darc 51

# 51 VOGUE HOTEL , MONTRE AL LIGHTS ON SCREEN LIGHT 23 PRE V I E W TAL A - LOOP

Innovation meets timeless design in our new collection of contemporary lighting concepts for hospitality, residential, and commercial spaces Lighting designed to stand the test of time follow @astrolighting | astrolighting.com

Introducing our new collection

| 2/3

WELCOME

Sarah Cullen • Editor Have you noticed something different? That’s right – darc’s had a redesign! We like to keep our publications arc and darc looking as fresh as possible, so every now and then we shake things up with their designs. As we signed off issue #50 in Spring, we thought what better time to spruce darc’s look up than #51? The beginning of a new chapter.

I was lucky enough to play a big part in the creative direction of the redesign, and hopefully you will enjoy the new splashes of colour, contemporary layouts and updated fonts. Shoutout to our production wizard Mel who has worked really hard on turning this new design around in time for this issue, and for her stunning work on the new layouts; in particular the new products pages, they are an office favourite!

In terms of content inside the new edition, we are keeping the core material the same, from our international projects to product Q&As and our beloved Materials Focus. You might have noticed a couple of new pieces creeping in recently, notably Design Evolution, which overlaps two magazines looking at a product’s concept and inspiration in part one to its completion in part two. The second, On the Board, is essentially a designer’s pinboard that they can interpret as they wish, whether as a mood board for a new project or seasonal predictions for products, textiles, and colours.

As with anything new, there might be little tweaks and changes as we work through the next handful of issues, but we hope you enjoy the overall new look of the magazine! It has been great

COVER: VOGUE HOTEL SID LEE ARCHITECTURE

fun putting it together.

/darcmagazine |

@darc_mag

www.lightexpo.london

New for 2023 A dedicated area to shine darc space is a one-stop-shop for designers and specifiers looking for their next stunning decorative light fixture.

To exhibit in darc space contact John-Paul Etchells on jp.etchells@mondiale.co.uk.

The UK’s only dedicated lighting specification exhibition

21 & 22 November 2023 Business Design Centre • Islington • London

COULD YOU BE A WINNER?

Wave Collection – Curiousa, winner of the 2022 Kit: Decorative [d]arc award

ENTRY DEADLINE: 19 DECEMBER 2023 For all projects and products in 2023.

Voted for by the international independent designer community.

Go to www.darcawards.com to enter.

8/9 | CONTENTS

CONTENTS FE ATURE D

PROJECTS

INSPIR ATION

046

014

010

Interview: Martin Smith

Vogue Hotel

Focal Point: Jaleo Restaurant, UAE

A s par t of our Light s on Screen feature, darc sit s

Sid Lee Architec ture completes a redesign for

down with f ilm and television gaf fer Mar tin Smith

Montreal’s Vogue Hotel communal areas. Discover

012

to f ind out more on the world of Holly wood lighting.

more about the team’s design influences for the

Focal Point: Beano’s Cafe, Egypt

stunning new space.

056

032

Interview: Josh Anderson

018

Design Evolution Part 1

We discover Josh Anderson’s journey into the world

Raf ’s Restaurant

Strata Collec tion, J Adams & Co.

of f ilm and television lighting, with a par ticular

New York Cit y gains a taste of Europe in one of

look at AMC’s Inter view with the Vampire series.

it s newest dining spaces. Raf ’s is an Italian/French

035

baker y and dining room designed by Post Company.

Comment: Workspace Lighting

062

Sarah Dodswor th, Ekho Studio

Feature Project: Glass Onion Quasar

provides

an

insight

into

022 it s

Enigma Square

036

Enigma Square is one of the latest residential

On The Board | Champalimaud

Pollux

chandelier ’s role in the sequel f ilm, Glass Onion.

development s

by

Grainger,

located

in

Milton

066

Keynes, UK . Discover Mancheseter-based studio

Case studies: Light on Screen

74’s inspirations behind it s scheme.

038 Materials

A handful of manufacturers provide their projects that present decorative lighting products on screen.

St . Regis Jakar ta hotel design concept

028

Tala x John Tree, Loop collec tion

Little Kudu 074

One of London’s newest tapas bars is situated

045

On Show: LiGHT23 Preview

in a pic turesque railway archway. A-nrd Studio’s

Comment: Deciphering Technical Data

scheme incpororated vintage inspirations and

Adele Locke, Mint Lighting

078

reclaimed lighting f ix tures.

On Show: London Design Fair Preview 082 In Focus: Corallo Porcelain, Abalon

THE M AGA ZINE

DESIGN

CORPOR ATE

Managing Editor | Helen Ankers

Artwork | Dan Seaton

Managing Director [d]arc media | Paul James

h.ankers@mondiale.co.uk

d.seaton@mondiale.co.uk

p.james@mondiale.co.uk

Editorial | Mel Capper

Marketing & Events | Moses Naeem

m.capper@mondiale.co.uk

m.naeem@mondiale.co.uk

+44 161 476 8372 Editor | Sarah Cullen s.cullen@mondiale.co.uk +44 161 476 9401

Chairman Mondiale Publishing | Damian Walsh

Contributing Editor | Matt Waring m.waring@mondiale.co.uk International Sales Manager | Tristan Blowers

FINANCE

t.blowers@mondiale.co.uk +44 7392 895771 Online Content Creator | Ellie Walton

Finance Director | Amanda Giles a.giles@mondiale.co.uk [d]arc media ltd | Strawberry Studios, Watson Square, Stockport

e.walton@mondiale.co.uk

Credit Control | Lynette Levi

SK1 3AZ, UK | Printed by Buxton Press, Palace Road, Buxton, UK

+44 161 464 4750 x166

l.levi@mondiale.co.uk

ISSN 2052-9406

intl.hvlgroup.com Huntington Linear & Sconce, Hudson Valley Lighting

10/11 | FOCAL POINT | JALEO RESTAURANT

FOCAL POINT

JALEO RE S TAU R A N T DUBAI, UAE

‘Jaleo’ is taken from the Spanish verb ‘jalear’, meaning ‘to cheer’; in everyday parlance, it is synonymous with noise, revelry, and fun. This spirit of celebration has inspired the growing number Jaleo restaurants by award-winning chef and humanitarian José Andrés. Jaleo is described as a place that offers a ‘taste of Spain’ in a colourful, festive, and relaxed atmosphere.

Jaleo’s interior design is inspired by tapas.

Carefully chosen furnishings, lighting, and objets d’art mix Spanish craftsmanship and industrial design, reflecting Spain’s passion for, and history of, good design.

LZF’s handmade wood veneer lamps are very much at home in a number of José Andrés’s imaginative eateries. At Jaleo’s new Dubai establishment (part of luxury hotel resort Atlantis The Royal), a project by Capella Garcia Arquitectura in collaboration with Dubai-based Bluehaus Group, patrons can enjoy several informal and more conventional dining atmospheres, where each one is harmoniously connected to the next.

Patrons will find LZF’s Agatha suspension lamp, a Totem suspension lamp, and seven Swirl suspension lamps. The Agatha and Swirl lamps are framed by two of the restaurant’s windows, and the Totem lamp hangs majestically in the bar area. www.lzf-lamps.com IMAGES: CAPELLA GARCIA ARQUITECTURA / THE ROYAL ATLANTIS.

12/13 | FOCAL POINT | BEANO’S CAFE

FOCAL POINT

BE ANO’S CAFE CAIRO, EGYPT

In the bustling city of Cairo, amidst the grandeur of the Grand Egyptian Museum (GEM), sits a new gem, the Beano’s café designed by Shewekar.

As you enter the cafe, you are greeted with a sight that is nothing short of breathtaking. A majestic brass tree, inspired by the Banyan tree that grows on Egyptian soil, stands tall and proud, its delicate roots stylized into intricate folds of perforated brass sheets. Customdesigned lighting, made from Alabaster, takes you back to the days of Ancient Egypt.

Blending modern and ancient design philosophies, the Beano’s Cafe at GEM harmoniously integrates the brand’s identity with Egyptian heritage.

The alabaster pendants were custom designed by the team at Shewekar and manufactured by Ultra Design.

The Beano’s Café at GEM transports visitors to a cosy neighborhood destination that has been elevated to match the grandiosity of the GEM. The project is a stunning tribute to the brand’s identity and the rich history and culture of Egypt, and is visual proof of the passion and creativity of the Shewekar team. www.shewekar.com

14/15 | PROJECT | VOGUE HOTEL

PROJECT

VOGUE HOTE L MONTREAL, CANADA

Sid Lee Architecture completes a redesign for Montreal’s Vogue Hotel communal areas.

Tapping into the city’s cultural heritage and neighbourhood’s vibes, the team created a stunning welcoming atmosphere for guests.

Montreal-based Sid Lee Architecture was mandated to redesign the

emphasises the space’s curved sensuality. In this perspective, walls

common spaces of Montreal’s five-star Vogue Hotel, located in the

also become objects of light. Whether it be from its form or from

heart of Golden Square Mile, following its mid-pandemic acquisition

the light that it diffuses, lighting allows us to craft ambiances that

by Artifact Group. The renovation of the hotel’s lobby, lounge and

evolve throughout the day. The lighting programme is part of the

restaurant areas brings a brand-new hospitality experience for

initial concept for every interior project on which we work. To create

Downtown Montreal.

an ambiance, we believe lighting is as important as finishes.

Speaking with darc about the project are Martin Leblanc and Jean

“Dynamic light fixtures highlight the textures and craftsmanship

Pelland, both Architects and Principal Partners at the architectural

woven into the hotel’s plush interiors, with custom tubular wall

firm. “Despite the context, the new owners believed in the

sconces designed by Sid Lee Architecture illuminating every corner

attractiveness of our beautiful city and wanted to transform the

and curve of the space. The lounge area also features two sculptural

institution to offer Montreal a novel experience that is inspired by

light installations from local studio Lambert & Fils’ Sainte collection

their cultural heritage, yet remains connected to its neighbourhood,

that have been designed to a sizeable scale in collaboration with

in the heart of the Golden Square Mile,” says Pelland of their initial

Sid Lee Architecture. These installations are visible from the street;

involvement in the project. “We first got involved during fall of 2021

a local reference that further connects the establishment to its

and delivered the project during spring of 2023.”

neighbourhood.”

The new aesthetic for the hotel’s spaces is inspired by the grand

Leblanc continues: “The tubular chrome sconces are found

hotel cultures of Asia and the Middle East. To achieve this, the design

throughout the hotel’s public spaces to link the different areas

team opened up the ground floor areas, which are constructed

together. These spaces were designed holistically to offer guests a

along a classic colonnade running the length of the hotel. The food

seamless journey through the ground floor.”

and beverage spaces are holistically integrated into the open space,

The Sainte collection by Lambert & Fils was originally created in

complemented by high ceilings evoking a grand hall atmosphere.

collaboration with Canadian designer Rachel Bussin. The collection

LemayMichaud redesigned a floor-to-ceiling glass façade that floods

reimagines the archetypal rectangle in coloured glass, creating a

the space with natural light from the street. There are a number

beautiful floating sculpture suspended by nylon ribbon. The brand

of Turkish design elements integrated as a nod to the hotel’s new

describes them as a “collection about the forces that anchor us—a

owners and also linking in the East-meets-West aesthetic. “To

suspension light in dialogue with gravity.”

strengthen the ties between the hotel and its neighbourhood,

In each variation of the Sainte design, an aluminium box sits inside

we’ve relied on a seamless connection between the interior and

transparent glass, casting light up or down depending on the

the exterior. Strategically placing the F&B offering along the glass

desired mood. The form can suspend from any angle and height,

façade increases opportunities for people to mingle. A user-centric

and in multiples.

approach, paired with the integration of work by local artists,

Speaking of how the decorative lighting works alongside the

allowed us to create a unique experience that is as attractive to

architectural fixtures, Pelland says: “They both work together

Montrealers as it is to tourists,” explains Leblanc.

to highlight the texture and colour of the meticulously selected

Lighting played a key role in the hotel, from the washes of natural

materiality and the curls and curves found throughout the public

light to the statement decorative fixtures. Pelland elaborates: “We

spaces.

