is a complex process where all elements of design work in unison to achieve the desired intent for any project. Lighting is responsible for providing the user with a multi-use experience within a single space and it takes forethought and an abstract sense of design to perceive a lighting environment, right at the beginning of any residential project. “The architectural and spatial elements along with scale, functionality and user lifestyle are the most critical components in initiating a conceptual brief for the project. We holistically review every space with regards to general layout, furniture, ceiling designs, colour palette and most importantly natural lighting, along with other technical aspects of lighting design. We will stitch all the threads together along with clients’ expectations to create a great lighting visual at the end,” he says. Diwan strongly believes in “conceptualising lighting spaces as part of a strong narrative that encompasses both the interior and exterior”. “Lighting design should start from entrance foyers through various meandering interior spaces over to the large rear landscapes covered with age old trees, which are well illuminated. We strive for a strong lighting narrative, which believes in connecting different spaces with each other with an appropriate balance of aesthetically pleasing lighting and functional lighting, with hints of accents on artwork or sculptures in the house. “It’s all about creating that magical experience for the clients as they play with different mood settings on the keypads in different spaces and create a warm abode for themselves,” he elaborates. Looking more closely at the garden area, Diwan explains how “lighting
design strategies for landscape illumination are very handy in creating the spatial form and visual experiences by the evening”. Recommending the overall design scheme proposed by the landscape designer/gardeners is studied closely to identify key elements of the project, Diwan explains that the key high places can be in softscape / planting or in hardscapes / flooring pattern of any project. “Lighting design has to balance the functionality and aesthetic aspects of the landscape lighting in the most subtle form in order to create a well curated space,” he says. “We always recommend creating different layering in the project as it adds depth to the overall scheme. Trees and shrubs can have uplighters, which can be combined with ambient lighting in the waterbodies or linear grazers to illuminate any feature wall in the landscape. We suggest that lighting should not be an afterthought and all lighting cables should be planned in early stages of the project.” The introduction of decorative lighting pieces outdoors should be considered. “Our lighting ideology to illuminate outdoor spaces has always been with minimal intervention yet achieving the maximum,” comments Diwan. “Outdoor spaces should be treated with subtle lighting accents, whereby the lighting is provided to only necessary areas in 2700K or warmer. Outdoor lighting is a breather from the bright interior spaces so one should aim at low light levels and it can best be done with good quality outdoor decorative fixtures. We can always throw in some battery operated table lamps in brass finish or tall sweeping lamps above your table or hanging lamps from trees, which create that warmth as desired for the outdoor spaces. “The first step towards good landscape lighting is to keep all design attributes in mind and furnish a cohesive lighting scheme. Landscape lighting should always be an extension of your interior sit-out areas, while large glazings give us a view of the external decks, which maintains visual hierarchy. “External grade sockets should be discreetly located so outdoor lamps can be triggered as we want to avoid the clutter of wires running on the deck. Boundary walls or peripheral walls should not be left dark due to security constraint so low height poles or bollards can be added depending upon the scale of the project. We recommend taking consideration of structural consultants in order to plan the foundation of the poles or bollards at any relevant location as soil conditions vary on different projects.” Since the development of LED technology, the choice of outdoor fixtures has increased dramatically, allowing for more client choice and flexibility for designers. “We have access to good quality fixtures, which have reduced in size, are highly efficient, variable colour temperature and different body finishes, to say the least. Clients never had such a variety of fixtures as there are available these days, with excellent service on our esteemed projects. Once our lighting design scheme is approved and in process of execution, we initiate the process of lighting mock-ups for our clients and they get to experience various aspects of good quality lighting fixtures, hence the decision making becomes easier. They get the freedom to choose the lighting experience they want on a daily basis and our role as lighting designers is accomplished once the client accepts our recommendations.” Speaking of the appropriate light levels for a residential space, Diwan concludes: “Landscape lighting or garden lighting is an interplay of various materials and elements illuminated to give a lighting story, so there is never a definitive value of lux levels. It’s a personalised experience of various visual elements and lighting hierarchy that can start as low as a candle light (1lux) all the way to 20 lux for walking passages. Lighting colour can be extremely warm (2200K to 2700k) in residential projects but hospitality projects should use 3000K and maintain the brilliance of the spatial character.” www.lightbook.in
