Darc 52

#52 TA KO, I TA LY LIGHT 23 PRE V I E W BATHROOM LIGHTING I A I N WAT S O N , DAV I D C O L L I N S S T U D I O

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

| 2/3

WELCOME

Sarah Cullen • Editor Has 2023 flown by for everyone else or is it just me?! Well, here we are at the Nov/Dec issue already and starting to wrap up the year, reflecting on all the beautiful lighting pieces we have seen launched across the numerous events that filled our calendars.

Inside this issue, we cover a handful of international projects, from a sushi restaurant in Italy to a Chinese/French restaurant in Hong Kong.

I had the opportunity to sit down with Iain Watson, CEO of David Collins Studio, based in the UK; we chatted about his 35 years at the company and how it has remained a consistent name in the interior design world - producing some of the UK’s most iconic retail and hospitality venues.

This issue we focus on bathroom lighting and some of the latest decorative lighting offerings for this environment. Heading up this feature we welcomed comment pieces from product designers, Sarah Speck from Hudson Valley Lighting Group, and Massimo Minale of Buster + Punch to discover the ins and outs of designing a light fixture that’s suitable for damp conditions.

Also in this issue, we round-up our time at London Design Festival and London Design Fair, where I picked out some of my favourite new lighting offerings. I had a chat with new brand Triqis who were presenting their fixtures at the Old Truman Brewery. Their talent and personability stuck with me as a brand to keep an eye on, and I hope to see them flourish over the coming years.

Last but most certainly not least, we present to you darc space – the decorative lighting area at LiGHT 23, the UK’s only dedicated lighting exhibition that will take place 21-22 November this year. We have pulled together a selection of brands that will be exhibiting in darc space as well as other

COVER: TAKO COLLIDANIELARCHITETTO

features you can expect to see at the show!

/darcmagazine |

@darc_mag

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: 14-16 May, 2024 Tróia Design Hotel, Portugal www.darcsessions.com

COULD YOU BE A WINNER?

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

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

Voted for by the international independent designer community.

Go to www.darcawards.com to enter.

8/9 | CONTENTS

CONTENTS FE ATURE D

PROJECTS

INSPIR ATION

046

012

010

Interview: Iain Watson

The Kitin

Focal Point: Luminare, Australia

Iain Wat son, CEO of UK-based David Collins

Hong Kong-based M.R . Studio collaborated with

Studio, talks to darc about his 35 years with the

Cundall to create a Chinese French - inspired

company and how it has become a leader in the

dining

interior design world - producing some of the

experience

for

The

Kitin

restaurant

066 Focal Point: The Power of Colour, UK

located in Hong Kong ’s tallest sk yscraper.

068

UK’s most iconic retail and hospitalit y venues.

018

Focal Point: The Sketch, UK

054

155 Bishopsgate

Feature Comment: Massiomo Minale, Buster + Punch

One of London’s latest flexible workspaces at 155

034

Introducing our Bathroom Lighting feature, Buster +

Bishopsgate has received a stunning makeover

Design Evolution Part 2

Punch’s Founder and Creative Director Minale talks

by Fletcher Priest Architec t s.

Strata Collec tion, J Adams & Co.

about designing lighting to withstand the harsher 022

037

Ambasciatori Hotel

Comment: Quiet Luxury Helena Clunies Ross

environments of bathrooms.

059

The Ambasciatori Hotel, located just out side of

Feature Comment: Bathroom Lighting

Venice, Italy, has received a beautiful interiors

Sarah Speck , Hudson Valley Lighting Group

scheme from THDP. Claudia Maz zucato shares the

038

lighting choices specif ied throughout .

On The Board | Phoenix Wharf

060

Universit y Campus, UK

Product Feature: Bathroom Lighting

028

A round-up of some of the best decorative lighting

Tako

040

offerings suitable for a bathroom environment.

Our cover stor y is Tako, one of Italy ’s newest

Materials

sushi 064 On Show: London Design Fair Product Review

destinations

located

in

Rome.

The

Filigrana T6 by Established & Sons

play ful interior was designed by Italian studio Collidanielarchitet to,

which

took

inspiration

from Alice in Wonderland.

062 On Show Interview: Triqis

071

A s par t of our London Design Fair review, editor

On Show: LiGHT23 Preview

Sarah Cullen chat s with new brand Triqis that exhibited at the show.

082 In Focus: Calm Wall Lamp, Muuto

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

10/11 | FOCAL POINT | LUMINARE

FOCAL POINT

LUMINARE NEWSTEAD, AUSTRALIA

Property developer Cavcorp has chosen the Lodes Volum Collection for the main lobby of luxury residential project Luminare in Newstead, Australia. The design of Luminare harmonises

function

with

aesthetic

where every aspect – including materials, landscaped vertical spines, open lobby corridors and winter garden balconies – are all in cadence with wellness. The design was created by Oslo-based architecture and

design

studio,

Snøhetta,

which

implemented a Scandinavian aesthetic along with its best modern architectural sensibilities to the Volum lamps.

Acting as a centrepiece for when visitors enter the complex, the Volum pendants display in a striking composition. Made up of a group of glass blown globes in a single white finish, they are positioned at different lengths and sizes, which complement each other intuitively. Seamless and understated in design, the Volum lamp projects 360° light around the lounge.

Inspired by the architectural need for a contextually adaptable and scalable light, the fixtures are minimalistic yet complex in the technically driven solution – enhancing the architectural details within the space. Additionally, use of blown glass complements the travertine stone walls thus always keeping a balance between the aesthetics and functionality.

Managing Director of Lodes, Massimiliano Tosetto, comments: “We are proud to see our collaboration with Snøhetta being featured in such incredible sites. With its pure and simple aesthetic, it is the perfect addition to a large scale, striking architectural project like Luminare.” www.luminarenewstead.com.au www.lodes.com

12/13 | PROJECT | THE KITIN

PROJECT

THE KITIN Hong Kong-based M.R. Studio collaborated with Cundall to create a Chinese Frenchinspired dining experience for The Kitin restaurant located in Hong Kong’s tallest skyscraper. darc chats with both to discover more about their approach to the lighting design.