crafted the interiors with light as our medium. By softening hard

“We are used to working with creative collaborators and artists,

corners and embracing endless free flowing lines, light brushes over

but the lighting design of the Vogue Hotel was actually done in-

the textured surfaces like oil paint on raw canvas. By day, this effect

house. That said, we did collaborate with Lambert & Fils Studio,

lifts the ceiling with a distinct airiness while at night, warm light

which we also have done for several other projects. Namely, the Sid

16/17 | PROJECT | VOGUE HOTEL

Lee Biosquare and Hiatus at Place Ville Marie. Their

“The final design is strikingly close to the initial vision.

technical expertise and extensive lighting knowledge

Looking at the renderings and photographs side by

are extremely beneficial when it comes to custom

side, we are quite proud to have delivered this level

Architect: Sid Lee Architecture

designing decorative pieces for a project. Moreover,

of quality with a strong attention to detail despite the

Lighting Specified: Bespoke by

working with a local studio is a great way to keep an

pandemic-related challenges we have encountered in

establishment linked to its community and create an

the process.”

experience that is as interesting for locals as it is for

Pelland adds: “Sid Lee Architecture works at various

The Lamber t & Fils Sainte

tourists.”

scales, from urban design to architecture to interior

collection chandelier makes

The outcome of the project was deemed a successful

design but always with a user-centric approach. The

a statement impact in the

one, despite some of the challenges the team had to

Vogue Hotel is no exception. That said, the renewed

face during the Covid-19 pandemic.

establishment

“The pandemic created breaks in supply chains which

hospitality experience, one that is inspired by the

made it difficult to source materials, so we had to come

grand hotel cultures of Asia and the Middle East as a

accentuates the height of the

up with creative solutions to find finishes that matched

nod to the heritage of the new owners.”

space and enhances the linear

our vision and the client’s desires,” says Leblanc.

www.sidleearchitecture.com

VOGUE HOTEL , MONTRE AL , CANADA

Sid Lee Architecture, Lamber t & Fils Images: Alex Lesage

brings

Montreal

a

novel

luxury

Vogue Hotel’s lobby, hung in a combination of beautiful red, amber and blue tones.

The floating sculpture, suspended by nylon ribbon,

details of the full-height drapes in the windows.

Photography: @manutoro.work

Wood touched by Light

OSCA lamp “I love working with Companies with a similar mindset.

LZF‘s quality and materiality obsession impressed me enormously”.

Bodo Sperlein

lzf-lamps.com

18/19 | PROJECT | RAF’S BAKERY

PROJECT

R AF’S BAKE RY NEW YORK, USA

New York City gains a taste of Europe in one of its newest dining spaces. Raf’s is an Italian/French bakery and dining room designed

by Post Company. Step inside and breathe in the scent of a warm crust...

In New York City, one can find a little piece of Europe can be found in the form of a downtown eatery and bakery on 290 Elizabeth Street. Raf’s is the new-European style dining room founded by Michelin star eatery, The Musket Room. Award winning design firm, Post Company, transformed the century old building to create a blend of two of both contemporary and vintage aestetics, giving a dining experience between the boundaries of time and geography.

The design intent was to create a space that is beautiful while simultaneously playing on a neighbourhood history to combine a sense formality and playfulness. Post Company restored the storefront where a beloved Parisian Bakery once stood, with a new historically appropriate wooden façade that frames large plates of glass windows decorated with hand-foiled gold signage. The front of the restaurant that houses the café, bakery, and bar welcomes guests with informal seating complete with vintage furniture, which were mainly sourced from Parisian and Milanese vintage markets.

“Our design celebrates the legacy of a European haunt with a healthy dose of bold formality contradiction that’s particularly New York. The eclectic mix of modern forms and vintage elements of our material palette create a versatile day-to-night destination that’s elegant and relaxed, intimate

20/21 | PROJECT | RAF’S BAKERY

and grand,” says Jou-Yie Chou, Leigh Salem, and Ruben

meld seamlessly into its surroundings when mounted.

Caldwell, Partners of Post Company.

Both the chandeliers and sconces are fitted with hand-

The main dining room is decorated with white

finished brass details and dim-to-warm bulbs to create

tablecloths and pewter candlesticks, pleated lamps

a blooming affect as they illuminate.

at the bar, and has a ceiling decorated with plaster,

“The sculptural chandeliers and pleated glass sconces

moulded florets, and hand painted murals of an

by In Common With fill the main dining room with a

ethereal sky. Hanging above the tables are sculptural

feminine elegance and indulgence that is so particular

chandeliers by In Common With, the statement-making

to Raf’s. They help illuminate the ceilings that are

Interior Design: Post Company

centrepiece of its Flora collection. The chandelier

decorated with moulded florets and hand painted

Lighting Specified: In Common

features glass lamp shades made using the centuries-

murals, and they bring a warmth that is formal yet

old fazzoletto technique, in which a molten glass dome

playful. We were drawn to In Common With’s expertly

is spun upside-down to create waves that resemble the

crafted designs that are a balance of aesthetic and

wilting petals of a flower. Paired with the chandeliers is

engineering to complement our material palette” says

has created a sophisticated

also In Common’s Vera Sconce, a slumped glass lamp

Chou.

dining experience in downtown

moulded into a delicate floral shape and designed to

www.postcompany.co

R AF’S, NE W YORK , USA

With Images: Gentl and Hyers Using decorative fixtures from In Common With, Post Company

NYC, oozing with traditional Italian and Parisian aesthetics.

EDITION 28

New Lighting Collection

CHELSOM.CO.UK

Darc full page Sept Oct 23.indd 1

16/08/2023 12:22:02

22/23 | PROJECT | ENIGMA SQUARE

PROJECT

E NIGM A SQUARE Enigma Square is one of the latest residential developments by Grainger, located in Milton Keynes, UK. Manchester-based design studio 74 were commissioned to create a scheme for the communal amenity spaces.

Enigma Square, in North Row, Milton Keynes, is a new £63m Build-

- hence the development’s name ‘Enigma Square’. There are subtle

To-Rent (BTR) residential development from Grainger, one of the

references made to this in details such as the embossed dots and

UK’s largest listed residential landlord firms. Built where a former

dashes on the reception desk tiles, which suggest Morse Code, a

YMCA once stood, the now eight-storey residential development

method used in telecommunication to encode text characters as

comprises studios, one to two bed apartments, three bed duplexes,

standardised sequences of two different signal durations called

communal gardens, private balconies, and a multistorey amenity

dots and dashes, which were encrypted by the Enigma machine at

space. The latter was designed by leading UK interior designers in

the time.

BTR, 74.

For its third inspiration – nature – materials for the lighting fixtures

The studio has designed a meticulous thematic interior scheme for

were carefully considered to tie in natural elements throughout.

Enigma’s amenity spaces, creating a concept inspired by the city

The city’s connection with nature also inspired the colour palette

in which it’s located. The area consists of a reception and back-of-

of blues and greens and use of timber, curved forms, and marbled

house management section at ground floor level, and on the first-

surfaces.

floor, spaces for fitness, co-working, and socialising that improve

Various other light fittings were chosen for their shapes being either

physical and mental wellbeing.

reminiscent of the Enigma Machine or the grid system of Milton

The design scheme was inspired by three key elements of Milton

Keynes town planning.

Keynes’ identity: nature, history, and the town’s infrastructure. The

Many of the fixtures, provided by Tyson Lighting, have sustainable

city is often misconceived as a concrete jungle, so it may come as

walnut timber to tie into the nature inspired palette and biophilic

a surprise that the truth is radically different. David Holt, Founder

principles. A human centred approach was carried out, implementing

of 74 says: “As much as 40% of Milton Keynes is in fact green space.

natural materials and dimmable lights with warm tones to create a

The city boasts 180 miles of bridleways, 100 trees for every single

homely sentiment to the rooms.

resident and, amazingly, more canal bridges than Venice. When we

In the co-working and dining spaces the light needed to be adaptable

began our design concept for the amenity space, we wanted to pay

for working or socialising as requested by the client. “Although there

homage to these links to nature, as well as to the radical grid system

are designated areas within the amenity provision at Enigma Square

at the heart of the city’s planning, created when Milton Keynes was

labelled as co-working and socialising spaces, it was important that

originally founded in 1967 as a ‘new town’ to help alleviate housing

each area could be used for either activity if required,” explains

shortages in London.”

Megan Jones, Senior Interior Designer at 74. “This meant that all

74’s team were inspired by this planning and grid system and echoed

tables, even those within the “social space”, were required to have

it throughout their scheme through bespoke gridded ceiling rafts

power and lighting provisions that ensured suitable comfort to allow

and feature wall panelling, as well as in the furniture with square

residents to work there all day long. This was achieved by ensuring

mesh and button-back upholstery, to the patterns on the acoustic

each table benefitted from either a pendant directly above, or a wall

panelling and flooring.

light directly to the side. As these spaces are multi-functional 74

The bespoke ceiling raft was created for the co-working space, which

took careful consideration in choosing light fixtures, as they wanted

has linear lights that criss-cross, intentionally resembling the city’s

to avoid the type of lighting products that would traditionally be

streets. Other nods to the city’s planning can be found in the gym

found in an office or co-workspace. This was also the case in the

where an open mesh lay-in-grid ceiling, which is illuminated by

Private Dining Room, which the client wanted to double up as a

lighting pendants placed above.

meeting room during the day.”

With regards to its historical influence, the scheme acknowledges

The majority of the lighting fixtures were provided by Tyson Lighting

the nearby famous Bletchley Park, which was the principal centre

with one exception being the L-27, which was incorporated into a

of allied codebreaking during the Second World War, and where

bespoke ceiling raft in the reception area. Gariff Construction were

British codebreakers were able to crack the German Enigma code

the main contractors behind the reception’s scheme and created the

24/25 |

ceiling rafts, strip lighting to the feature wall and postbox units, and bespoke joinery pieces with integrated lighting. The intention for the back-lit signage in the reception area was to enhance the building’s branding and to give that “wow-factor” according to Holt. He adds: “We wanted to draw your eye firstly to the reception area where backlit branding sits on a feature wall, flanked by integrated strip lighting. Then secondly over to the post-boxes that sit below a double height atrium, which features a bespoke chandelier that guides resident’s and visitor’s eyes up to the first-floor amenity area, which is visible through the atrium’s glazed walls, creating intrigue, and helping draw residents up to socialise.”

The Enigma Square logo signage that Holt is speaking of was designed by f.r.a, inspired by a rotor from the British Bombe machine that was used to decipher the German Enigma-machine-encrypted messages during World War II. As one may expect with a project with such meticulous detail and high expectations from their client, it came with its short comings and challenges too. Holt explains: “Getting the acoustic performance of the spaces on this project correct was of particular importance to the client. One of the ways we addressed this in the coworking space was through the inclusion of an acoustic grid ceiling, which we then turned into a key feature through the introduction of a lighting raft directly beneath it, which worked not only to conceal the joints in the acoustic panels, but also to create a striking

PROJECT | ENIGMA SQUARE

“As much as 40% of Milton Keynes is in fact green space.

When we began our design concept for the amenity space, we wanted to pay homage to these links to nature...”