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070 | RESIDENTI AL PROJECT | PADUA RESIDENCE
Historic Decadence Studio Marco Piva completed the interior design scheme for a unique private apartment located in the heart of Padua in Italy. The design blends old and new with bold lighting elements to tie it all together. Images: BeppeRaso per Lualdi
Situated in the heart of the historic centre of Padua, the private residence benefits from beautiful panoramic views of the city with an abundance of daylight flooding through its large original windows. TThe team at Studio Marco Piva were tasked with creating a contemporary design that incorporated and complemented the residence’s original Art Nouveau architecture. The client gave the brief to create a refined and elegant home environment that is modern yet complementary to the monumental features of the building’s
pre-existing works of art and finishes. It was also important to the client to retain certain pieces of classic furniture that possess a high sentimental value. Marco Piva sits down with darc Editor Sarah Cullen, to discuss the design choices, and in particular the decorative lighting pieces selected, for the project. “We already had an established relationship with the client as we collaborated on a project in the past. In February 2019, he approached
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us again to complete the interior design of his new house in Padua city centre. Work began in the Summer of 2019 and finished in Spring 2021.” According to the client’s brief, the studio had to complete extensive research focused on the dualism of old and contemporary in order to provide a design that integrated, in a fluid and natural way, the historic pieces of pre-existing furniture with the new elements. “The objective was to achieve a long-lasting, functional and sophisticated space, rich in details that emphasise the exclusivity of the overall project,” Piva explains. However, working in the beautiful historic site brought with it some challenges for the team to overcome. “The main challenge of the project was to develop a functional continuity between the strong architecture present and the interior design in accordance with the requirements of the client. “The design, studied closely by the studio, emphasises the existing architectural volumes, recalling the historical and Liberty architecture of the building that houses it. “Careful chromatic research went into selecting a contemporary but not invasive colour palette; a trend-colour range that doesn’t go out of
fashion over time.” One of the key elements that was considered at the very beginning of the design process was the lighting. Statement pieces were a must in the public spaces, and technical lighting was used to bring subtle functional lighting to task areas as well as to create bold illuminated wall features. “The role of decorative and custom lighting was, first of all, to give a touch of personality and atmosphere, but also to find the perfect harmony between the architecture of the place and the choice of furnishings. “Both the decorative and the technical aspect relating to the use of light were a key element in the whole design process, with regards to the strong natural light that penetrates through the full-height windows in the apartment.” Notably, in the living room, the team wanted to create a “scenographic and sculptural installation worthy of the historic building where the house is located”, which resulted in the bespoke installation, Collier, from Italamp. This eye-catching chandelier, according to Piva, is “a majestic composition that reaches a height of three-metres, inspired by a
072 | RESIDENTI AL PROJECT | PADUA RESIDENCE
large-scale bijoux and arranged in five suspended rows on which a sequence of blown glass elements, each characterised by different shapes, decorations and colours.” “Each component is a unique piece, with colours customised and selected ad hoc for the project - agatha, dove grey, smoked, olive green, teak - where the glass seems to come alive in curves, textures and friezes that recall the ornaments of a precious pendant. The chandelier gives personality to the space and illuminates it through LED sources positioned inside each element, diffusing a delicate light filtered by the colored and decorated glass. “The relationship we had with Italamp and its R&D team was fundamental to achieve these results thanks to their attention to detail and the deep technological research done together to conceive the custom chandelier, and also their respect for the given