The Kitin is a luxurious Chinese restaurant located

from their previous restaurant (which is now closed) as

within the International Commerce Centre (ICC), the

they found that system worked particularly well. More

tallest skyscraper in Hong Kong. M.R. Studio was brought

importantly, re-using the previous lighting control

on to the project by the client, who’s brief was to create

system reduced waste. We needed to carefully ensure

a dining experience that had a contemporary oriental

every new luminaire we specified was compatible with

atmosphere yet blended with western elements. The

the legacy lighting control system. This meant we had

overarching concept for the restaurant was Chinese

to gain a thorough understanding of it and allocate

French fusion.

considerable time investigating which luminaires would

Cundall was responsible for implementing the lighting

be suitable.

scheme in the restaurant. darc spoke with Pete Shing

“Another challenge arose from resolving interaction

Lighting Design Principal at the firm, along with M.R.

between the lights around the chandelier in the private

Studio’s founder Myron Kwan to find out more about

dining hall and the feature light itself. The supplementary

their approaches to bringing the interior scheme to life

lights were trimless dim lights, which look much nicer,

through the lighting.

but are generally more difficult to install. To achieve the

“I have developed a strong relationship with the founder

desired sleek effect, the ceilings are ideally painted with

of M.R Studio, Myron Kwan through collaborating on

the same colour as the fixtures that the luminaires were

several hospitality projects in recent years,” reflects

attached to. Furthermore, the ceiling must be designed

Shing. “He mentioned an opportunity to work on the

and completed with incredible precision to ensure

lighting for a high-end, fine dining restaurant in the ICC,

the lights do not protrude or become skewed in the

Hong Kong’s tallest building. For us, this was a chance

process of installing them. This required considerable

to showcase our creativity in decorative lighting design

collaboration also with the contractor who painted

for a restaurant in a magnificent skyscraper. Having

the ceilings and, as a result, we ultimately achieved the

worked with Myron previously, there was a level of trust

desired sleek finish.”

and confidence in our lighting expertise that he and the

For Cundall, the brief and vision for the lighting design

client had in us. Therefore, we were given enormous

remained the same throughout the project. The aim

latitude to express our creativity in meeting the client’s

to create an “aesthetic dining venue with a premium

desire that the outcome be ‘Instagram-worthy’. Of

look and feel” was achievable. “The client envisioned

course, there are many ways to interpret this, so our

the space as an integral part of the dining experience.

emphasis was on utilising decorative lighting in a unique

Similarly, with the lighting design, we wanted to take

manner and exploring unconventional approaches to

people on a journey – from the entry corridor to the

ensuring the aesthetic experience would also deliver on

main dining area and the private dining room. To create

practical necessities. We commenced design work in July

this journey, we had to consider what elements in the

2022 and the project was completed within six months.”

space required subtlety, and which would be highlighted.

As with any project, the team faced a handful of

Ultimately, the lighting design aims to work in unison

challenges when developing their schemes for the

with the interiors to complement them,” says Shing.

dining space. Notably for Kwan it was budget constraints,

On the other hand, Kwan’s design had to be a little

which impacted material choices and forced strategical

more adaptable because of a Feng Shui master who

decisions to work around existing structures.

recommended changes to the layout. “This impacted

Shing adds: “One of the key challenges that arose in

the overall design by ensuring a harmonious flow and

this project was around the lighting control system.

energy throughout the space,” says Kwan.

The client wished to re-use the lighting control system

Decorative lighting was key to achieving Kitin’s luxurious

14/15 |

design. “The client specifically requested unique and

restaurant for diners. A lot of designers shy away from

visually captivating lighting designs. For us, it was

light layering as it is extremely nuanced and requires

crucial to create bespoke lighting fixtures that became

considerable thought, care, and precision to achieve

focal points within each area of the restaurant. This

successfully. The outcome at Kitin shows this effort

helped to compensate for the simplicity of the wall

was entirely worthwhile.

and floor finishes,” says Kwan. Shing adds: “The focus

“The client was inspired in part by their own memories

is often on ensuring the lamp source brightness is

of an opulent hospitality experience that left a lasting

appropriate for the design intent. However, since

impression. This sense of the luxurious lifestyle and

the decorative lighting in Kitin played a significantly

unique ambience infused the whole approach for Kitin

important role within the space, alongside lamp

as they wanted it to have a similar feel. We then had to

source brightness, we also carefully considered the

devise the best way to integrate those key decorative

light orientation, where the light was installed and the

lighting features throughout the restaurant, as it is not

mounting height. Our team also used layering of light

sufficient to simply place decorative lighting in areas

in this project to create a specific mood and ambience

with little consideration. For example, the chandelier

in the restaurant. This added depth in the design

in the main dining room is positioned in that specific

and enhances the overall sensory experience of the

ceiling space to ensure there is no light that spills over

PROJECT | THE KITIN

– achieving a sublime lighting aesthetic for the space.”

architectural lighting is designed to highlight the

All the decorative fixtures were supplied by Ricardo

tables and create a backdrop that allows the decorative

Lighting, while architectural pieces were specified

lighting to shine.

from Vis Lighting, Effect Meji Corp., and controls from

“The lighting design brings different atmospheres and

Lutron. “The bespoke decorative lighting elements

settings to the space throughout the day. It transitions

were all inspired by traditional Chinese lantern

from a tea drinking mode during daylight hours (12am

designs,” explains Kwan. “We primarily utilised bronze

to 3pm) to a dinner mode from 6pm to 9pm, and finally

materials paired with wavy glass to achieve a simple

a lounge mode from 9pm to 12am. The lighting plays a

yet luxurious effect.

crucial role in establishing these varying moods and

“Given the ceiling height limitations, we strategically

enhances the overall interior design concept.”