26/27 | PROJECT | ENIGMA SQUARE

gridded feature that ties back to the master planning

process. Ensuring that the light is both functional yet

of the city’s gridded street system.”

conceived with placemaking principles, which creates

It was quintessential that the decorative lighting

the homely atmosphere throughout. Richard Demby,

worked in harmony with the architectural lighting

Development Manager of Grainger PLC said, “74 have

design in a way that drew all the attention to the

created a legacy with Enigma Square. They designed

design features. Double recessed spotlights in a

through the lens of the developer, the operator, the

ENIGMA SQUARE, MILTON

brass finish were chosen for the majority of the

asset managers and most importantly the residents

KE YNES, UK

architectural lighting due to their discreet appearance.

to create outstanding amenities where every inch of

Interior Design: 74

“These helped avoid drawing the eye to the ceilings,

the spaces is used. 74 designed spaces that enable

Architect: Pick Everard

which had to be quite low in certain areas due to the

Grainger to create a community for residents through

structural and MEP constraints on site,” explains Jones.

friendships and bonds which in turn would mitigate

“They kept the focus on the feature lighting and other

voids and tenancy churn.”

design elements within the scheme. The use of double

Jones adds: “I’m really happy with how this design

spotlights meant we required less fixtures in the ceiling

turned out in the end. One of my favourite parts of

than if we had gone for single spots and the brass finish

being an interior designer is getting to see the spaces

replicates that of a lot of the feature lighting to ensure

we have designed being used once a project completes,

the entire space feel well balanced and considered.”

and seeing photos from Enigma Square of residents

74 has achieved a conscientious interior design and

working, socialising, and enjoying the spaces we have

lighting scheme that not only reflects the story of its

created is really rewarding.”

city but also puts the residents at the centre of the

www.weare74.com

Lighting Specified: And Light, B Lux, Mater, Tala, Tom Dixon, Tom Raf field, Tom Rossau, Tyson Lighting Images: Gunner Gu Using Milton Keynes as the main inspiration for their scheme, the team at 74 drew upon natural elements, cit yscape grid-like structures and World War II historical context for its furnishings, lighting and finishes throughout the amenit y spaces in Enigma Square.

Tollgard Chelsea Harbour First Floor, Centre Dome, Design Centre, Chelsea Harbour, London 020 8067 2123 | shop@tollgard.com lladro.com lladrocontract.com

28/29 | PROJECT | LITTLE KUDU

PROJECT

LITTLE KUDU One of London’s newest tapas bars, Little Kudu, is situated in a picturesque railway archway. darc discovers more of A-nrd Studio’s vintage inspirations.

London-based A-nrd Studio has transformed a restored railway arch in South London for Kudu Collective’s latest tapas and wine bar aptly name the ‘Little Kudu’.

The restaurant may be small, but its size doesn’t impede the scale of its grandeur in the design, which is particularly cultivated by the choice of decorative lighting. The intent for the design concept was to take inspiration from the arch’s original architecture but to infuse it with the vibrant and jovial atmosphere of Southern Europe neighbourhoods.

As with every A-nrd Studio project, everything at Little Kudu is careful, considered and layered together to create an interior full of character and meticulous detail. A warm colour palette was chosen to deliver a welcoming invite that feels simultaneously familiar and fresh. The ceiling and exposed brick wall are painted apricot, which grounds tonal accents and textural material palette. Zoning the rest of the restaurant created varied and atmospheric experiences, and a monolithic communal bar table, also crafted from polished terrazzo in a subtle rose colour, is central to the space.

Illuminating this space is a stunning vintage Murano chandelier sourced from a local dealer. According to the studio’s founder, Alessio Nardi, A-rnd are keen to incorporate vintage elements into their interiors both from a sustainable perspective and a design point of view. Nardi says: “Vintage pieces can really enhance the look and feel of a concept. I’m also Italian and grew up with a real appreciation for the materials my country

30/31 | PROJECT | LITTLE KUDU

produces such as Murano glass, marble, and travertine.”

is slightly textured, so the illumination it provides

The architecture of the railway arch consists of very

isn’t harsh and adds to the intimate atmosphere of

high curved ceilings, which allowed a grand choice of

the small restaurant and cocktail bar especially in the

lighting. The chandelier offers a juxtaposition to the

evening.”

industrial architecture of the old railway arch yet welds

The walls feature a raw plaster finish, which is

the whole interior together creating a feast for the eyes

interspersed by bands of apricot cement tiles and

with its history and vintage glamour.

a fluted dark oak timber to which the chandelier

The Murano centrepiece brings a harmonious balance

mirrors. Bespoke mirrors sit parallel to tables and are

between opulence and relaxation. The structure

angled to reflect the hustle and bustle of the kitchen.

consists of a tiered design of eight handmade glass

Overhanging on the walls are Le Corbusier arm lamps

layers of large light amber glass tubes in a floral or

that are positioned to illuminate diners. The lamps are

star-like shape. The lighting feature provides a warm

based on famous Swiss architect, Le Corbusier, who

Zoning the restaurant created

and soft illumination centred over the main table,

took a lot of inspiration from his interest in fine art,

varied and atmospheric

which works well with the warm colour palette and

lines and geometric shapes. The collection comes from

experiences for diners. A

travertine tiles to establish that Southern Europe feel.

Nemo Lighting’s reissued collection of Le Corbusier,

“The design has a structured but feminine feel, which

based on absolute lighting projects that remain

works harmoniously while also being in contrast to

unchanged therefore keeping the design timeless.

the architecture of the space,” says Nardi. “The glass

www.a-nrd.com

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32/33 | DESIGN EVOLUTION | J ADAMS & CO. PART 1

DESIGN EVOLUTION

J ADA MS & CO. WILL EARL, DESIGN DIRECTOR

In Part 1 of our next Design Evolution, Will Earl, Design Director at J Adams & Co. reveals a look at his design concepts for the brand’s new Strata collection.

Our new Strata collection further explores the interplay of light

collaborative one between us designers and our makers, using the

through reeded glass, which started with the Flume collection in 2019.

metalworking skills of those at our Birmingham workshop to form the

For this piece, I drew inspiration from its namesake; Strata plays

broad lines of our creative process.

with linear formations evocative of the geological striations found

We are using 3D printing to test out the metal elements on the design

in nature. We are particularly interested in the refraction of light

before we look at committing to machining them from brass.

through glass and the elegant lines this creates when applied to a

For us, the functionality of the light is integral to creating something

slim, elongated design.

beautiful.

As with all our pieces at J. Adams & Co., the development is always a

www.jadamsandco.com

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COMMENT | SARAH DODSWORTH | 34/35

COMMENT

SAR AH DODSWORTH Sarah Dodsworth is the Co-Founder and Designer at UK-based Ekho Studio, an independent creative firm providing specialist interior design services. Below, she offers her advice on using the correct lighting in a workplace.

When we look at lighting in the UK, especially

experience, visually and sensorially.

compared to other European countries, it’s hard not

If building regulations clip the wings of possibility, ceiling

to think we have an obsession with over-lighting.

heights are the compounding frustration. When we start on a

From the proliferation of motorway and streetlights to the

scheme in a new-build environment, it’s incredibly difficult – not

chaotic myriad of illuminated building signs, we seem to believe

to mention very off-message commercially and sustainably – to

more is more at every stage. Then, when we get inside buildings,

suggest a complete strip-out of recently-installed CAT A interior

the mania reaches a whole other level.

infrastructure, which unfortunately often includes built-in

There’s obviously a wider discussion to be had here about

ceilings.

light pollution, human health and the impact of over-lighting

Where is the space for change? The biggest change needs to

on wildlife and the environment. From the point of view of an

come in the domain of building regulations, so firstly this is our

interior designer, however, I’d like to focus on how we use light in

call-out for amendments in favour of a clearer understanding

building interiors, particularly the workplace.

of progressive, creative solutions that reflect contemporary

My greatest frustration, as a specialist in the workplace arena, is

thinking around wellbeing, sustainability, ways of working and

how hard it is to influence schemes when there’s already a huge

creative excellence.

trail of custody in place before we even get to the briefing stage.

Secondly, we need more comprehension and willingness

What we’re always looking to achieve is a unique, tailored and

to experiment on the part of developers. The good news

special office environment that expresses the precise culture of

is we are beginning to see just that, especially in London.

a particular client or business. When it comes to lighting, we seek

Of course, developers need to show potential Cat B clients

to layer schemes with fittings of differing visual styles and types

something a little more literal and indicative than a shell and

that address all planes of an interior space – the ceilings, walls,

core environment sometimes, just as a show flat sells empty

floor and surfaces. Our focus is on lighting the actual workspace

residential apartments. If a developer only fits out one or two

rather than the whole area, not only as a practical response to

floorplates of a larger building, however, they can still achieve

how and where light is needed, but also to embody a sustainable

this, while at the same time creating a freer creative canvas for

approach. Excess is simply not justifiable at any level.

interior – and lighting – designers to work their magic and fulfil a

As our understanding of people at work evolves, we also now

huge variety of micro interior workspace briefs.

look to deliver schemes that support agility, work missions,

A clearer vision of how natural and artificial lighting can

personality types and neurodiversity. All of which takes us in

work together in an optimal way can be seen by taking a trip

the same direction – towards specific designs offering specific

elsewhere in Europe – particularly to Scandinavia. Having viewed

solutions to specific challenges. Social and high energy spaces

a number of excellent schemes there recently, most particularly

need punchier illumination levels, for example, while quiet,

in Copenhagen, I was struck by the subtlety and balance of

focussed areas should be more subdued, with neat integrated

workplace lighting designs, with 50% of light outputs shining

details and more often than not a task lamp the user can cotnrol.

upwards to bounce off the ceiling plane, allowing the required

It all sounds rather simple, doesn’t it? And yet we are still at the

amounts of light across the workplace to be implemented in a

mercy of so many factors that limit our ability and imaginations.

much more diffuse way. When a pendant is introduced to define

What lies in our path? First, the fact that building technical

a breakaway setting - or an attractive linear fitting suspended

lighting design solutions in Cat A projects remain heavily

a little lower over a coffee island unit - the impact is really

influenced by engineers who design solutions that conform to

effective, defining the space as somewhere a little different and

building regulation standards and CIBSE guidance. Not their

not competing with an already-over lit and visually-fussy space.

fault, of course. These are the standards developers and clients

We love nothing more than working with amazing decorative

are advised to adhere to – and statutory ways always seem to

lighting designers to respond to culture, function and mood

win out.

– and being able to use portable task lighting to individualise

We acknowledge totally that there are a huge amount of

space even further in a move away from generic and mass

technical considerations to resolve, but often the end result

effects too. The only problem when task lighting is too good,

is over lighting, with too many fittings in a strictly regimented

however? People steal them! Darn – there’s always something,

format, leading to a stark, flat and generally uninspiring interior.

isn’t there?

Not only is this uninviting, but it can create an overwhelming

www.ekho.studio

36/37 | ON THE BOARD | CHAMPALIMAUD DESIGN

ON THE BOARD

S T. RE G IS JA K A R TA Courtney Brannan, Principal at Champalimaud Design, shares her team’s inspirations behind the creation of the St. Regis in Jakarta hotel, drawing from culture and music as focal points.

Lighting has the power to make or break a space. It greatly influences

project engages with the musical theme of our design concept. Each

our perspective, placing emphasis on desired aspects of a room,

piece is a sensory experience, delighting visitors through dynamic

determining what our eyes are drawn to and how we move throughout

installations and serene, harmonious pieces that both soothe and

the space. As a designer, layering your lighting, from the natural

engage.

and functional to mood lighting, creates depth in a guest’s journey.

The St. Regis Jakarta gave us the chance to experiment in new ways

Through tone and volume comes ambiance, and therefore the feeling

with lighting, particularly through the interplay of sound and light.

it conveys.