budget without sacrificing aesthetic and functionality,” he adds. Elsewhere in the living room, six Caterina wall lamps from Italamp were chosen in custom-colour versions that match the palette of the interior scheme. “The wall lights are characterised by an aesthetic with retro references and by a simple but refined design: the metal structure is proposed with a brushed gold finish while the diffuser is articulated into two specular domes of different sizes, one in opal white glass, which contains the LED source, and a lower one in teakcoloured glass,” says Piva. Kreoo marble sheets are backlit by Fabbian Impianti Group fixtures as a custom piece of illuminated artwork. “The stone material is presented in an unusual duality, solid and dynamic; an investigation into the ratio between matter and light. Marble elements uniformly disperse the light with a scenographic effect.” Further backlit Honey Onyx panels from Marmi Orobici Graniti are located in the entrance hallway. “The custom backlit marble panels,
with their transparent / reflective finishes, create unusual effects of light and shadow,” explains Piva. “The LED lighting behind the panels can be controlled and managed, with different intensities and colours, to create attractive experiences involving scenarios and atmospheres for any time of the day.” In the dining room, Italamp’s Greta suspension fixture is reminiscent of jewels reinterpreted into a contemporary design, with a central tubular body with surrounding spherical pieces of varied sizes in carved crystal. Three pendants with five spheres were placed in a row in an elegant, symmetrical line. In the son’s bedroom, an IC suspension lamp from Flos was used to break up the rigidity of shaped furniture. “The choices between chandeliers, pendants, appliqués and technical lights are different in the various spaces of the apartment, depending on the focus points or elements we wanted to emphasise with light,” explains Piva. “For example, the iconic custom chandelier produced with Italamp and the Greta pendant lamps were used in the more public and relational spaces - the living and dining room. “Architectural light was used mainly in the entrance and bathrooms, while the rest of the house, with its double-height window, allowed us to exploit the power of natural light. In those areas we have played mainly with decorative sources. “My artificial light choices, both decorative and architectural, try to learn from natural light. Sometimes it’s a simple, soft light, while other times it can be highly theatrical, but it always comes from the search for an intrinsic dynamism, connected to the placement and specificity of the sources,” he continues. Despite its historic foundations, the team didn’t face any structural constraints when installing fixtures. The only piece that needed extra
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attention and consideration was the bespoke living room chandelier, designed with Italamp. The Murano glass used increased the weight of the piece considerably, so Piva and the team worked closely with Italamp to manage the best solution for its suspension. Reflecting on the project as a whole, Piva reiterated the importance of the role of lighting and its consideration at the beginning of a design journey. “Beside the intense research that we have carried out to find the best, appropriate and durable materials, the light was one strategic element I wanted to use extensively in this project. “It has been a fundamental step in conceiving the overall design by integrating the light from the earliest planning stages, playing with it and all its expressive possibilities. ”This scheme is able to integrate, as much as possible, the lighting into the fit out interior design elements, hiding the light sources where possible, and only making visible the final lighting effects that characterise spaces. “This approach has permitted us to emphasise the feel of magic, astonishment and emotion of lights that occurs when the architectural elements are less visible, but enhance the richness of materials, textures and colours. “I have brought hints of modern and contemporary into the historical building; an exclusive home, completely custom-designed, that features detailed bespoke designs in all the rooms. “Precious materials and unusual finishes are combined within the lighting sources, creating an original play of contrast where innovation combines with the magnificent history of the place, as for the given brief and our initial ideas.” www.studiomarcopiva.com
Design Details Private Residence, Padua, Italy Interior Design: Studio Marco Piva Lighting Specified: Flos, Fabbian Impianti Group, Italamp
Studio Marco Piva was challenged to create an elegant and contemporary scheme for a historic private residence in the city centre of Padua. Dramatic and magical lighting elements were key factors in the beginning of the design process, which the team achieved with a custom jewel-like pendant created in collaboration with Italamp. The electric lighting elements also had to balance well with the abundance of natural light that floods through the original windows.