placed the decorative lighting elements in the highest

Shing continues: “Considering the overall interior is

part of the ceiling to maximise their impact and create

incredibly richly detailed, we tried to minimise any

a stunning visual effect.

intrusiveness of architectural lighting whilst ensuring

“The decorative lighting elements act as the primary

the light will create emphasis on elements within the

focus, while the architectural lighting supports

interiors which should be highlighted. Alongside this,

and enhances the overall mood of the space. The

illumination levels needed to be strong enough to

16/17 | PROJECT | THE KITIN

make the whole space visible. This is another instance

communication with the client and the interior

where layering of light worked well – as opposed to

designers. The level of trust endowed in us as lighting

Interior Design: M.R. Studio

using strong and bright lights, we deployed multiple,

designers meant this was very much a “get on board

Lighting Design: Cundall

more subtle decorative lights.

and start working on it” kind of project.

Lighting Specified: Ef fect Meji,

“Another special feature of the project was our

“What the client was aiming for was also very

consideration of spatial lighting, which is not a standard

different given it was a high-end restaurant. Working

approach. This is a way of considering light and how it

with workplace clients there is more of a focus on

can be strategically designed to draw the occupant’s

functionality in lighting whereas, here, decorative

Myron Kwan of M.R. Studio

eye to specific features while subtly backgrounding

lighting was at the heart of the project. I think the client

and Pete Shing of Cundall

elements of the space, which are less aesthetically

appreciated that we focused on making the lighting

strong. This approach helped the restaurant achieve

in the space deliver a seamless integration between

the ambience and aesthetic the client was after.”

aesthetics and pragmatic considerations, as opposed

The finished project was deemed an all-round success

to just finding the best-looking lights to install.

played a strong role in bringing

by both parties involved. “Overall, we are extremely

“While Kitin has already been a great opportunity to

the concept to life, taking

satisfied with the final design and how it aligns with

express our creativity, I do believe there was further

our initial plan and ideas,” reflects Kwan. “The positive

scope to think outside the box and be more daring in

feedback from both guests and the client confirms that

our design. When we were given expansive leeway in

our focus on simplicity and comfort, while highlighting

design decisions, it opens up so much possibility for

the stunning view, was successful in creating an

unique ideas that elevate the role of lighting to its full

exceptional dining experience.

creative potential for enhancing both interior spaces

“I would like to highlight my favourite aspect of the

and the experiences of those who spend time in them.

restaurant, which is the stunning main entrance

“When I saw the project completed, I was incredibly

designed with inspiration from Chinese stone bridges.

satisfied with what we had achieved as lighting

Imagine guests passing through a tunnel-like bridge to

designers. The decorative lighting integrates itself into

enter the restaurant creates a unique and memorable

the interiors incredibly well while also complimenting

experience. The strategic placement of wall sconces

the space’s interior design. Another thing that stood out

throughout the entrance illuminates the entire interior,

in the entire design experience was the collaboration

resulting in an aesthetically pleasing and Instagram-

with M.R. Studio, something which played a key role in

worthy area that captivates visitors.”

delivering this project successfully,” he concludes.

Shing adds: “This was a smooth project to work on

www.cundall.com | www.mrstudio.hk

mainly due to high levels of collaboration and effective

THE KITIN, ICC , HONG KONG

Ricardo Lighting, Vis Lighting Lighting Control: Lutron Images: Cour tesy of Cundall + M.R. Studio

worked together to bring The Kitin Chinese restaurant to life with a contemporar y oriental atmosphere that incorporated a western flare. Bespoke lighting

inspirations from traditional Chinese lanterns.

Photography: @manutoro.work

Wood touched by Light

CANDELA lamp “The moment I got to know the LZF lamps, I felt connected to my world of headdresses and hats.

I immediately imagined my creations as lamps”

Candela Cort

lzf-lamps.com

18/19 | PROJECT | 155 BISHOPGATE

PROJECT

15 5 B I S H O P S G A T E One of London’s latest flexible workspaces at 155 Bishopsgate has received a stunning makeover by Fletcher Priest Architects, with a stunning curtain lighting focal point.

Fletcher Priest Architects recently completed work on its continued refurbishment of 155 Bishopsgate in London, UK with its latest location Storey for British Land’s flexible workspace provider.

The 23,000sqft office has been created in response to the city’s ever-increasing demand for flexible workspaces.

“Existing volumes found in the wider refurbishment of 155 Bishopsgate led to a likeness to theatre design, with tall spaces described by draping fabrics, soft divisions, and dramatic lighting. Fletcher Priest’s interior design team extended this narrative to the design approach for Storey,” says the firm.

“The notion of front-of-house and backstage lends itself well to Storey’s shared spaces, creating a sense of drama. Careful choices of materiality and lighting – including exposed lamps, layered curtains, and reflective surfaces – characterise the workspace’s communal areas.”

These theatrical inspirations are evident right from the entrance. The foyer opens into the theatre, a doubleheight public-facing space animated by an illuminated mesh curtain suspended from the soffit.

The

mesh

curtain

veil

was

designed

by Fletcher Priest Architects’ interior design team, with the fixture used as a dramatic lighting feature in the lobby that continued throughout the interiors to tie the spaces together. For example, the curtain was used to cocoon elements of seating, providing a semi-translucent sense of privacy, in the Level 01 lobby space.

Fletcher Priest worked with the Hoare Lea Specialist Lighting team to design the lighting installation, and it was manufactured by Edge Interiors. Additionally, the bespoke orb in the centre of the veiling is Made2spec

by Aether Lighting, with additional lighting within the veiling by ETC (Irideon WLZ) and iGuzzini (Laser Blade).

Each work area is constructed like a stage set, allowing flexibility to suit the occupiers needs, from demountable wall partitions and functional modules within each space to support the people working in them, such as tea points, hybrid-enabled meeting

20/21 | PROJECT | 155 BISHOPGATE

rooms and phone rooms. Biophilic design also played a part, including integrated planters within the built-in seating and counters, which help create semi-private spaces.