Our custom designs found visual influence in music, the rich jazz

We consider lighting early on and dive deeper once lighting consultants

traditions of Indonesia in particular. The harmony between dance and

come on board. Our designs throughout the St Regis Jakarta draw

music is echoed in the kinetic ‘Sound of Light’ [2] chandelier in the

on the rich cultural heritage of Indonesia incorporating the local

Lobby, which we created in collaboration with the Czech glassmaker

traditions of design, music, and art [1]. The lighting throughout the

Lasvit. The chandelier’s lighting elements follow the lead of the music

1

2

3

playing, undulating according to the sounds and rhythm of the music

the central bar, enveloping visitors and inducing a vibrant mood.

by Indonesian composer Andi Rianto. A shimmering light dances

Contrasting with the traditional aesthetic of the St. Regis Bar, the

across the space and illuminates the ceiling, building a memorable

Lumens Bar [4] allowed us to explore a more contemporary direction.

arrival. The lobby was a large space for the studio to work with, so

The custom central chandelier highlights an interplay of light and

we needed to be sure our lighting design would travel successfully

metals, with a colour palette influenced by the bronze tones of

through – while the chandelier is a statement piece, it does not

instruments. We created a central feature that mimics liquid and

overwhelm the lobby. The dynamic glass and light installation makes

captures light differently as guests walk around the bar.

for a kind of surreal moment as it changes the mood of the space

Ultimately, lighting ties the design story together. Every finish,

throughout the day.

silhouette, and detail [5] is only experienced the way we envisioned

The St Regis Bar is unique within each St Regis Hotel across the world.

when the light hits it correctly. At the St. Regis Jakarta, we created

In Jakarta, we worked with Lasvit again to create a glass sculptural

lighting designs to engage guests while representing the symphony of

chandelier [3] above the main bar. Inspired by the trombone and

Jakarta’s cultural refinements which formed our overarching concept

saxophone, it incorporates long cylinders of bronze intermingled with

for the project.

clear and etched glass cylinders. The chandelier delicately lights up

www.champalimaud.design

4

5

38/39 | MATERIALS | TALA

MATERIALS

TA L A , LO O P Ta l a r e l e a s e s i t s n e w s u s t a i n a b l e l i g h t i n g c o l l e c t i o n , L o o p, d e sig n e d by B ritis h product and f ur niture d e s i g n e r , J o h n Tr e e. d a r c s p e a k s w i t h Tr e e t o f i n d o u t m o r e o n t h e p r o d u c t ’s d e s i g n j o u r n e y.

Loop is one of the latest collections to come from

“Tala also has some very nice low energy light sources,

British brand, Tala. Designed by John Tree, the collection

so I wanted to explore a minimal fitting that celebrated

comes as a pendant, table lamp and wall light.

these rather than hide them away.”

Tree is a London-based product and furniture designer,

Wanting to forego an applied finish, instead the team

who divides his time between Jasper Morrison’s studio

anodised the piece in its raw state in order to create

and his own. His work includes contract and domestic

distinct tones and highlight the material’s natural

furniture, lighting, accessories, and electronics. With

lustre.

a passion for flexibility and longevity in design, he

“The concept behind Loop was to use aluminium for

continues to explore and push boundaries of industrial

all elements of the design, so that as much of it as

processes.

possible could be recycled, and so it could easily be

His design for Tala, Loop, is made from high-grade

disassembled to separate out the valuable aluminium,”

anodised aluminium finished in a choice of gold or dark

explains Tree.

grey. The wall editions are IP44 wet-rated, making them

“During its development I realised that if we used the

suitable for outdoor use. The pendants and table lamps

extrusions process it might be possible to make the

are fitted with dark grey braided cables, and an in-line

whole design in one single part.

dimmer switch is fitted with the table version, and all

“This breakthrough reversed the usual thinking and

encompass dim to warm technology. The fixtures are

meant that there was in fact no disassembly and the

beautifully paired with Tala’s Sphere III and Sphere IV

whole product is one part, made from one material.

LED light sources.

So rather than assembling a design from different

Speaking with Tree about the collaboration and

elements we started with a singular part that is

manufacturing process for the Loop collection, he

machined to create the form.

tells darc about how he and the team began the

“This reductive approach also means that there

design process as an “exploration of circularity in

are no parts to the design and therefore nothing to

manufacturing, how we approach a design so that

break, or any junctions to come loose, meaning that

materials can be easily separated, reused and given

the durability is also greatly enhanced. A long-lasting

another life.”

design is super important to me. If you can double the

He continues: “The more this can be considered the

lifetime of a product, you naturally half its impact on

closer we can come to a closed system of recycling

resources and use of energy.”

rather than continually extracting raw materials from

Collaboration with a brand that mirrors your design

the earth.

ethos was key to the success of Loop’s design.

“And as a raw material aluminium ticks a lot of these

“Working with Tala was a collaboration in every sense

boxes. So, as the starting point I wanted to take this

of the word,” reflects Tree. “The first discussion was

material and explore its intelligent use, and re-use in

very conceptual around this idea of circularity so the

a light fitting.

product as we see it now grew from our work together.

40/41 |

MANUFACTURING PROCESSES

Aluminium is heated and pressed through a shaped cast to form the metallic structure as one solid piece.

This design choice produces a more sustainable product, as there are no individual parts on components liable to breakage or faults.

MATERIALS | TALA

“Loop sits well in a range of spaces both large and more intimate. It is also simple enough to work well in numbers but when on its own has enough interest to really stand up as something of value.

Aluminium is a lovely material as it combines a finish, which I think interacts so well with light.”

42/43 |

“Tala has a great understanding of both design and manufacturing, and so are experts at asking their suppliers to really try and push themselves with new ideas and processes.

“This type of client, one that is prepared to take risks, is quite rare. From a design point of view, Loop was a really collaborative and rewarding project.

“They have been building up their line of fittings, which Loop continues with a new technical aesthetic. I have tried to complement and build on Tala’s strength in low energy bulbs.”

Once everyone was on board with the concept of such a singular approach, Tree explains it was a case of “going deep into the manufacturing process and seeing if this idea was possible.”

He goes on to explain the process of extruding aluminium is a simple one in principle. The metal is heated, which softens it. This is then forced through a shaped cast, much like “toothpaste from a tube”.

“The skills required to design the shape of the die and the subtle impact on the extruded profiled material that this creates are quite an art.

“Making the design in one single profile was always a challenge. We were pushed back often with suggestions to make it in two or more smaller parts that are then assembled to produce something like the design we wanted.

“Although it may be easier to make, we stuck to our guns and insisted on it being a larger more robust single profile. We discussed the project

MATERIALS | TALA

and its technical issues with various manufactures until Tala found a partner that felt they could achieve our ambitions design.

“Over the course of a year, designs were flying back and forth between us addressing a myriad of technical issues until we finally landed at a shape that we all thought would work.

“This was, however, all still theory! Tala took the plunge, ordering the dies. We crossed our fingers and waited for the first lengths to be extruded and parts machined.

“It all paid off and the first raw parts made were a success. Sometimes the simplest things hide the most work!”

Tree describes the Loop as “circular, singular and eternal,” and a bit of a “chameleon” when it comes to its suitability for various environments.

“It sits well in a range of spaces both large and more intimate. It is also simple enough to work well in numbers but when on its own has enough interest to really stand up as something of value.

“Aluminium is a lovely material as it combines a finish, which I think interacts so well with light.” www.tala.co.uk www.johntree.net

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11/09/2023 10:23:07

COMMENT | ADELE LOCKE | 44/45

COMMENT

ADELE LOCKE Adele Locke is an architectural lighting designer at Mint Lighting in Australia. Locke runs a Masterclass workshop for design professionals with an interest in light. Below, she gives advice on interpreting technical data on lighting products.

Great lighting design starts with understanding how to

spaces. Colour rendering is far more important than most people

select quality light.

realise, and as it wasn’t a factor in the type of lighting used in homes

One of the greatest challenges designers face in

prior to the transition to LED, it’s a measurement that a lot of people

evaluating lights is that every manufacturer formats their data

don’t know about.

differently.

Usually, people think about art and soft furnishings when they

To quickly see past the marketing and get to the most important

consider colour – but each of us reflects colour – and all of us reflect

data, use these four key indicators of light quality to effectively

different colours – from our skin.

compare light fittings.

If we are in poor quality light, we’re likely to look green, or grey – or

My advice can be used as a guide for residential lighting design, and

any number of colours that effectively make us look unwell.

as an extension, a starting place for hospitality and retail lighting.

Colour Temperature

Of course, working with a professional lighting designer is always

What colour does your light appear to be when it’s on? Warm/golden

recommended, but knowing how to evaluate light fittings is valuable

or cool/blue? That’s the colour temperature.

for everyone.

Across the globe we all have different requirements and norms

The key measurements to look out for are:

for our preferred colour of light, however in our homes we aim for

• Lumen output – (lm)

a consistent 3000K “neutral warm white” – light that is in essence

• Colour Rendering Index – CRI (Ra)

white but is slightly warm.

• Colour temperature – (CCT)

In cooler climes, warmer light is often preferred in the home, closer

• Glare – (UGR/Visual Testing)

to 2700K. Still a quality white light, but with a golden warm hue –

With these four measurements, you can quickly gain an understanding

definitely not yellow. Often our decorative lighting will be this warmer

of a light’s quality and performance, and easily evaluate if it is a

colour, combined with the 3000K general illumination.

reasonable alternative to another known light fitting. Ultimately

Ultimately, the colour of light you choose is up to you – but here’s the

nothing beats seeing a working sample, in a dark room, for being able

important part – do NOT mix warm and cool!

to know if you’re getting the light you want or not.

Rangehoods are the killer for this in homes – every light can be

Lumens (lm)

perfect, but if the range comes as standard with 6000K cold white

In simplest terms, lumens is the measure of how much light is coming

and suddenly we have a spaceship in the middle of the kitchen every

out of the light fitting. That’s it. If you need 150lm, then 800lm is not

night before dinner. Paying attention to your colour temperature

an alternative – regardless of the fact you can dim the light.

matters.

Alternatives and off-spec’ing are a fact of light, and there are many

Glare

“experts” in any construction project confident that they know best

When you turn on the lights and flinch – that’s glare. It is the trickiest

how to save money for a client by dumping those “silly little lights” in

measurement to evaluate when reading data from a manufacturer.

the design, but if the swaps are not made with consideration of the

At Mint, we have a rule – if a small directional light has a diffuser, we

intent, it is never going to create the light we have designed.

won’t use it.

The quantity of lumens you need to a room is determined by the light

As soon as you diffuse a downlight (and I have no idea why people

levels you are trying to achieve, and the colours and reflectivity of

insist on making these awful pancake downlights, but they do, so we

the space, directionality, mood and function.

have to talk about them) you end up with a hideous glary light in the

As a starter: If you want a small highlight, then you may only want

ceiling, that does nothing for the room – often barely even pushing

150 – 200lm. If you need functional general light, you’ll likely want

enough useful light into the room to read at your tabletop.

600 – 800lm. And if you’re planning to use indirect light to create a

If you use these four key indicators of quality on every light fitting

bright room, then you might need 3000lm or more from your indirect

you consider, you’ll be well on the way to getting control over your

light fitting to compensate for the lost light reflecting off the ceiling.

light and crafting a beautiful experience in your designs.

Ultimately a great design will use a combination of types of light, and

There are lots of lighting experts in the world like me who LOVE this

strengths of light to create layers and balance in a room.

kind of detail and have years of experience with choosing great light

Colour Rendering Index (Ra)

fittings. I recommend you make use of these people, while keeping

For the simplest check that you’re on the right path with the quality

an eye on the important data so you can understand the advice

of your light – CRI 90 or higher is a great benchmark.

you’re being given and know if it is right for you - or not.

In homes, we recommend light be no less than Ra 90+ in the living

www.mintlighting.com.au

46/47 | INTERVIEW | LIGHTS ON SCREEN - MARTIN SMITH

INTERVIEW

MARTIN SMITH As part of our Lights On Screen feature, darc’s editor Sarah Cullen sat down with two industry professionals who work closely with the lighting we see grace our screens. First up, we have an in-depth discussion with Gaffer, Martin Smith, to find out about his career and his work with the International Cinema Lighting Society.

Lighting is everywhere. But our industry focuses a lot

I learnt a lot of management skills, how to budget,

on the real world and lighting environments we can all

how to service, and the logistics of running a job. My

experience, from residential to commercial venues.

girlfriend at the time’s dad was s a gaffer, and I thought

The idea to do a feature called ‘Lights on Screen’ was

that sounded interesting. He was going to work on

sparked during lockdown when I found myself with

location and going abroad, which all seemed like an

more time to binge-watch Netflix series’ during the

exciting lifestyle. So, I asked him, ‘Why am I going to

winter months. I saw lots of beautiful decorative pieces

work in the same place every day for the last year, and

featured in new dramas and Hollywood blockbusters.

you are flying off to Australia and Kenya?’