074 000 | RESIDENTI | CASE AL STUDIES LIGHTING | XXX FOCUS
Rue des Martyrs Paris, France
Ebb & Flow lighting designs has been featured in this complete renovation of an old flat located in the 9th district of Paris, which had not been re-decorated for 30 years. Designers Atelier CVD wanted to create a bohemian chic atmosphere while keeping the charm of old attributes such as floors, fireplaces, and molding. The flat is divided into three areas: the living room and kitchen, the kids wing and the master suite including bedroom, bathroom, dressing and office. The aim was to give this master suite a smooth and warm atmosphere, while retaining the bohemian/vintage touch. In the master bedroom, Atelier CVD used the Cuivre Poli colour from Ressource on the walls. A wide grey panoramic wallpaper from Anabô was chosen, providing depth
and serenity. Ebb & Flow’s Smykke pendant in crystal check with gold details bring an Art Deco and stylish touch. The master bathroom gives a smooth feeling with the light colors of materials: the zellige from Mosaïc Factory, the Not Totally White colour from Ressource and made to measure oak and wickerwork furniture. The brass taps (Neve) and small versions of Ebb & Flow’s Rowan pendant add brightness and style. In the living room, a corner was designed dedicated to music instruments with a piano and guitar. The Ebb & Flow Futura pendants in Chestnut brown match perfectly with the cosy and vintage touch the designers wanted to bring. ebbandflow.com Images: François Guillemin
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Private Residence Valbonne, France
Ambient lighting in the garden is almost as important as the right lounge set. During the day the plants and garden furniture determine the atmosphere in the garden, but at night the mood lighting does all the work. With this in mind, this beautiful garden project was realised in collaboration with English Garden. Through the use of noble materials and a unique character, Tekna’s designs fit perfectly with the concept of outdoor living in the south of France. The Montrose Pendant Small was used to add an extra design touch to the garden. Its streamlined shape reflects the strength of the Nautic Collection. Tekna found its inspiration in the world of shipping. The maritime aspect, the charming character of old train wagons and the craftsmanship in factories are the underlying idea for the designs of Nautic. An original combination in which simplicity and functionality are central. The timeless design and choice of materials give the
fixtures a harmonious appearance. They are atmospheric and stylish, without unnecessary adornment. To provide its decorative design lighting with an extra level of finesse and detail, the esigners assembled the glassware with ledges designed especially for Tekna. These ledges are made from durable brass and bronze-plated for a stunning look. Tekna chose to solder rather than glue the parts together, which reinforces the artisanal aspect of the production process. By adding these ledges, it transformed the minimalistic design into a romantic and more authentic one. Tekna stands out for its high-end craftsmanship, all ridges are mitered to create a seamless look. www.tekna.be Images: English Garden
076 | RESIDENTI AL LIGHTING FOCUS
Private Residence Legnano, Italy
In its complete renovation of a residence in Legnano, Italy, Milan-based NoneStudio created an open layout anchored by custommade furnishings in a sleek, contemporary style. For lighting, the designers selected striking luminaires by Vibia. The kitchen features several fixtures in Arik Levy’s North collection. Over the island, the hanging lamp is suspended from the ceiling. The LED-powered pendant features a spare silhouette punctuated by a triangular shade affixed to the slender rod. The luminaire casts a focused pool of downward light to brighten the food preparation area, while its vertical line echoes the look of the utensils that hang to one side.
Nearby, Nonesuch chose a pair of North wall lamps. Its long carbon fibre stem reaches from the wall across the room, one dangling above the dining table and another suspended over the kitchen sink. The lamps’ trajectory in the space draws the eye upwards to the beamed wooden ceiling, its sleek metal craftsmanship creating a compelling material counterpoint. The North lamps are all finished in aqua blue, adding vibrant pop of colour and creating a tonal connection between the collection’s wall lamp and the pendant. vibia.com Image: Sara Magni
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Atsina Lane Residence Bozeman, USA
When home design and development company Trimbach Design Build was enlisted to build a modern, yet inviting, single-family home in Bozeman, Montana, they decided it was the perfect chance to showcase bold design details and finishes. From early on in the process, this home was designed to showcase the contrast between a neutral palette and pops of colour. To introduce this elegant yet modern contrast, the Trimbach Design team enlisted the help of Sonneman — A Way of Light. The instant the designers discovered the apricot interior of the Waveform Dome LED Pendants, they knew that this apricot shade would provide the perfect pop of colour to the room and be the main attraction in the kitchen of the Atsina Lane Residence property. “The Atsina Lane Residence was designed as a speculative / model residence to showcase some of our favorite design details and finishes. From early-on in the design process, we wanted to introduce a bold colour into the home. This colour would serve as an identifier
