# 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
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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.
INDUSTVILLE.COM/DARC
A modern take on traditional craftsmanship.
LIG HTING
I N TE R I O R S
A R T
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
Built of harmony The Secto Design lighting collection is designed by the award-winning architect Seppo Koho. The diligent handwork is carried out by highly talented craftsmen in Finland from top-quality local birch wood. www.sectodesign.fi
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
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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
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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
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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