Alongside our manufacturer case studies that highlight

“Back in 1995, when I was 20 years old, he took me onto

their products on set, I sat down with a couple of

a film set for Twelfth Night, directed by Trevor Nunn,

industry lighting experts, or as they’re known, Gaffers,

shot in Cornwall. As an already qualified electrician,

to find out more about the complexities of lighting on

I was allowed to work on set for one week’s work

set or location, and the teams behind creating that on-

experience, but only as a trainee. But, I really, really

screen magic.

enjoyed it. We worked on location in both interiors and

Martin Smith is a freelance

exteriors. It was the first

Gaffer and Chief Lighting

time I’d seen film lights and

Technician based in the UK. However, Smith is part of the crew that follows the global productions.

Smith’s interest in all things electrical began when he left high school. Initially, he wanted to work as an airline engineer and had sourced an apprenticeship with British Airways, but this

fell

through

practical lights [decorative

“Back in 1995, when I was 20 years old, [I worked] on a film called Twelfth Night, directed

by Trevor Nunn, that was shot in Cornwall. I went for one week’s work experience. As an already qualified electrician, I was allowed to work on set, but only as a trainee. ”

lighting used

fixtures]

together.

being

Because

they were shooting on film at this time, they needed to enhance the practical lights [prop lights such as table lamps] by rewiring the fixtures and changing the bulbs to gain more light output than a regular

last

40W lamp. They would

minute. “I was only 15 when

upgrade them all to 275W

I left school,” he explains. “My uncle had an electrical

or 500W light sources. Then they’d use other film lights

firm and asked me whether I should do an electrical

to enhance what that practical fixture was doing.

apprenticeship. So, I did. I completed a three-and-a-

“I got really interested in lighting there and the

half-year electrical apprenticeship where you do a

excitement of working on a movie at that young age,

day release at college and the other four days you’re

but it fizzled out for a while, and I went back to my

on the tools working as an electricians mate. I spent

normal day job.

about eight years in the electrical industry, working on

“I then split up with that girlfriend. I think her dad was

a variety of different projects”

keeping me at arm’s reach during the relationship

“My career direction shifted when I was running a large

because the whole time he knew what a volatile career

job and I had a lot of guys working for me. It was here

working in film can be. I think he was being protective,

48/49 |

“I worked on a Bollywood film called London Dreams as a gaffer, and that had the most amazing practical lighting elements on it.

It was a big, colourful film that we rigged coloured festoon lights around London for big dance scenes and created environments for the bar and club scenes...”

INTERVIEW | LIGHTS ON SCREEN - MARTIN SMITH

but once the relationship ended, he said ‘Look, if you

boy, which is second in command of the lighting and

want to get into it, you need to go and work in a lighting

electrical department.

rental house. You’re an electrician but go and learn the

“I worked on a Bollywood film called ‘London Dreams’

equipment’.”

as a gaffer, and that had the most amazing practical

In 1999, Smith got a job at AFM Lighting, which provided

lighting elements on it. It was a big, colourful film that

an in-house trainee scheme for electricians. Here,

we rigged coloured festoon lights around London for

Smith worked for two years in the warehouse, learning

big dance scenes and created environments for the

the equipment, servicing and maintaining it, and

bar and club scenes; it was a big job, but I had a great

learning about the power systems, distributions, and

practicals crew working for me.

generators, and earned his HGV license. Essentially,

“The practical lights on films started off, for example

gaining as much knowledge about the film industry and

on Harry Potter, as quite raw and ready but nowadays

the practical skills to safely run its lighting equipment.

the sets are considerably more elaborate, featuring

“After the two years, they started sending me out on

intricate LED lighting designs integrated into the

jobs as a lighting technician. I got up at 4:30am to take

construction. Much like you would now if you were

the equipment truck down to a location. You’d meet the

doing any building design, we design our sets with

gaffer and the electricians, and you’d rig for the day on

architectural lighting to the same high standards,

a commercial set or on a small movie, setting all the

and we want them to look fantastically beautiful and

lights and generators up.”

detailed.”

Smith continued in this role for another four to

Smith went on to meet Fraser Taggert, a cameraman, or

five years, building relationships with gaffers and

as they’re known in the film industry a cinematographer

understanding the set etiquettes and processes of

or director of photography, and are primarily

film productions. He worked on commercials and small

responsible for the overall visual style of the film. “We

IMAGES: WAREHOUSE MANUFACTURING OF LIGHTING COMPONENTS FOR MISSION: IMPOSSIBLE - DEAD RECKONING PART ONE

features until his big break on the first Harry Potter

did our first film together, a second unit, which does all

movie being filmed in London.

the action sequences, called ‘Your Highness’ in Ireland

“That’s where I really started to learn about the lighting

about 10 years ago. I’ve since worked with Fraser on

practical department,” he says. “The gas flambeaux,

other features including Doctor Strange, Rogue One,

the big fire lights on the staircases and wall sconces,

Maleficent and Dead Reckoning Part One.

didn’t produce enough light because again we were

“It’s taken me about 20 years to progress on to these

shooting on film. We had to add practical lights to

huge Hollywood features. I’ve got a hell of a lot of

the base of each flame. They were safe from the fire,

experience and knowledge over the longevity of my

but they enhanced the light with 10KW and 5KW light

career, which puts me in a good position to now run

sources in each. I just found it fascinating that there

these huge features where we can have up to 100

was a department dedicated to doing these practical

electricians working at any one time.”

elements of lighting. We were also responsible for

What became evident when talking with Smith is that a

rigging huge lighting elements for the windows in the

lot of the “practical” lighting fixtures are created from

Great Hall as well as there being a department of six

scratch. The gaffer has a close working relationship

people building bespoke lights for the sets, whether it

with the set decorators, production designers,

was the light on the end of a wand or a handheld lamp

cinematographers, and directors of film productions,

that would glow.”

and together they work on bringing the story’s vision

Smith’s career began to develop from this point

to life. As Smith describes it, it’s like “painting a picture

onwards, working on feature films and commercials,

with light”. Gaffers play a huge role in the creative

establishing his name in the field, working hard as an

interpretations, bringing physical solutions to the

electrician, and progressing onto the role of a best

visions for the story. And with that, they design and

50/51 | INTERVIEW | LIGHTS ON SCREEN - MARTIN SMITH

“We can create any look with LEDs, but sometimes you want that old tungsten filament lamp or candle flicker.”

build lighting fixtures in workshops to fit the story’s

wide range but the practicals cover all lights that are

brief alongside purchased or rented decorative

seen in shot as opposed to our bigger lights that are

fixtures.

out the shot, which we use for added enhancement

Smith has Practicals Head of Department Joe Tooke on

and beauty.

his team, or as they are known in the US, a Fixtures

“The practicals department has grown over the years

Supervisor. Tooke looks after all the practical lighting

from two or three people, whereas now I’ve got 10 guys

fixtures and prop fixtures and set decoration pieces

working for me full-time.”

that are seen on screen in a movie. Depending on

A recent example that Smith and his team worked on

what has been discussed between Smith and the

was the decorative lamps for Mission: Impossible VII -

production’s set decorator, production designer,

Dead Reckoning Part One. “There was a train sequence

cinematographer and director will depend on the look,

that featured over 500 custom-made, retrofitted

style, and concept for how the lighting fixtures are

practical fixtures equipped with LED lamps. For our

going to look on set or on location. Tooke will utilise

Venice sequences we had over 100 hanging lanterns,

the production concept or discussion notes with Smith

which initially arrived as just glass boxes that we had

and gather all the lights that have been brought in by

to fit with LEDs and wireless controls. Our practicals

the set decorations teams and convert them all to LED

team also recreated 30 exact copies of Venetian

or desired style with wired or wireless controls. These

streetlights, with the help of the props team, that we

will then be installed on set ready for Smith’s shooting

had moulded and manafauctured, with custom built

lighting team to go in and organise the pre-lighting for

LED tiles installed. This allowed us to move them

filming.

anywhere around the dimly lit Venetian alleyways.”

“It’s all discussed early on, and they’re designed

The lighting team will work with a head programmer

fully conceptual. Then we can measure up and see

on a production who will aid in setting up a network

how many LEDs or type of practicals are going in.

of hard wired or wireless transmitters and receivers

Sometimes we still use some of the older tungsten

that can be remotely programmed from their lighting

or fluorescent lighting fixtures, it all depends on the

desks. While many fixtures are equipped with batteries

period of the film,” he explains. “We can create any

for flexibility, the set predominantly relies on hard-

look with LEDs, but sometimes you want that the

wired power supplies and data control. This allows

old tungsten filament lamp or candle flicker. It could

remote lighting control via a main lighting desk or iPad.

also be a huge classic chandelier over a table, or a

“It’s a real team effort on a big film. It’s the same on a

thousand lights in a submarine that all need to come

commercial or on a pop-promo, just a smaller scale.”

to life with gauges and dials. Or it could be the most

In terms of harmonising the decorative lighting

beautiful architectural lighting in a building. It’s a very

fixtures, with the broader set lighting, the lighting team

IMAGES: MISSION IMPOSSIBLE VII: DEAD RECKONING PART 1 CONSTRUCTION OF INDIVIDUAL LED COMPONENTS FOR TRAIN SEQUENCE.

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52/53 |

handles this manually on-set rather than adjusting it in

CRI values. We are now able to utilise products such

post-production.

as COB LEDs, which offer seamless joins and laser

“We take colour temperature and exposure readings

like lines with specialised pockets of diffusion. These

to create a suitably balanced and well-lit set. Actors

advancements have enabled us to use LED lighting in

can be lit with the practicals and enhanced with some

detailed and intricate ways like never before.

off camera beauty lights,” Smith explains. “If you’ve

“Sure, we can purchase off-the-shelf LEDs, but the LED

got big windows on a set and you’re trying to create a

tiles, panels, and even the circuitry are often designed

daylight interior, then we’d potentially use some of the

and built from scratch in our own workshop to suit the

more classic larger hard lights combined with some big

specific needs of each set. This gives us a high level of

soft lights to push light in, otherwise the effect can be

customisation and control.

contrasty. It all depends on the vision of the director

“The advancement of 3D printing has been a step in

and the cinematographer, the emotional content in

the right direction. We’re using it to manufacture

that scene, and how we want to portray it with the

our own LED bases and PCBs, allowing us to fit our

lights. It’s almost like painting a picture in my opinion.

customised LEDs into any light fixture we require. It’s

You hear it said sometimes, but the more you think

not just about having the right tools; it’s about having

about it, it really is. You’ve got the story and with that

a team of skilled professionals capable of executing

there’s got to come pictures, and it’s how we paint that

these unique designs.

picture using our lights for a different variety of looks

“While working on Mission: Impossible VII, we designed

or feel, and the tone of the story. We could be depicting

and built over 1,000 specialised lights for different

a party, rave vibes, or the total opposite with calming

sections of a submarine set. The LED strips for these

dappled light through trees or a dark room that’s just

were housed on boards that we also developed in-

candlelit. Cinematography and lighting are entwined

house. We took it a step further by testing a unique,

throughout the story.

clear resin that provides a watertight seal without

“99% of the time, gaffers get creative input with

causing any colour shift.”

the directors and cinematographers on the bigger

“Because of the specific environment we were working

productions. Sometimes you work with those that

in, all our lighting had to be battery powered. This led

want to do it their way, but that’s quite rare these days.

our practical team to developing a complete battery

They might just give you some guidelines of the style

management system. With this, we can monitor

and the look, and then you’ve really got to dig deep

various factors like water and heat sensors, as well

into your knowledge base and figure out not only how

as cameras and moisture levels, all from a computer

to do that creatively speaking, but also logistically

at our workstation. It’s another example of how our

with certain restrictions such as rigging and logistical

team’s skills enable us to adapt to the needs of each

complications and budgetry constraints. You also need

project.”

to consider the availability of certain types of lights at

Joe Tooke, the Practical Head of Department,

any one time, because when it’s busy, you can’t always

comments:

get your first choice of your complete list of lights, so

development has been important for us. It’s helped

sometimes you have to think outside the box.

us improve our products quite a bit. A big part of

“There’s a lot of gaffers that own a certain number of

this progress also comes from our electricians. Their

lights and bits of equipment, but the bulk of the lights

skills are key, especially when it comes to the creative

will be hired from lighting rental houses. Practicals

lighting designs we’re able to offer. These aren’t just

are normally purchased, whereas the rest of the set

standard setups; they’re custom solutions that fit the

lights are normally rigged as more of a temporary

unique needs of each project.”