/ marker for the home,” says Austin Trimbach, Trimbach Design Build. “The instant we discovered the apricot interior of the Waveform pendants by Sonneman - A Way of Light, we knew that this apricot would be the bold colour to brightly contrast off our neutral finish palette (and black kitchen design). Cohesiveness is paramount in all of our homes, and as such, we then selected the Light Guide Ring linear suspension light (apricot interior) to float delicately above the walnut dining table. Our final move with this bold apricot colour was to paint the front door to match!” The chosen Light Guide Ring is a modern linear suspension light that refers to minimal, functional, geometric design, and fits perfectly and delicately above the dining table. sonnemanlight.com
078 | RESIDENTI A L LIGHTING FOCUS
The Wyelands Estate Pwllmeyric Chepstow, Wales
Located in the heart of the Welsh countryside sits a beautiful listed property. With the interior design being led by Project One, sculptural lighting company, Cameron Design House was approached to design and manufacture several bespoke pieces for this elegant family home. With subtle lighting required to complement the vast, dark resin artwork pieces, the use of metals within the lighting structures became a fun way to explore and experiment with mixed media. Designed to fit seamlessly within the spaces, Cameron Design House created a Triple Lahti and Single Lahti chandelier in a brushed light burnished brass finish for the dining and living rooms. Perfectly complementing the neutral tones and abundance of natural light, the striking lighting structures take centre stage, balancing the space and adding modern elegance to the period features that fill each room. A Lohja Four chandelier brings a playful element to the more informal living space. Combining simplicity with geometry, the visually arresting piece changes in appearance from every angle, which adds to the fun family feel that the home emits. Combining elegance with contemporary design, each bespoke lighting piece was handcrafted by the highly specialised team in the brand’s studio workshop in St John’s Wood London. camerondesignhouse.com
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080 | RESIDENTI AL LIGHTING FOCUS
Private Residence, London, UK
Custom luminaire specialist, Nulty Bespoke, has created a new lighting installation inspired by London’s signature Plane tree. A one-off commission for a Goddard Littlefairdesigned dining scheme, the centrepiece is a playful interpretation of the tree’s sycamore-shaped leaves, elongated stems and circular catkins. Comprising 111 tinted glass leaves and nine brass rods concealing LED light sources within their circular casings, the luminaire directly references the contours and movement of the Plane tree. Each individual glass leaf has been hand blown then dipped in water to produce a crackled surface texture that forms projections of light and shadow throughout the piece. The clarity of the glass is further enhanced by gold flex and white frit detailing, used across the individual leaves to create subtle variations in tone. The leaves have been arranged in an intricate brass frame, made from tapered rods and hand hammered brass balls featuring a dappled effect finish.
Celine Gehamy, Product Creation for Nulty Bespoke, comments: “The humble beauty of London’s Plane tree was our creative starting point for this commission. We deconstructed the organic form of the tree and took inspiration from the shape of its leaves and the sway of its catkin-laden branches. What followed was an exploration of the way light interacts with different textures and materials. We housed LEDs in each of the catkin-shaped casings and interspersed them throughout the chandelier to illuminate each crackled glass leaf and create patterns of light across the ceiling.” Throughout the craftsmanship and installation process, Nulty Bespoke employed subtle techniques to conceal the functional elements of the luminaire from view. The metal ceiling tray has been powder coated to complement the tonal palette of the ceiling. Ultra- thin wiring elements in an elegant gold finish ensure that nothing detracts from the piece itself. www.nultybespoke.co.uk Image: James French
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HELSINKI
FINLAND’S FIRST INTERNATIONAL B2B CONTEMPORARY DESIGN FESTIVAL LAUNCHING 24 25 AUGUST 2022
FIND OUT MORE AND APPLY TO TAKE PART AT designhelsinki.com
@designhelsinki
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designhelsinki.com
02/03/2022 15:19
083 | PRODUCT 000 |FOCUS M ATERI | LOUIS ALS POULSEN
Reimagining a Classic To celebrate 50 years of Danish Architect Verner Panton's iconic Panthella lamp, in 2021 Louis Poulsen introduced the new Panthella 320 table lamp in medium size to suit contemporary spaces.