Sustainability plays a unique role in this project for the architects who have been a part of the building’s history since the 1980s.

“Fletcher Priest’s Urban Design, Architecture and Interiors teams worked at all scales of this scheme, from the original Bishopsgate masterplan in the 1980s to the refurbishment of the existing SOM-designed building and the interior work for Storey, allowing the practice to unify the design across all scales,” explains the studio. “This also has allowed Fletcher Priest to maximise

sustainability

benefits,

reusing

and

celebrating existing high-quality materials such as travertine and only building out to shell and core, avoiding the materials that could be wasted in the process of a Cat A fit-out.

“The

refurbishment

uses

similar

principles

of Fletcher Priest’s 135 Bishopsgate project of reusing high quality materials where possible while celebrating the structural features of the building, all the while with its own personality with a bold and modern design aesthetic. All the office floors have been upgraded to modern tenants’ requirements, with exposed beams where possible and maintenance areas on transformed into terraces for the occupiers.”

Karoline Montali, Storey Design Manager says: “This is a really exciting time for 155 Bishopsgate as we unveil the new look and feel. The Storey design team has been working closely with Fletcher Priest Architects to bring our vision to life. In the early stages of design planning, there was plenty of consideration around the materials used and how this will create lasting drama and impact suitable for an office environment. The purpose of the fit out is to create spaces that encourage collaboration and flexibility.” www.fletcherpriest.com

155 BISHOPGATE Interior Design: Fletcher Priest Architects Lighting Specified: Duke & Dean, Menu, Mila, Tala Images: Jack Hobhouse Returning to a project they began in the 1980s, Fletcher Priest Architects has re-designed a beautiful workspace for Storey. Using contemporar y yet timeless decorative lighting fixtures, the spaces are zoned for various workspace demands, such as semi-private seating and meeting rooms for phone calls.

EDITION 28

New Lighting Collection

CHELSOM.CO.UK

Darc full page Nov Dec 23.indd 1

24/10/2023 10:36:34

22/23 | PROJECT | AMBASCIATORI HOTEL

PROJECT

A M BA SC I ATO RI HOTEL The Ambasciatori Hotel, located just outside of Venice, Italy, has received a beautiful interiors scheme from THDP. darc chats with Claudia Mazzucato to discover the lighting choices specified throughout.

UK and Italy-based design firm THDP has successfully completed the Ambasciatori hotel in Mestre, 10km outside of Venice.

Mestre is one of Venice’s six boroughs that make up the island city, but physically they are very different places: Venice is on the water and Mestre is on the mainland.

The concept for THDP’s design took inspiration from the city’s eclectic history. “Mestre is historically considered a place of passage, however its exponential growth can no longer be ignored since the years of the Italian economic miracle, when it moved from a town with just over 20,000 inhabitants to today’s city of 200,000,” explains the studio.

“Mestre is no longer a shadow city of the famous Venice, but a real destination full of historical and contemporary points of interest. In response to this shift, the client’s vision for the new Ambasciatori was to create a city hotel that’s conveniently situated near the renowned Venice, yet not confined by its influence.

Collaboratively, we embraced this vision and worked on a project that embodies its distinct urban identity, reflecting the hotel’s location and family story.

“In the 1960s, the family-owned Hotel Ambasciatori became a favoured destination for numerous Italian film and TV stars, drawn to its sophisticated and welcoming interiors. The aim of the new interior design project for the public areas was to revive that glamourous past while infusing it with a fresh, contemporary yet comfortable design.”

Claudia Mazzucato, Head of Design at THDP, explains the role of decorative lighting from Miloox and Miic used throughout the project. “In this project, lights play a fundamental role,” she says. “The entire project had limited budgets, and we needed to create a lighting scheme that was elegant, consistent and that met

24/25 | PROJECT | AMBASCIATORI HOTEL

“In the 1960s, the family-owned Hotel Ambasciatori became a favoured destination for numerous Italian film and TV stars, drawn to its sophisticated and welcoming interiors.

The aim of the new interior design project for the public areas was to revive that glamour... ”

and emphasised the pre-existing architecture of the

client along with the request to create a memorable

building while telling the story of the place in which

experience for their guests.

the hotel is located.

In response to this brief, THDP moved the reception

“The role of our lighting producers throughout the

desk in front of the entrance allowing guests to be

process was key. We collaborated with a local light

immediately greeted. In front of the desk is a seating

manufacturing company called Miic and had a series

area, adding a further welcoming zone. “In the lobby

of pieces made. They gave real life to the collection of

we added two types of lighting, the first with the aim

lights installed throughout the project.”

of emphasising the existing architecture of the pre-

THDP outlined that pre-renovation, the reception,

existing columns and creating a contrast between

and lobby bar areas were merged in a large open plan

their squared shapes through soft lights and lamps

space with no dedicated zones for the check-in area,

but with a strong design element, featuring metal

lobby, and bar lounge.

profiles in the centre part,” explains Mazzucato. “The

Creating different spaces, that could answer to

right side of the lobby features a ceiling cove, and here

different needs during the day was pivotal for the

we wanted to create a cascade of lights, which had

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17/10/2023 10:39

26/27 | PROJECT | AMBASCIATORI HOTEL

the aim of representing the lights of the city and the

“Inspired by the verdant trees along the Corso, the

AMBASCIATORI HOTEL

promenade that guests can experience walking just

earthly colour palette includes shades of forest green,

Interior Design: THDP

outside the building.

warm browns, and natural tones.”