installation. We also hire all the various distribution

During the Covid-19 global pandemic, the film and

and lighting control. Also working under the gaffer is

TV industry ground to a halt with the uncertainty

a rigging department who construct the complex truss

of how productions could continue through all the

and motors for the lights to hang on.”

restrictions. But the strong sense of community and

At the end of a production, the teams are conscious

team bonds that were forged among the lighting crews

to make sure the practicals aren’t wasted. The wireless

over the decades led Smith and some fellow gaffers

control elements are removed, and the fixtures are

to establish the International Cinema Lighting Society.

sent to a props warehouse. Anything hired is returned

Smith co-founded the society with gaffers Michael

and any cables will be reused where possible on other

Bauman and Rafael Sanchez with a few informal Zoom

productions.

conversations one Saturday night with a group of

Looking at new technological developments in film

international gaffers to discuss various Covid protocols

lighting, Smith notes the vast improvements in LED

around the world and to find out who was doing what,

capabilities. “We’ve gone from basic, single-colour

and which productions were shutting down. “It was

LEDs to intricate five and six-colour products that not

very, very informative,” Smith explains. “I, Mike, and

only provide phenomenal luminance but also high

Raffi said ‘Look, there’s something here. We don’t

“Spending

time

on

research

and

INTERVIEW | LIGHTS ON SCREEN - MARTIN SMITH

IMAGES: ABOVE - LIGHTING STRUCTURE FOR MISSION: IMPOSSIBLE - FALLOUT BELOW - MARTIN SMITH ON LOCATION FOR MISSION: IMPOSSIBLE - DEAD RECKONING PART ONE

have a society for lighting, gaffers, or programmers.’

our first Executive Director Ediola Pashollari. She is

We decided to develop it officially and that’s when Bea

instrumental in obtaining our nonprofit status in the

Patton got involved. She headed up the formalisation

United States and skillfully navigating the complexities

of the society with our help and a lot of amazing

of expanding a global society.

members, who became the founding members forming

“We’re having an exciting website re-design and are

committees. We set up a membership committee,

supported by over 30 manufacturers, and we’re up to

a corporate membership committee for lighting

about 600 (300 approved and 700 pending) members

manufacturers, and a finance committee.

across more than 40 countries globally.

“The full membership category is open to gaffers,

Fundamentally, the aim of the society is to provide a

programmers,

of

community and platform for sharing knowledge and

departments that have more than eight years’

expertise among fellow colleagues in the industry.

experience in the industry. Then we have an associate

Much like many roles within the freelance television

membership for aspiring gaffers or programmers, best

and film industries, sharing of information and skills

boys, and anyone that’s interested in the industry like

is uncommon, in Smith’s opinion. “It was kind of a

colour scientists, projectionists, video wall specialists

closed shop and people were worried about losing

etc. Then we have an observer membership, which is

out on work if they shared too much of their expertise.

for technicians and aspiring lighting professionals that

Through ICLS, we flipped that attitude on its side.

are starting their careers in the industry.

The ICLS promotes diversity, professionalism, and

“The society was initially run entirely by volunteers.

inclusivity and is a knowledge sharing community.

Our first paid staff, Bea left us early this year after

We have weekly Zoom presentations from individuals

helping set up and structure the society. We now have

who have worked on certain movies as well as from

and

practicals/fixtures

heads

54/55 | INTERVIEW | LIGHTS ON SCREEN - MARTIN SMITH

“I always tell anyone that wants to get into the industry to go get an electrical qualification first. It’s important because we’re working with electricity first and foremost, and you need to have the ability to work with it safely...”

IMAGE: ICLS INTERNATIONAL GATHERING WITH MEMBERS.

manufacturers that are trying to promote their new lighting

really helping to get the different techniques and technologies

products and services. What’s more fabulous for us is

out there to those that might not have had the conduits to it.”

manufacturers coming to us with their prototypes rather than

Smith concludes with parting advice for those wanting to get

us going to shows. They’re coming direct to the end-users who

into the industry or begin a career as a gaffer. “We need to look

will be hiring their lights and getting their professional advice

at this sensibly,” he says. “I always tell anyone that wants to

before they even put money into manufacturing something

get into the industry to go get an electrical qualification first.

that might not be suitable.

It’s important because we’re working with electricity first and

“We also run events and online trade shows and attend lighting

foremost, and you need to have the ability to work with it safely,

events or expos along with live ICLS gatherings to promote and

install a distribution system, maintain, and not overload an

mix and generally be a community and meet people face to

electrical system, and have the general knowledge of electrical

face. We don’t talk about people’s individual rates or negotiate

safety, installing, testing, and certifying electrical installation. I

on rates as we’re not a union. We’re a society of professional

wouldn’t have anyone on my practicals team that wasn’t a fully

individuals who want to become more of a community, which

qualified electrician.

we are achieving through the ICLS.”

“We have trainees who do an electrical qualification while

The society also utilises Discord with 120 channels covering

working with us for up to three years. Those that are coming out

various topics ranging from manufacturers products, colour

of film schools need to take a step back and get a full electrical

science, intelligent lighting control, LED volumes to rigging

qualification first.

techniques and day-to-day insights.

“Then it’s time to do the exciting bit and learn about the lighting

Looking ahead, ICLS wants to establish educational and

because you’ll have built great technical knowledge, but you’ll

mentorship classes, whether online or face-to-face events. The

also have much more respect within the industry because we

team wants to grow its global reach and diverse membership

know you’re safe and you’re going to work safely with others.”

and is looking at setting up individual regional meetings to

He also believes that it’s all down to building a strong network.

avoid time zone clashes, allowing conversations to be more

“Reach out to as many individual gaffers as you can find.

accessible for all.

There’s plenty on Instagram, reach out to studio productions

“We want to spread the word of lighting safely but informatively

like Netflix, Amazon, and Apple, which have entry routes and

and build some momentum behind the society, which then

apprenticeships with colleges that allow you to work alongside

gives us the money to invest into the educational channels and

a team as a trainee.

mentorship schemes. It’s very tricky because first and foremost,

“Alternatively, you can go into a lighting rental house as I did,

it’s electricity and there’s different codes of conduct globally.

and work with them and learn the equipment. You really must

We must be mindful of how we educate in the UK as that won’t

fight for it and get your name out.”

be correct for the US, which in turn won’t be right for India or

www.iclsociety.com

Asia. But the principles of lighting remain the same and can

Instagram: @sparkymart

be taught. Everyone in the society sharing their knowledge is

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18/08/2023 17:08

56/57 | INTERVIEW | LIGHTS ON SCREEN - JOSHUA ANDERSON

INTERVIEW

LIGHTS ON SCREEN

JOSHUA ANDE RSON Joshua Anderson is a rigging gaffer and fixtures foreman based in the USA. Continuing with our Lights on Screen feature, darc learns about his career history and role on television series ‘Interview with the Vampire’.

Joshua Anderson works in the West of USA as a rigging

union indie circuit for a few years before finally getting

gaffer and fixtures foreman and is also a member of

into the International Alliance of Theatrical Stage

the International Cinema Lighting Society co-founded.

Employees (IATSE) in 2006 on the film ‘The Kingdom’,

“I have been active in film and television lighting and

which was a $100million + motion picture.

camera industry since 2003,” he tells darc. “I have two

“I continued to make my way up the ranks over the

Bachelors of Arts degrees, one in film and HD and

course of roughly 20 years, starting as a lighting 3rd

another in motion graphics and VFX.

(general lighting crew) up to best boy and then gaffer

“I have always been a technical creative. I have worked

and rigging gaffer. I have an extensive technical,

on and around custom cars and fabrication since I was

creative, and fabrication background and brought that

in high school. After school I needed a change of pace

into my craft in the film industry.”

from Chicago where I was based,

Anderson’s speciality in the

so applied to Collins College in

cinema lighting industry is in

Phoenix, Arizona. I needed to get out of the cold and snow and move back home to the southwestern United States. I got in, and the rest is history;.

“I was the first class to go through the film programme at Collins College, which is has

“My first show was a micro-budget sci-fi indie, where I was hired as an office personal assistant, but progressed into the art department the next day. “

now merged with Columbia. My

creating custom one-off lighting fixtures

for

elements,

architectural props,

and

prosthetics. He is also a trainer for the IATSE and an electrical soldering instructor.

As a rigging gaffer, Anderson is

essentially

an

electrical

engineer of portable power

first show was a micro-budget

systems

and

data

control

sci-fi indie, where I was hired as an office personal

networks

assistant, but progressed into the art department the

productions. As a fixtures foreman it is his job to work

next day. Due to my car background, I worked alongside

with numerous departments to coordinate, design,

the film’s director of photography, and built the main

fabricate, and install the various on-camera lighting

picture’s car.

elements, ensuring the correct colour temperatures,

“We became friends and he went on to get me the on-

intensities and flicker rates are achieved.

set opportunity to be trained in lighting and electrics.

Over the course of his career, Anderson has taught

“I worked my way up through the ranks as a set lighting

himself a huge amount in order to progress through

technician and rigging electrician. I worked on the non-

the various roles and responsibilities. “I learnt how to

for

motion

pictures

and

television

58/59 | INTERVIEW | LIGHTS ON SCREEN - JOSHUA ANDERSON

“[Tyree’s] team also custom-created 4000 lights for the set alone along with several on-location lighting retrofits. They were used to help the audience move in time with the story’s era. ”

operate large equipment used in lighting platforms

costumes and lighting fixtures that mirrored the

such as condors and scissor lifts before we did formal

historic time period and New Orleans vibes, along with

training on them. I also gathered – and continue to do

a large lighting and electrics crew to bring the magic

so – expertise in generators, various lighting systems,

and story to life.

data control networks, AC and DC power, cable line

In terms of lighting on this series, there were a lot

loss and tolerances, electrical lighting design and

of decorative fixtures created for the sets. It comes

fabrication, as well as several other elements including

down to the set decorator and production designer to

lighting and material fabrication from wood and plastic

purchase and choose the lamp’s look and aesthetic,

to metal work such as soldering and welding and more

and the art director, in collaboration with the

recently, composites. Also, business skills in scheduling

production designer, is responsible for managing the

and department budgeting, orders, and equipment

in-house builds of lighting fixtures.

manufacturer tracking, plus how to handle crew and

The production designers worked with Katelyn Tyree,

labour management skills.”

one of Anderson’s fixtures foremans, to source period-

One of Anderson’s most notable and favourite shows

accurate light sources after extensive research into

he’s worked on is AMC’s ‘Interview with the Vampire’,

the era-specific looks of New Orleans. For a lot of

which first aired in 2022. Set in the current day, vampire

lighting fixtures, the electrical teams need to re-work

Louis de Pointe du Lac lives in Dubai and seeks to

them to make them more suitable for filming. “We gut

tell the story of his life - or afterlife - to journalist

and replace the lighting elements to suit the lighting

Daniel Molloy. The story ventures back to early 20th-

colour and intensity/source requirements for the set,”

century New Orleans and follows de Pointe du Lac ‘s

explains Anderson. “A lot of times the set decorator

relationship with vampire Lestat du Lioncourt.

buys brands needed for the look and feel of a space,

This high budget production involved sets, props,

or they own or rent similar from their own kits or prop

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60/61 | INTERVIEW | LIGHTS ON SCREEN - JOSHUA ANDERSON

houses, then fixtures department does any retrofit or

alone along with several on-location lighting retrofits.

custom lighting fabrication needed to meet the needs

They were used to help the audience move in time with

of the shot and set.

the story’s era. The lighting was a character all of its

“For season one of ‘Interview with the Vampire’

own in this show.”

my fixtures foreman Katelyn, who I’ve worked with

When it comes to balancing the practicals (decorative

for the last several years, worked with myself (the

fixtures) with the set lighting, Anderson explains how

rigging gaffer), the set gaffer, both cinematographers,

they achieve the shots: “A lot of the time we will ask

production designer, prop master set decorators, art

the art director or set decorator to place a light for

directors, construction crews, grip, props, FX, VFX, and

our wide shots, which we will supplement with movie

even transport.

lights for close up etc. This means we have a source

“She designed the technical elements of several of the

to paint off and manipulate, which is something that

lighting props (match sticks, battery powered candles,

has started to apply to the world of prosthetic lighting.

etc) and she also provided a varied lighting design for

Indoors, we recreate exterior sun light via large movie

our backlot. Each building had a different light source

lights and towers per the location’s specific needs.”

type, globe shape, wattage, and size, striving for a

Season two of ‘Interview with the Vampire’ is predicted

natural variety and period accurate feel, which took a

to be released in 2024, but nothing is confirmed due to

collaboration of many on and off set departments to

the ongoing SAG-Aftra and WGA industry strikes.

bring to life.

www.dayext.com

“Her team also custom-created 4000 lights for the set

62/63 | PROJECT | LIGHTS ON SCREEN - GLASS ONION

PROJECT

GL ASS ONION Q u a s a r w a s a s k e d t o s u p p ly a P o l l u x c h a n d elie r f o r t h e N e tf lix b l o c k b u s te r, G l a s s O nio n. d ar c fin d s o ut m ore a b o ut the c o m m i s s i o n i n g p r o c e s s.