The Panthella has been recognised worldwide as one of Verner Panton’s most popular designs. Its non-glaring light and soft geometric mushroom silhouette continues to serve as a beautiful example of his fantastic sense of atmospheric illumination and timelessly appealing design. Speaking of the design process, the Louis Poulsen team says: “Working with design heritage such as the Panthella family is a continuing process. We always explore the possibilities of updating or further
developing the design both in terms of technical innovation but also the design itself, such as size and materials, to keep the design alive and relevant today. “With the 50th anniversary of the product we thought it was perfect timing for updating and expanding this beloved family of lamps.” The new Panthella Table 320 joins the existing Panthella Mini and Panthella Table 400 to create a range of intriguing table lamps that seamlessly accommodate the functional requirements of a variety of
084 | PRODUCT 000 |FOCUS M ATERI | LOUIS ALS POULSEN
spaces. With the Panthella Table in three sizes, the perfect dimensions are available to provide any surface with beautiful, soft light in an iconic design. Panthella 320 is a medium size table lamp that meets the functional requirements of contemporary spaces. The size is perfect for smaller homes as a city apartment or a modern family house. It was important the team took care and paid close attention to the original design when working on the new size for Panthella 320. “The Panthella design is simple and logical, yet up and downscaling the product must be done with great care and humility to the original design,” says the team. “The proportions must be right, and the materials are carefully chosen to emit the light perfectly. “The most challenging aspect of developing the Panthella 320, along with the other new Panthella family members, is to preserve
an authentic expression of the design while improving the quality according to the technical possibilities that we have today. The shade is harmoniously balanced on top of the foot without any undesirable shadows from the light source.” The new medium sized Panthella 320 is initially launched with a white opal acrylic shade and metal shade in high-lustre chrome, just as Panton’s original design was. It, along with the new Mini version, is available in a new brass metallised finish featuring a metal shade. All metal options come with white inner sides for optimum light reflection, while the opal acrylic version produces a diffuse comfortable light through its translucent shade. The brass metallised finish brings warmth and reflections to the surrounding space. Made of metal with a mirrored quality, the new finish references Panton’s fascination with new materials and vibrant
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colours that add to the distinctive playfulness of interiors. The metallic finish allows Panthella to expand its functionality and create eclectic reflections and depth, while amplifying its organic shape. The medium Panthella is available with a 320mm diameter shade and an E14 light source. The Panthella 320 is an adaptable table lamp. It can be placed low on side tables in a lounge area giving ambient light, or it can be placed higher on a shelf emitting soft light and yet bringing a decorative element in the interior. The Panthella 320 is also very suitable for repetitive use or grand scale projects in a hospitality environment such as restaurants, lobby areas or hotel rooms. The lamp brings character and ambience to any interior. www.louispoulsen.com
Maison et Objet Preview 24-28 March, Paris
086 | ON SHOW | M AISON&OBJE T PREVIEW
Designer of the Year Franklin Azzi At each edition, Maison&Objet names a Designer of the Year, celebrating the work of the most outstanding talents on the international design and decoration scene. Having been unable to present his installation on receiving the accolade in September 2020, Franklin Azzi will now take centre stage at the March 2022 edition with Retro Futur, an immersive exploration of his creative process. Working out of his Parisian agency, founded in 2006, Azzi develops a cross-disciplinary approach that draws on a potpourri of perspectives and disciplines. By relentlessly sparking a dialogue between architecture, interior design, modern art, and design with the backing of his dedicated endowment fund, he hones a talent for design and creation that embraces all scales and all spaces. Closely focusing on people and their environment, he queries, examines, analyses and explores contexts, production methods and materials prior to breathing life into each space. His agency’s creative process begins by focusing on the flexible use of a space and transforming what is already there with a view to tackling the modern-day goal of creating future-proof cities. Retro Futur is an artistic installation that explores the creative processes of the future using tools from the past, echoing the way in which Azzi approaches his work as an architect. The immersive installation stages the architect’s day-to-day activities via a digital, modular and pared-back table in black lacquered metal: it diffuses, across a series of screens, a selection of basic and traditional tools specific to the trade (set square, rotring pen, tracing paper, light table, etc) as well as the various items required each day when developing a project: architectural models, materials, sketches, etc. www.franklinazzi.fr