Lighting Specified: Miic,

“To create a visual union within the lobby and

In the guestrooms, the team wanted to celebrate the

reception spaces we designed a bright corridor with

natural light that harmoniously ties together the textile

light installations at various heights that connected

wall coverings, custom-made lighting, and refined

the two areas in the same open space.”

joinery. These carefully selected natural tone materials

On the mezzanine level, an upscale restaurant offers

with blue and burgundy accents come together to

a more “serene and pared-back atmosphere”. The

recreate a serene, bright, and warm ambiance, evoking

inspirations for the dining space revolved around

a delightful sense of place and comfort for our guests.

generating an urban vibe that embraced the natural

The double-layered fabric lampshades on the custom

light that pours through the glazed façade.

wall lights gently modulate the artificial light, adding a

“Pendant lights line the perimeter, ensuring a

soothing ambiance to the space.

consistent and enchanting illumination throughout

www.thdpdesign.com

the day and night,” says Mazzucato.

Miloox Images: Paolo Fusco THDP taps into the hotel’s showbiz past, revamping the 1960s glam into a more contemporar y and comfor table destination that retains the luxurious atmosphere of its past.

Bespoke decorative lighting played a key role in combining the designs together.

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

28/29 | PROJECT | TAKO

PROJECT

TA KO Tako is one of Rome’s newest sushi destinations. The playful interior was designed by Italian studio Collidanielarchitetto which took inspiration from Alice in Wonderland.

Tako is a brand-new sushi restaurant and cocktail bar situated in the heart of Ostiense in Rome, Italy.

The neighbourhood is known for its strong industrial identity, which was once dominated by an electrical power start, river port and gasometer. Today, the area is lively with a strong street art scene, underground culture, and gourmet dining experiences.

Tako’s eclectic and playful interiors scheme was created

by Rome-based architecture and interior design studio Collidanielarchitetto. Taking inspiration from Alice in Wonderland, the restaurant that opened in the Chinese year of the rabbit creates a strong emotional impact for diners.

The scheme, as described by the studio, is: “Charismatic and carefree; multifaceted and dreamlike, it is a colourful dream played out in macro-proportions.

Butterflies, flowers, lollipops, and rabbits populate an environment where food and design blend together to bring to life an emotional, timeless, and ageless experience that remains imprinted in the memory of its guests.”

The project is spread over two floors, with the ground floor housing 160 seats, the kitchen and cocktail bar. A fluid movement is created with mirrored surfaces and metal coverings above a fragmented black and white floor.

The cocktail bar that welcomes guests is dominated by a monolithic cylinder and L-shaped counter in solid black marble. Press-bent metal magenta panels dominates the bar frontage while a macro circular bottle holder with polished steel details stands out against a background of iridescent pink glass, enhancing the dream-like atmosphere.

30/31 | PROJECT | TAKO

“Tako is an immersive space where customers can freely express themselves, entering a fairy tale - a magical and whimsical environment for imaginative journeys.”

Luminous pearl pendants from Sikrea float from the

mirrored surfaces and metallic coverings. In contrast,

ceiling like clusters of bubbles, creating a suspended,

for the narrower and elongated section, we used the

light

smaller metallic spheres of Mr. Jack to achieve a more

atmosphere,

which

is

enhanced by

the

multiplication of reflections on the mirrored surfaces

intimate atmosphere.

and metal finishes.

A bold, pink lacquered arch marks the passage

“In Tako’s project, the circle serves as the foundation

between the two floors used for various functions;

for the dynamic design elements, from the macro

a staircase leads to the basement that houses the

elements to the decorative patterns on surfaces

customer services and technical areas,” explains

and decorative lighting

Daniela Colli.

fixtures. Both decorative

light pieces used have a spherical shape. We chose

A kaleidoscopic tunnel of coloured arches is illuminated

the Bilia by Sikrea for the broader restaurant

with lines of light using iGuzzini’s Laser, which multiply

area, installing a cascade of luminous beads with

to infinity creating the illusion of being chased down

multiple combinations to create a suspended and

towards the magical world of Alice in Wonderland.

light atmosphere, accentuated by the reflections on

“Walls are wrapped in pink and white wallpaper with

R EF RACT A range of glass pendants in three colours and four designs. Hung on black braided adjustable suspensions with satin nickel or bronze metalwork.

www.franklite.co.uk | hello@franklite.co.uk | +44 (0)1908 691 818

Franklite-Refract-Nov-Dec_2023 FINAL.indd 1

02/10/2023 11:33

32/33 | PROJECT | TAKO

TAKO

dynamic geometry, while macro decor elements such as

lights. “After several unsuccessful attempts, we decided

butterflies, flowers, rabbits and lollipops define a pop

to separate the control of decorative lighting from the

Interior Design:

identity, in a careful and calibrated staging of colours

architectural lighting,” she explains. “Unfortunately, this

Collidanielarchitet to

and shapes,” describes the studio.

is a problem we have encountered in the past because

Colli adds: “Each space should have lighting that

decorative lamp manufacturers often prioritise design

complements its function, materials, and colours. I

over the technical aspects.”

enjoy contrasting light and shadow, which is an essential

Overall, Colli deems the project a success that fully met

Collidanielarchitet tohas created

feature in my projects. Decorative lighting plays a

her client’s brief. “I am very satisfied with the project’s

a vibrant dining experience for

significant role in my interior design projects, serving as

outcome, and we undoubtedly exceeded both our own

Tako’s sushi lovers, using bold

an iconic and central element in the space.

and their expectations. Tako is an immersive space where

“Generally, I employ lighting with small LED recessed

customers can freely express themselves, entering a

spotlights controlled by a home automation system

fairy tale - a magical and whimsical environment for

that allows me to adjust the light intensity. Depending

imaginative journeys.

on the presence of daylight and the desired atmosphere,

“I dreamed to create a place where you can feel

I create different lighting scenarios. I use decorative

free to express yourself, to detach yourself from the

lamps to establish the right evening ambiance, especially

concreteness of everyday life, to enter a fairy tale, a

where the light should be soft and have a lower colour

magical and extravagant environment in which people

temperature compared to daylight.”

of all ages can travel with their imagination. When you

The only challenge Colli faced during this project’s journey

enter Tako you are captivated by the colours, the lights,

was getting the decorative lighting to communicate

the details, everything is emotion and amazement.”

with the home automation control system, which did

www.collidaniela.com

not recognise the correct IP addresses of the various

Lighting Specified: Astro Lighting, iGuz zini, Ideal lux, Sikrea Images: Mat teo Piaz za

colours, mirrors and playful light fixtures that all enhance the fantasy atmosphere Colli and her team set out to achieve.