Written and Directed by Rian Johnson, Glass Onion is the sequel to hit murder-mystery movie, Knives Out. Executive Producers of the film were Ram Bergman, Tom Karnowski, Production Designer was Rick Heinrichs and Production companies were Lionsgate and T-Street.

The star-studded film graced the international Netflix screens in 2022, featuring Daniel Craig, Edward Norton, Kate Hudson, and Janelle Monáe to name a few.

Dutch lighting brand Quasar was selected to produce a bespoke fixture to feature in the film. Little did the firm know how iconic the scene was going to be that featured their fixture. darc spoke with the brand and the set designer to find out more about the process.

“We have collaborated with major film productions and various Dutch series in the past. Our lamps have also appeared more often unexpectedly in international shows such as Wallander. But often, these films are shot in a high-end setting such as hotel lobbies, restaurants, villas, or architectural buildings. They are always a pleasant surprise,” says Arjens van Gammeren, General Manager of Quasar. “Another major film production in which one of our lights was shown was The Hunger Games: Catching Fire 2013, and then there was also The Venom in 2018.

Only it was a pity that our lamps barely came into view.”

Back in 2020, the Dutch brand received a call from John McHugh, Glass Onion’s Set Decorator and Art Director. “When researching the right light fitting to be a key feature on the main set of The Glass Onion I literally came across an image of the Pollux light by Quasar after an internet search of unusual bespoke light installations,” he says. “This was simply to get inspiration since I was initially intending to design a centre piece myself. However, having seen Quasar’s portfolio of designs and client work, I realised that there was no need as the Pollux light was the perfect fit.” van Gammeren continues: “No information was released about the movie to us at all, except that it was going to be a big one.

“After many phone calls and negotiations [with McHugh], we came to an agreement - still not knowing what movie this was for. But, as time passed it became more and more obvious that it was a well-known film with a world famous actor in it.”

McHugh adds: “The Pollux light was chosen as it was a striking, beautifully crafted design without it being an overpowering lighting structure.

“I could see that it was possible to increase the size to match the proportion of the large imposing dining table it was to be set over, and with a number of small red translucent acrylic squares carefully placed within the boxed metal rod structure it would give a bespoke twist that would complement our set design concept.”

64/65 | PROJECT | LIGHTS ON SCREEN - GLASS ONION

For the installation, Quasar’s crew and CEO Teun van

settings provided. In some of the promo material for

Gammeren were flown to a secret location in Belgrade

the Glass Onion shown worldwide the Pollux light is

where the movie set was located to supervise the

featured, so incorporating this light installation into

project.

our design definitely gave the impact we’d hope for

“All the Pollux specifications were given ahead of time

and more!”

and any connecting plugs considered prior to delivery,

In August 2022, the release date for the film was

so working alongside the lighting gaffer and studio

announced and the promotional material McHugh

team together with Quasar’s own installation team

references includes the poster image of the entire

helped streamline the rigging process effortlessly and

cast sitting at the dining table, haloed by the Pollux

with great professionalism,” says McHugh.

chandelier.

“Since Quasar is a family run company now

“This image went all over the world and gave a huge

spearheaded by Arjens van Gammeren, we were

boost to our brand and to the model. At that moment,

lucky to have his father Teun, who was the founder

we realised that our Pollux had become a superstar.

of business, there to help orchestrate proceedings so

And, since the story mainly took place in this dining

everything went smoothly.

room, the Pollux became a main role in the film.

“With an increase in scale to the original design, the

“The rest is now history. The film became a huge

chandelier provided an impactful statement to the

success receiving the widest theatrical release ever

space without dominating the film frame and set

for a Netflix film and was one of top three most viewed

dressing, thus blended in with the visual narrative we

Netflix productions ever.

were trying to create. It looked refined, delicate, and

“In addition to being a beautiful architectural

embodied sophistication.

sculptural lamp, Pollux has now become a real movie

“The bespoke Pollux light definitely provided the

star, and has been immortalised on the silver screen,”

focal point needed to complement the dining table,

concludes van Gammeren.

chairs and of course the major Hollywood cast that

www.quasarholland.com

sat beneath it, creating a beautiful, delicate soft-focus

www.johnmchughdesign.com

light, which we were able to control with the dimmable

66/67 | CASE STUDIES | LIGHTS ON SCREEN

CASE STUDIES

LODES E M I LY I N P A R I S Lodes’ Easy Peasy lamp, designed by Luca Nichetto, was featured in the Netflix hit series – Emily in Paris.

The rom/com show follows the life of American marketing executive Emily Cooper (played by Lily Collins) and her new job in Paris. The show, created by Darren Star who is also known for Sex and the City, first aired in October 2020.

The cameo highlights Easy Peasy’s colourful, playful design, its portable benefit, and its suitability for hospitality settings.

Lodes’ Easy Peasy Flamingo table lamps feature on the table tops as the “protagonists” on the set, according to the product’s designer Luca Nichetto.

The Easy Peasy collection was launched in 2021 as part of Lodes’ 70th anniversary. The lamp’s sculptural form is reminiscent of bells, consisting of two rounded elements, the body and the knob. Made of blown glass and metal, Easy Peasy allows for personal customisation of the living spaces. Its portability, different shapes and four colours (Chestnut, Flamingo, Lagoon and Kelp), and the dim-to-warm functionality of its light source allow users to connect, play and interact with the variable configuration options.

The body of the lamp features a metal base housing the LED light source and a methacrylate diffuser wrapped by a glass bell that filters the light. On top, a distinctive rounded knob allows to turn the lamp on and off, and to dim the intensity and warmth of the light.

As the knob is rotated, the light adjusts gradually with its dim-to-warm LED technology, whilst the micro-USB socket at the base recharges the battery, allowing multiple uses in different environments and settings. www.lodes.com www.nichettostudio.com

Visit our Decorex Stand B57, Olympia 8 - 11 October

DESIGN BROUGHT TO LIGHT To see many new products, request or download the Quintiesse and Elstead 2024 Catalogues. +44 (0)1420 82377 | enquiries@elsteadlighting.com | www.elsteadlighting.com

Elstead Darc FP Sept 2023.indd 1

11/09/2023 12:27:16

68/69 | CASE STUDIES | LIGHTS ON SCREEN

CASE STUDIES

BUSTER + PUNCH SELLING SUNSET SEASON SIX Selling Sunset is the Netflix reality real estate series based on The Oppenheim Group, a prime real estate agent group based in Los Angeles and Orange County. First airing in March 2019 in the USA, the show, created by Adam DiVello, has become a global hit, giving audiences a peek inside some of the most expensive real estate the US has to offer.

Season six brings with it even more glam with the reveal of its new HQ. With a decade under its belt, the firm’s founder, Jason Oppenheim felt the time was perfect for a new backdrop. Lavish materials, tactile fabrics, decadent blends of colour, and statement lighting combine with exceptional attention to detail.

The focal point of the new workspace is the brass heavy metal Cascade chandeliers that feature among other Buster + Punch lighting pieces including the Travis Barker brass table lamp and the Caged 2.0 black marble wall lamps.

“Without question, my favourite lighting in the entire world is Buster + Punch. I have used them in every residential project I have done and all of my offices,” says Jason Oppenheim. www.busterandpunch.com

LIGHT CREATES SANCTUARY

Blinds and Lighting Part of a home ecosystem. Designed by Lutron.

70/71 | CASE STUDIES | LIGHTS ON SCREEN

CASE STUDIES

S T U D I O D ’A R M E S SE LLING SUNSE T, SE ASON 6 E PISODE 4 Following on from the newly opened Oppenheim Group office of Selling Sunset, we now step inside an episode with real estate agents Breana Tiesi and Heather Rae El Moussa. Together, they view a newly built, eight-bedroom, 14-bath property, which is the pinnacle of luxury, offering more than 21,000sqft of meticulously crafted and designer-finished living space.

With stand-out features like a chef’s prep kitchen, home theatre, professional gym, full spa, hair salon, elevator, temperature-controlled wine storage, 14-car garage that doubles as an event space, outdoor basketball court, and fabulous detached two-storey guesthouse, the Woodvale Road property was priced at $25 million Studio d’Armes’ Cé Petite graces the corridor of this residential project up for sale in the episode. The light fixture plays with reflection and motion.

When the two real estate agents see them, they are blown away by the beauty of polished the 12-karat gold and its reflections. When they approach, the movement of the fringes animates the light and encouraging you to touch them. www.darmes.ca

29-30 Nov 2023 ExCeL London CSI Design Expo Europe caters exclusively to the European cruise interior design industry.

The boutique event provides a gateway for the cruise interiors supply chain to meet with Europe’s most esteemed cruise lines, designers, and shipyards working on major refurbishment and newbuild projects.

Taking place 29 - 30 November 2023 at London’s ExCeL, the highly focused exhibition and conference allows you to connect with key decision-makers and build valuable new relationships within the industry.

200 exhibitors | Expertly curated Conference Programme | Exclusive Networking & social events | Product launches | Workshops

Register for your free pass today

CSI Europe - DARC Advert.indd 1

11/09/2023 10:35:22

72/73 | CASE STUDIES | LIGHTS ON SCREEN

CASE STUDIES

LEVERINT LIGHTING GRAND DESIGNS: THE STREETS Unlike the other examples of lights on screen we have seen in this feature, Leverint lighting was featured in a real-context project as part of season three, episode two of the well-known architectural show, Grand Designs: The Streets.

Aired in May 2023, Kevin McCloud and his team revisited Graven Hill to see the completion of Jitinder Hari’s self-build Hollywood-style bachelor pad.

The considered layout was linked by a single, striking half-turn stairwell running through the centre of the home. Guest bedrooms, a home gym, utility room, a mezzanine office, and a main suite with a balcony - this house was limitless in space, design and handcrafted detail - representing a great deal of conscious curation and styling.

With the power of foresight due to the lighting being assembled post-build, pre-decor stages (as is typical with renovations) Leverint’s job was to build a bespoke design that would highlight the interior’s wonderful elements and draw the eye. In doing so it created the monumental 16-way Piccadilly Cascade Cluster light.

In a highly methodical process, the brand collaborated across all bases, involving the client and their desired vision, design team and its glassblowing team.

The Piccadilly’s cylindrical silhouette and sleek lines adhered to the cool, sophisticated aesthetic that would feature throughout the home and the clear glass option would allow for unfiltered light and minimalism. The design team also recommended a cascade style cluster chandelier, spanning the height of the build, which would enable luminosity to stretch to every corner of the build. www.leverint.co.uk

Find your headspace at HIX Registration now open.

Expo. Talks. Installations. Social.