Resonating Microcosms of Life - Solidified Light Colour teamLab Art collective teamLab is exhibiting at Maison&Objet, bringing interactive digital installation, Resonating Microcosms of Life - Solidified Light Colour. The work features an infinitely-expanding space filled with glowing ovoids that shine and resonate when pushed by people. The ovoids emit sound tones and change into teamLab’s 61 newly-defined Solidified Light Colours as they interact with the visitors, immersing people into the artwork. Based on the five concepts behind this ever-changing artwork: Relationship with People; Relationship with Natural Phenomena; Physicality; Continuity; and New Colors, teamLab aims to explore the relationship between the self and the world and new perceptions through art. Under the sun, the ovoids reflect the world around them. When pushed down or blown by the wind, the ovoid falls back and then rises, releasing a resonating tone. The ovoids around it also respond one after another, continuing to resonate with the same tone. Once the sun sets, or in the dark, the ovoids illuminate. The space of the work is interactively transformed under the influence of the wind, rain, and the behavior of the people in the space, making the environment and the people a part of the work. When the wind is quiet and people are still, the ovoids begin to flicker slowly. The exhibit will run from March 24 - 28, 2022. www.teamlab.art
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2. Salon 101 Copenhagen Hall 7 - Stand A31
3. Rainforest Suspension Castro Lighting Hall 6 - Stand F92, G91
Kontro is a new interpretation of a chandelier. It was originally designed to complement the classic Secto Design collection with a pendant that spreads light widely, thanks to its openness. Two shades merge into one while the crossing slats create a shield that prevents the light from blinding the viewer. Kontro works alone as an eye-catcher, but can also be used for creating a pattern in rows above a desk. Through the play of light and shadow it creates, one can build sculptural lighting compositions. www.sectodesign.fi
Inspired by Art Deco, Salon is a minimalistic interpretation of classic mid-20th century chandeliers. Salon is characterised by six illuminating lampshades elegantly positioned in a lightweight metal construction, forming the outer shape of a hexagon. Each arm is mounted to a riffled centre piece, adding a shimmering and discreet detail to the lamp. The lampshades are made of mouth-blown opal glass with a matte white finish, creating a warm illumination in any ceiling or room. 101cph.com
The gold-plated brass coupled with clear crystal glass - applied by hand - brings a delicate charisma that resembles nature in full bloom. A broad-leaved masterpiece of modern lighting design along with falling raindrops and butterflies takes you to remote spaces and the open sky. A dreamy lighting fixture creates an exceptional ambiance to the classy interiors. castrolighting.com
4. Uva Ebb & Flow Hall 6 - Stand J19
5.Occulo Bert Frank Hall 7A - Stand D94
6. Blés Art et Floritude Maison&Objet In the City
Inspired by the shape of a grape and vintage perfume bottles, the Uva pendant from Ebb & Flow is a modern chandelier. All technical features are hidden in the shiny, silver or gold brass ball, which is a design detail that creates a simple and elegant pendant. Available in multiple glass colours and crystal cuts, the piece, handmade in Europe, is ideal if you are styling and designing a restaurant, hotel, office space, or private home. ebbandflow.com
Ideally simplistic, yet sophisticated with a uniform profile from all sides, the soft glass of Occulo's form is offset by the sharply machined brass highlights. Arranged in clusters as a large, impactful statement piece, or used singularly over a bedside table, the warm glow from the opal glass shades provides soft, uniform illumination of the interior space. Available in pendant, wall, table and floor lamps. bertfrank.co.uk
A new design by Art et Floritude, Blés, is inspired by the late summer light during the wheat harvest. Oversized, handmade ears of wheat are distributed among the chandelier, which is shaped as circular or rectangular. Wall lights from the collection are designed as modules that allow you to create lighting sculptures with indirect lighting. Available as dimmable warm LED light with bespoke finishes and dimensions upon request. artetfloritude.fr
087
1. Kontro 6000 Secto Design Hall 7 - Stand A50, B49
ct re g r co in re rint a p es at e of d l Al t tim a
On Show A look ahead to forthcoming design shows during 2022 with a strong lighting element.