34/35 | DESIGN EVOLUTION | J ADAMS & CO. PART 2

DESIGN EVOLUTION

J ADA MS & CO. WILL EARL, DESIGN DIRECTOR

Part 2 of our Design Evolution looks at the realised Strata collection from J Adams & Co. Design Director Will Earl discusses how the piece evolved from its original concept into the final fixture we see today.

Look back at issue #51 for Part 1 to read Earl’s design inspirations for Strata.

The original concept for Strata centred on a single, elongated tube of reeded glass, suspended horizontally, and illuminated from within.

As we progressed, we explored multiple prototypes, including one with a single central hanging point and another with two ‘straps.’ Yet, something about the design didn’t quite resonate. We decided to step back, leaving the prototypes untouched for a few weeks, allowing the space needed to re-evaluate and approach it with a fresh perspective.

Subsequently, I decided to change direction and drew up a version using a pair of slender glass tubes instead of one. This adjustment allowed us to work with a much slimmer diameter of glass, resulting in a more delicate and distinctive aesthetic.

Due to the simplicity of the overall form, we recognised the importance of the finer details. I experimented with various endcap designs,

ultimately choosing one that felt the most natural, but was the most challenging in terms of construction. Following another prototype, we adjusted how the light was spread to control glare and improve the downward output. In parallel, we developed the wall light versions that incorporate the same detailing and assembly.

After extensive development, we’re thrilled with the end result. Strata feels like a natural extension to our existing collections, offering a thoughtful, clean, and distinctive aesthetic coupled with a high level of functionality. We received excellent feedback after previewing the range, and we are excited to see its use in our clients’ upcoming projects. www.jadamsandco.com Images: Ben Anders x Laura Fulmine

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

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CSI Europe - DARC Advert.indd 1

25/10/2023 15:58:06

COMMENT | HELENA CLUNIES-ROSS | 36/37

COMMENT

HELENA CLUNIES-ROSS Helena Clunies-Ross Design is a New York and London-based international design studio. Clunies-Ross discusses the next generation of interior design taste, Quiet Luxury, and how lighting plays a role within it.

As we’ve spent an increased amount of time in our homes

wall lamps that bounce the light onto walls in little pools, or up and

over the past few years, attention has switched to the

down depending on what the space demands.

walls that surround us; seeking and needing a place to

We also consider how lighting can complement the architecture

escape the outside world — a place of calm and zen. However, this

in terms of scale or materiality. A recent project of ours in Tribeca

next generation of design taste was around long before Covid and

showcases a light that hangs 20ft from the ceiling, accentuating

chaos, quietly luxuriating in corners, it’s just that more people are

and drawing attention to the double height aspect of the space.

now catching onto it. Now it has a name — Quiet Luxury.

For another project we designed a bespoke pendant with a metal

Since I can remember, I’ve had a fascination with the space I inhabit.

box-like structure that runs the length of a dining table; zoning the

From rearranging the placement of furniture in my childhood home,

open plan living space and allowing the light to illuminate the table

to now designing spaces for my clients with a sensitivity to how it will

beneath. In a lobby, we concealed light fixtures entirely beneath

make them feel. Offering a way of life, not just something pretty to

ceiling panels with shadow gap details; allowing shards of light to

look at; playing with styling, lighting, and the contours of each area;

escape at intervals, spotlighting the beauty of the brickwork and

in search of balance, warmth and wellbeing.

blurring the line between architecture and lighting.

On some level, I believe this feeling is what the Danish call

Directional, low-level lighting that can be thoughtfully placed to

Hygge, but Quiet Luxury goes further than a feeling of coziness

highlight different aspects of the architecture, creating zones within

and contentment. It’s about a way of living that appreciates the

a space, or illuminating objects and pieces of art, is at the heart of

finer details of our environments; embracing natural beauty and

what Quiet Luxury means to me.

simplicity. Opting for spaces that bare their skin, with a touch of ‘je

But it’s at its quietest and most luxurious in a space within a space —

ne sais quoi’, as opposed to a full face of makeup. Rooms that

a zone. A pocket of peace that’s been designed to offer just that — a

resonate; punctuated only by objects and items that hold meaning

moment of stillness. For the eyes to rest on something beautiful,

and memory, sophistication and story. Or at least it is for me.

considered, simple, elegant. Somewhere that breathes through

This is luxury redefined. No ostentatious displays of grandeur and

the light that dances on a plastered or washed stone wall, or the

wealth, demanding your attention with bells and whistles, or filling a

shadows that softly fall around an object.

space with stuff just for the sake of it. This is a soft caress of textures,

Quiet Luxury is creating vistas that gently lead the eye from one

shapes and materiality — whispering luxury rather than shouting it.

point to the next, like a guided meditation — gently leading the mind

Less about the stuff we put in a space, but more about the space

away from chaos; encouraging it to let go.

itself and the way it makes us feel.

It’s a piece of music that ebbs and flows, then stops, and starts again.