Be a part of it: www.hixevent.com

HIX 04 DARC Ad Sept 236x333mm.indd 1

The ever-changing design experience that makes hotels incredible

www.hixevent.com @HIXevent HIX-event HIX_event

11/09/2023 10:25

74/75 | ON SHOW | LIGHT23 PREVIEW

PREVI EW

L i G H T 2 3, t h e U K’s o n l y l i g h t i n g d e d i c a t e d e v e n t, w il l r e t u r n t o L o n d o n ’s B u s i n e s s D e sig n C e n t r e t his N o v e m b e r 2 2-2 3 a s L i G H T 2 3, f o l l o w i n g the success of l ast y e a r ’s i n a u g u r a l e v e n t, L i G H T 2 2.

Aimed at the UK’s lighting specification market, the team

end-user, knowledge on the built environment as well

behind the event, [d]arc media, has tailored the event

as networking opportunities across the industry.

to cater for interior designers, architects, and lighting

A new addition to this year’s event is darc space, a

designers. As its audience knows, lighting is one of the

dedicated decorative lighting area located next to the

first things that should be considered when working on

[d]arc thoughts talks programme theatre.

a project – whether you’re a client, developer, architect,

The highly regarded [d]arc thoughts programme will

interior designer, or lighting designer. The importance

feature experts from across the world of design, editors

of working with the right tools and having the right

from speciality design magazines including darc, arc,

knowledge to produce the best light – and in turn the

ICON, and OnOffice, while covering topics that affect

best environment for the end user – is undeniable.

all areas of the industry, such as sustainability and

The event aims to provide information and practical

circular design; designing for a global client; designing

solutions for commercial and high-end residential

for healthy office spaces; and designing for small and

projects that feature both decorative and architectural

large spaces, to name just a few.

lighting. It will also explore discussions and products

Some of the confirmed studios who will have speakers

surrounding sustainability, understanding the effects

on this year’s programme include THDP, Foster +

of good and bad lighting on design schemes and the

Partners, Conran + Partners, Speirs Major, SpaceInvader,

76/77 | ON SHOW | LIGHT23 PREVIEW

Michael Grubb Studio, Mistry Lighting, and Lighting Design International.

The show’s association partners will also support the talks programme with speakers from the likes of British Institute of Interior Design (BIID); Society of British & International Interior Design (SBID); New London Architecture (NLA); Institution of Lighting Professionals (ILP); Society of Light and Lighting (SLL); and the International Association of Lighting Design (IALD).

The BIID and IALD will also be hosting members and potential new members in the Associations Lounge at the show, which will be a welcome chill out area for visiting designers throughout the two-day event. The IALD will be hosting a drinks reception as part of the late-night opening on 21 November, and the BIID will host a designers’ lunch on 22 November.

Furthermore, a workspace, LiGHT Works, will be available for attendees to use as they wish with free Wi-Fi and refreshments to ease the pressure of taking time away from the office.

Attendance to the show is free. Registration for entrance passes can be found online, along with information on current exhibitors and event details. www.lightexpo.london

For specifiers and suppliers of global lighting projects

A series of events connecting the very best people creating exceptional lighting projects around the world. For more information contact Jason Pennington: j.pennington@mondiale.co.uk

The next session: 10 - 12 October, 2023 Art Hotel & Resort, Amwaj Islands, Bahrain www.darcsessions.com

78/79 | ON SHOW | LONDON DESIGN FAIR PREVIEW

ON SHOW

LO N D O N D E S I G N FA I R P R E V I E W London Design Fair will make its return on 21 – 24 September 2023

brand Cameron Design House to discuss their sustainable

to the iconic Truman Brewery in the creative heart of London.

approach to manufacturing decorative lighting as well as current

This year’s edition of the fair will present a diverse mix of six

trends in the luxury market. On Friday 22 September, 14:30 – 15:30,

country pavilions from Sweden to South Korea. 200 brands

Cullen will host a panel of designers including Dara Huang of DH

from new talent such as Lux Pottery, Meseme Studio and Lowlit

Liberty, Tola Ojuolape, and Anuj Gala of Delta Light, to discuss

Collective to market leading names such as Ercol, Hisle, and

how having a varied experience and diverse background in life

Swedish Ninja. Plus, bespoke installations in partnership with

and work can positively impact design.

the likes of design studio 2LG and Gencork.

Trade tickets are available for free when booked in advance at

darc magazine is partnering with the event to host two Theatre

www.londondesignfair.co.uk

Sessions. On Thursday 21 September, 10:30 – 11:00am, darc’s

Here is a round-up of some of the lighting brands that will be on

editor Sarah Cullen will host a Q&A with leading British lighting

show at the event.

Stand DA03

Meseme Studio Chrysalis Design Alumni Pavilion Chrysalis is a suspended lighting fixture symbolising transformation and connection. Beyond its biological significance, referring to the pupal/development stage of certain insects, especially butterflies and moths, Chrysalis metaphorically captures a state of transformation and transition, symbolising personal growth, spiritual awakening, and self-discovery. The piece, by Riya Panchal, pays tribute to the loss of a loved one and a reflection of the emotions that followed. The fixture features flat ombre-coloured glass wings, each adjustable at a uniform interval from 0 to 180 using a seamless push-button mechanism. www.mesemestudio.com

Stand 2B19 MushLume Lighting Cup Light Pendant Sustainable Materials Small but mighty, the MushLume Cup Light is the brand’s smallest hanging lamp in the collection at 25cm diameter. Yet, the piece is large enough to show off the unique texture created by its sustainably grown mushroom mycelium material. The pendants can be arranged in a series or lighting cloud. www.mushlumelighting.com

Stand 1B41

Lowlit Collective Vent-age Chandelier

Stand BC11

Repurposing Studio Vent-age is a chandelier crafted from discarded parts of Volvo cars and recycled plastic material. Contrasting the industrial and modern feel of its materials, the chandelier’s body features classic curves expressed through intricate woodcraft techniques.

Vent-age artfully creates a unique lighting experience that embodies Lowlit’s philosophy of repurposing and sustainability. www.lowlit.studio

Coldharbour Lights Rio

Lux Pottery Spark Black

Sustainable Materials

British Craft Pavilion

Rio is a family of exuberant feather shades with the impact of a chandelier featuring long cockerel tail feathers. The designs explode with textural richness and colour.

The designs range in diameter from 115cm to 85cm and are designed with one, two or three tiers. The bigger pieces are a response to requests for larger feather shades for hospitality spaces. www.coldharbourlights.com

The unique, round hand-built slab lamp is hollow and decorated with a black positive and negative abstract design. The shiny and matte glazes create the illusion of depth and forms interesting textures, with a pop of zingy orange. It has coordinating vintage style black flex with inline switch and an halo light source. www.luxpottery.co.uk

Stand 3A31

Stand 1B35

Stand 1C15

Swedish Ninja Candy Pick n Mix Swedish Embassy London The Candy wall lamp collection - Pick n Mix - by Maria Gustavsson is inspired by colourful and graphic candy.

Pick n Mix from 10 different colours, to be used in endless variations, which can be hung in any direction. The lamps can be used as single pieces or combined to fill up a whole wall. They also work as ceiling lamps. Pick out your favourite combo and add some Candy to your room. www.swedishninja.com

DCW Editions Here Comes The Sun

Spark & Bell Kinavara

Toulouse-born architect Bertrand Balas liked to watch the sun set over the Garonne River.

In August 1970, he designed and launched the lamp Here Comes the Sun, inspired by the sun.

Now produced by DCW Editions, the aluminium Here Comes the Sun pendant takes on a magical quality. Darkness loses its rawness and transforms into something reassuring. www.dcw-editions.fr

The Kinvara is a long, handcrafted bone china shade crested by a smaller reversed bone china cap or cork cap. The delicate material lets through a soft glow while casting beautiful down light, perfect for living spaces, kitchens, and bedrooms. Crafted in Stoke on Trent by master ceramicists with years of training and ceramics culture ingrained in the production process. www.sparkandbell.com

Stand 1A30

AD INDEX

Abalon

80

HIX

73

Astro

IFC

Hudson Valley Lighting Group

9

Better Designed Lighting

65

Industville

51

BDNY

34

Intra Lighting

IBC

Chelsom

21

LiGHT 23

4-5

Christopher Hyde

31

Lladro

27

CSI Europe

71

Lutron

69

[d]arc awards

6-7

Luziferlamps

17

[d]arc sessions

77

Original BTC

61

Decorex

81

Secto

59

Elstead

67

Sustainable Lighting Summit

44

Franklite

55

Tala

OBC

PORTFOLIO

PROUDLY SUPPORTING

8 - 11 October 2023 Olympia London decorex.com Decorex Nat Maks

82/83 | IN FOCUS | ABALON

IN FOCUS

Abalon A n a B r id g e w at e r C o r a l l o P o r c el ain C o l l e c tio n

What was the design inspiration behind Corallo

What was the most challenging aspect of producing

porcelain?

the collection?

This collection draws inspiration from nature,

The hardest part of creating isn’t the making

particularly the oceans. My goal was to blend nature

itself, but everything else around it. This includes

with architecture through sculptural lights, creating

connecting with the right customers and finding

a more natural atmosphere through translucent

exciting projects to work on together. As an artist,

porcelain pieces that are all unique and emit a glow.

I sometimes feel overwhelmed by the market,

My inspiration leans towards biophilic and minimal-

which can be aggressive and focused on taking

neutral elements, enabling the pieces to seamlessly

advantage of you. It’s tough, and there are times

fit into various interior settings.

I want to quit. But then, I remind myself of all the research and knowledge I’ve gathered, and I know

How long have you been working on this collection?

I’m doing the right thing by creating designs that are

My inspiration originates from my university research

environmentally friendly.

and material invention back in 2005. Since, I have

It’s a big challenge because sustainable products

spent time experimenting with different methods to

can be expensive to make, and they often end

make porcelain more porous and adaptable, resulting

up being seen as luxury items, even when they

in this new texture I have used for the new pieces.

shouldn’t be.

This collection’s journey started in 2017 when I had

Another challenge for me is that a good, sustainable

my first exhibition with ‘Corallo porcelain’ in London.

design involves understanding and analysing the

In 2021, I curated an exhibition as part of London Craft

whole system it’s part of. This, for example, includes

Week, named ‘The Mountain’, which drew inspiration

considering the impact on the environment when

from the last untouched natural places on Earth. This

extracting raw materials, how the product is sold,

was in response to the fact that human exploitation

and the communities affected. It might sound like a

activities like factories and farms have impacted

lot for a simple design, but we’ve already caused so

most of our planet’s natural landscapes.

much harm, and I don’t see another way forward. We

Starting around 2021, my first successful lighting

have a responsibility to make things right, not just to

pieces made from this special material began to

please a demanding consumer market.

appear. This culminated in the collection released

I don’t like rules, but I wish there were some in

this summer.

place so there would be more diverse projects outside institutions free of all political-social-

Can you describe the design manufacturing process

economic factors and more connected to the real

of Corallo?

system of nature. And the best thing about this

I think of myself as an artist who works with light and

design approach is that I don’t feel restricted in

collaborates with different creatives rather than just

my creativity. This new process for creation, often

someone who manufactures. It starts by carefully

called systemic or holistic design, encompasses

mixing materials by hand. Each step involves using

everything and the result is a human-wellbeing

sculptural techniques and raw materials like plaster

enhancer.

and clay. I mainly use traditional methods, and I don’t rely heavily on technology.

Describe the product in a few words .

It can take several months to finish a piece because

In between art and design

there are many steps involved in shaping and refining the form. Even though my creations belong to a connected collection, each one is totally unique.

www.abalonuk.com

Black Hole Extreme phenomenon

Black Hole Sound System. With the use of wireless Bluetooth technology, you can connect smartphones, computers, or tablets and enjoy your favourite music with a built-in speakers system.

OUTPUT POWER: 4X30 W I PEAK POWER: 4X50 W I DYNAMIC FREQUENCY RESPONSE: 100 HZ - 15000 HZ +/- 3 DB; 80 HZ - 20000 HZ +/- 5 DB I BLUETOOTH VERSION: 5.1

MANTLE A new indoor-outdoor portable lamp by Tala.

See it during LDF at Tala's new flagship showroom, opening 20 September. tala.co.uk

IP44 Wet-Rated | Stainless Steel | Repairable