[D]ARC NIGHT •
LONDON, UK
31 March 2022 (darcawards.com)
INTERIOR DESIGN SHOW •
TORONTO, CANADA
088 | CALENDARC
7 - 10 April 2022 (toronto.interiordesignshow.com)
ARCHITECT @ WORK • LONDON, UK
CRUISE SHIP INTERIORS AMERICA • MIAMI, USA
26 - 27 January 2022 (www.architect-at-work.co.uk)
7 - 8 June 2022 (www.cruiseshipinteriors-expo.com)
[D]ARC SESSIONS •
ARCHIPRODUCTS SHOWROOM EVENT • MILAN, ITALY
RAS AL KHAIMAH, UAE
25 - 27 April 2022 (www.darcsessions.com)
7 - 12 June 2022 (milano.archiproducts.com)
HD EXPO •
SALONE INTERNAZIONALE DEL MOBILE • MILAN, ITALY
LAS VEGAS, USA
26 - 28 April 2022 (hdexpo.hospitalitydesign.com)
7 - 12 June 2022 (www.salonemilano.it)
ICFF •
DESIGN HELSINKI • HELSINKI, FINLAND
NEW YORK, USA
15 - 17 May 2022 (icff.com)
WANTED DESIGN •
24 - 25 August 2022 (www.designhelsinki.com)
INDEX • RIYADH, SAUDI ARABIA
NEW YORK, USA
15 - 17 May 2022 (www.wanteddesignnyc.com)
CLERKENWELL DESIGN WEEK •
6 - 8 September 2022 (www.index-saudi.com)
LONDON, UK
24 - 26 May 2022 (www.clerkenwelldesignweek.com)
STOCKHOLM FURNITURE FAIR • STOCKHOLM, SWEDEN 6 - 9 September 2022 (www.stockholmfurniturefair.se)
AD INDEX Ahead Awards............................................................................................. IBC
Ebb & Flow. . ................................................................................................... 55
Architect @ Work . . ....................................................................................... 28
Franklite......................................................................................................... 69
Astro Lighting............................................................................................. IFC
ICFF................................................................................................................. 56
Bover............................................................................................................... 43
IDS Toronto................................................................................................... 44
Catellani & Smith......................................................................................... 11
Light22. . ........................................................................................................ 8-9
Chelsom. . .................................................................................................... OBC
Secto Design.. ................................................................................................ 39
Christopher Hyde........................................................................................ 81
Skinflint.. ......................................................................................................... 89
Clerkenwell Design Week . . ........................................................................ 79
Tekna............................................................................................................... 27
[d]arc sessions............................................................................................ 6-7
Vibia. . ............................................................................................................... 21
Design Helsinki. . ........................................................................................... 82
G.E.C. Taxiway Pendant Lights 1950s, UK
Restored Original Vintage Lighting 236x333 New 2021 Darc ad v3.indd 1
www.skinflintdesign.com
29/11/21 15:47
In Focus
090 | IN FOCUS
Pebble by Charlie Bowles Original BTC
What is the concept behind the Pebble pendant? We wanted to create a substantial light with a natural look and feel, as a central statement piece for a living room. We explored all manner of shapes and forms from the natural world, eventually landing on the idea of using different shapes of pebble to create the sphere as the composite whole. We decided to manufacture it in bone china rather than glass or metal, as the appearance of unglazed bone china perfectly complements the organic aesthetic of the pendant itself and gives it a beautiful soft glow when switched on. What processes are involved? There are 48 pebble-inspired ceramic forms in three different designs secured to a central steel frame on stems of varying lengths, which create the layered cocoon shape. Each pebble form was designed and 3D resin printed at our design facility in Witney, Oxfordshire, and we used these to create direct casting moulds. Slip – or liquid clay – is poured into the moulds at our Stoke-on-Trent bone china factory. Once set, the moulds are split and the pebble forms are removed and left overnight to dry before being sponged and fettled to remove any imperfections. Finally, the pebble shapes are biscuit fired to achieve the perfect matte textured surface. We worked with a specialist bespoke wire manufacturer to create the 450mm diameter steel frame onto which the pebbles are mounted. The
frame is geometrically tuned to ensure that the interlocking pebbles neither touch one another, nor allow a direct view of the light source. Each pebble is attached with brass slotted finials, with a matching brass ceiling rose and grey cotton braided cable. The frame is powder coated in matte white, to minimise its appearance within the Pebble’s final construction, while the tensile wires are height adjustable. We also made a flush-mounted version for rooms with less ceiling height. How long have you been working on the Pebble for? It took a good six months from concept to finished piece. It was quite a complex light to get right. What makes the Pebble different? I have not seen a product like it. The combination of materials, its considerable size, the way numerous parts are held together seemingly effortlessly to form the whole, and the details such as the finials and matching rose. We’re very particular about designing lights that are considered down to the finest detail. The natural, organic feel we set out to create has absolutely been achieved – and it’s been entirely designed and manufactured by us here in the UK. Describe this pendant in three words. Organic / Statement / Timeless www.originalbtc.com
ALL REGIONS NOW OPEN FOR ENTRIES V I S I T A H E A D AWA R D S . C O M F O R E N T R Y CRITERIA, JUDGING PROCESS AND DEADLINES
D E C O R AT I V E T O U C H L E S S S W I TC H I N G b y C H E L S O M C O N TAC T S A L E S @ C H E L S O M .C O . U K
5255 Chelsom DARC TOUCHLESS_236x333_AW.indd 1
CHELSOM.CO.UK
24/02/2022 16:25