The architecture of a space has always been the first consideration

And it’s in those moments of silence that we truly appreciate the

for me. Allowing it to have a voice as part of a bigger picture rather

notes we just heard, and yearn for the melody that’s yet to follow. It’s

than masking its presence; uncovering or reshaping its parameters

only then that we can truly appreciate the intricacies of the harmony

to release beauty and balance. Appreciating the way it interacts with

that held the tune — the architecture that holds the design — press

light and shade, then allowing the design and styling to nestle into

pause, and then repeat.

place within it without distraction. A total visual comfort, created

It’s a way of living with a carefully curated world around you that

first and foremost by the architecture, and then—of course—by the

speaks to who you are; that allows you to quietly breathe it in, and

lighting.

then out. It’s not about filling that space with meaningless objects

In New York, there seems to be an unwritten, unspoken rule

that you’ll just discard of next year when you get the ones you really

regarding lighting, and all establishments seem to have received the

want. It’s about practicing patience in a world of instant gratification;

memo. With dimly lit, ambient spaces that softly say, “step inside

curating a world around you, piece by piece, that will stand the test

and experience me”, Manhattan is simply a glowing metropolis after

of time. Appreciating raw, earthy materials; wood, metal, clay and

sunset. From one street, one bar, one restaurant to the next — simply

plaster. Carved, forged, moulded and applied, by skilled craftsmen,

put; it’s theatre.

with passion and care. Personal spaces that tell stories, one piece,

You don’t necessarily notice the light fixtures themselves though,

one wall, one view at a time. Never screaming to be looked at, always

rather the level of light they emit, the ambiance they create and what

gently humming a symphony of calm and warmth.

they draw attention to within the space. The perfect supporting role.

The next generation of interior design taste was always here, and for

Of course there are certain styles of lighting that will do this more

me — it’s here to stay.

successfully. Therefore in our projects, we regularly opt for covered

www.helenacluniesross.com

38/39 | ON THE BOARD | PHOENIX WHARF

ON THE BOARD

PHOENIX WHARF

3

Chris Gwyther, Creative Director, Phoenix Wharf is working with his team to create a new-build for a South West university campus in the UK. With the project deadline a few years in the future, flexibility and adaptability will be key to its success.

4

1

6

2

5

7

On our drawing board right now is an interior design

Lighting will be key to this scheme. Products that fit

project for a new-build, city centre university campus

both the brief and its future-proofing flexibility include

building located in the South West of the UK. Phoenix

Funivia from Artemide [3], which we’re proposing

Wharf is responsible for the concept design of a series

for the food hall space, complete with red cables.

of retail and hospitality spaces leading off from the new

Connected to a tubular metal frame and positioned

building’s central atrium, most of which will be open

over free standing banquette seating, it’s discreet

to the general public as well as to the core student/

and very adaptable, allowing for a variety of different

academic body.

fixtures to be hung from it.

Our designs needed to harmonise with the project’s

For the retail space, we’re proposing another Artemide

architectural

the

product – the Gople System [4]. This continuous-

requirements of our direct client – the university’s

line lighting will provide a focal point and a sense of

catering division. An additional consideration was the

movement and direction, subtly navigating customers

project completion date of 2025/26, meaning it was

around the space. Abstracta’s Lily, a large-scale

imperative to future-proof our concept, designing in

acoustic fitting [5], will be good for the food hall, at a

flexibility and adaptability wherever possible.

scale that breaks up the space and helps with zoning.

The spaces we’re designing encompass a café and shop

Finally, Zero Lighting’s Curve Pendant Light [6] offers

at ground floor level and an open-plan food hall with

a great sense of playfulness with its bowl shape and

a prep kitchen on the first floor. The brief is complex

noodle-like wiggle cord design. This will be perfect

and exciting, with an accent not only on sustainability

for the food hall area and easy to fix to the bespoke

but on inclusivity, ensuring the spaces meet everyone’s

perforated pelmets that will feature throughout the

needs, from the differently-abled to neurodivergent

individual spaces and link to the scheme’s architectural

users.

language.

Materials currently under consideration include Wood

Technology will play a huge role in future-proofing

Wool Panels from Baux [1], offering great acoustic

the scheme too. We are looking at two technological

properties and, as they’re made from recyclable

solutions in particular. The first is the Pre-Order Pod

material, a strong, sustainable story too. The panels

[7], a digitally-controlled, multi-temperature meal

will provide a low-key visual connection between

delivery solution. For intended use in the retail area,

the various spaces, while their simplicity and lack

this offers a waste-free, made-to-order service for pick-

of visual ‘noise’ will be good for non-NT users. From

up by customers. The second is the Urban Cultivator

a sustainability point of view, we’re also looking at

[8], which we’re proposing for the ground floor café.

Stonecycling’s brick slip tiles [2] for the cladding to

This allows salad leaves and herbs to be grown within

freestanding units, from planters to food tray areas.

the hospitality space and picked fresh for service. The

They’re very tactile and contain subtle colour flecks,

unit brings the greens typically grown in a kitchen

which can be highlighted with downlights to create

garden directly into the food prep area and can be

visual interest. Another sustainable product offering

located either back of house or as a customer-facing

perfect synchronicity in an F&B space is Ottan’s ‘Eggy’

feature, allowing maximum transparency and freshness

Solid Surface, made from 78% green waste in the

messaging.

form of recycled egg shells, to be used as the primary

www.phoenix-wharf.com

masterplan

but

also

substrate for the servery counter tops.

8

reflect

40/41 | MATERIALS | ESTABLISHED & SONS

MATERIALS

ES TA B L I S H E D & S O N S F I L I G R A N A T6 T h e l a t e s t i t e r a t i o n o f t h e Fil i g r a n a c o l l e c t i o n b y E s t a b l i s h e d & S o n s’ c o - f o u n d e r S e b a s t i e n W r o n g i s Fil i g r a n a T 6. d a r c c a u g h t u p w i t h W r o n g f o l l o w i n g t h e p r o d u c t ’s l a u n c h d u r i n g L o n d o n D e s i g n F e s t i v a l t h i s Sep te m b e r.

Describing the product as “modernist, nostalgic and

end requires a very skilled glass blower, of which there

beautiful”, according to Wrong the Filigrana light range

are only a select few at the factory. This was apparent

harnesses the “mastery and heritage of traditional

during Covid, when the residential design market was

Venetian glass blowing, merging a 16th-century

peaking and we had an influx of orders for Filigrana

technique from Murano with a modern aesthetic to

lights; unfortunately, one of the only two master

create a mesmerising, candy-cane striped light.”

blowers was ill with Covid and out for eight weeks, and

The sculptural addition to the iconic Filigrana range,

we had to reject what couldn’t be created without him.”

T6 is a large, mushroom-shaped table light with a

The precise method Wrong refers to involves carefully

soft diffused glow. Featuring candy-coloured cane

rolling molten glass onto several long lengths of

stripes around a Venetian mouth blown acid-etched

coloured glass canes. These are then crafted into

glass shade, it represents the best of traditional

the desired shapes by the workshop experts, using

craftsmanship, technical mastery, and modern design.

diamond shears. “The glass is then inflated and cast

The piece is set on a powder-coated, spun steel base

into an iron mould, then etched with acid to create a

with a black fabric covered electrical cable and an in-

smooth, matte surface,” Wrong continues to explain.

line dimmable switch.

“Acid etching the glass is an additional step we take to

Wrong describes the design process: “Each Filigrana

give it a slightly opaque look, and soft to touch rather

light is unique due to the highly skilled, mouth blown

than a typical glossy glass surface. It takes up to 48

production process. Part of its appeal is that each

hours before the light comes out of the kiln, so it won’t

Filigrana has been handmade. This is especially

crack. It’s a long, drawn-out process.

noticeable when they’re grouped together; on closer

“We have a long-standing relationship with the glass

inspection, you’ll realise that the lines are slightly

blowing supplier, an Italian, family-owned business.

irregular and freestyle, a detail to be appreciated.

They are craftsmen of a very valuable, uniquely

The behind-the-scenes process is fascinating. The

Venetian production process.

symmetry of it, which is drawn into one singular point,

“The owner is a big fan of Established & Sons and was

is almost hypnotic. The resulting repeat pattern is very

very encouraging and supportive of the expansion

seductive to the eye.

of this range. It’s so productive, to have a strong

“It’s a complicated, six-part process, which is a

relationship between a design company and its

challenge because any one stage can result in failure.

manufacturer. It offers the freedom of expression and

The complexity of taking the process from beginning to

creativity to explore and push their limits. Using this

42/43 |

“Acid etching the glass is an additional step we take to give it a slightly opaque look, and soft to touch rather than a typical glossy glass surface. It takes up to 48 hours before the light comes out of the kiln, so it won’t crack. It’s a long, drawn-out process.”

MATERIALS | ESTABLISHED & SONS

MANUFACTURING PROCESSES

The creation of each Filigrana T6 involves carefully rolling molten glass onto several long lengths of coloured glass canes. These are then crafted into the desired shapes by the workshop experts, using diamond shears. The glass is then blown and cast into an iron mould, creating the desired mushroom-like shape.

44/45 |

creativity to explore and push their limits. Using this close relationship, we were able to really test their boundaries, for example with the oversized Globe, which they thought might be too fragile, but in the end when it worked everyone agreed, it was a stand-out piece.”

When asked where he sees the Filigrana best fitting into the specification market, Wrong shares the range has found “commercial success with a universal appeal, equally at home in a conservative, classic or minimal, calm environment, or a heavily decorated, maximalist space”.

“It’s shamelessly decorative, and that’s very intentional. It brings a lot, you can have a Filigrana light in a minimal interior and it compliments and works in a way that is understated, it gently pops. But it can also act as a centrepiece, especially with the Filigrana Cloud. A great project where this is demonstrated well is Arcade in the Centrepoint building in Tottenham Court Road, London, where it is a focal piece chandelier hanging above the staircase.”

MATERIALS | ESTABLISHED & SONS

All Established & Sons’ products are unique, but Wrong references the Filigrana as a piece that demonstrates what the brand does best: “using skilled craftsmanship and cutting-edge manufacturing techniques, it fits well within the portfolio, which is always fun, charming and a bit witty.

“It’s a design that I developed many years ago, that I really love as the designer. It’s an important collection for me. It’s been a successful product, and because of the simplicity of the design, we have been able to build upon the range, introducing new colours, shapes, sizes, and clusters. This latest piece, the Filigrana T6, is a large, statement mushroom table light, and it’s very architectural in structure, so we’re going in an interesting direction.” www.establishedandsons.com

46/47 | INTERVIEW | IAIN WATSON

INTERVIEW

I A I N WAT S O N To mark his 35 years at David Collins Studio, darc’s editor Sarah Cullen sits down with Iain Watson, CEO, to discuss his time at the company and how it has remained a consistent name in the interior design world - producing some of the UK’s most iconic retail and hospitality venues.

Interior design practice David Collins Studio (DCS) was

“Glasgow is a cultural city and famous for architect

founded in 1985 by the late David Collins. The London-

Charles Rennie Macintosh. Not only was he known for

based studio, and its team of 60 interior designers

creating incredible buildings, but he also did interiors,

and architects, works globally across hospitality,

designing everything down to the last spoon, teacup,

residential and retail projects as well as maritime in

and curtain. I was always taken by this wonderful world

the last five years, designing parts of Cunard’s latest

of detail he was creating.

ship Queen Anne.

“As a teenager, during my holidays I worked at my

Iain Watson joined Collins’ team in 1988, following a

father’s factory where he made leather goods. It

summer helping for a few months during a busy period

was interesting to see the processes of how things

where they worked from Collins’ living room. This

are designed, built, printed, stitched together,

successful experience evolved into Watson becoming

manufactured, and distributed.”

a business partner and co-founder of the studio we

Watson tells darc how he was also exposed to the

know today. Sadly, Collins passed away in 2013 and it

textile industry during the late 70s and early 80s,

was then that Watson stepped into the role of Chief

when he lived in the Outer Hebrides of Scotland with

Executive Officer, supported by Simon Rawlings who

his grandparents. His grandmother made traditional

heads the studio’s creative

Harris tweed by hand using

vision as Chief Creative Officer,

the

David

techniques at home.

Goodman

as

Chief

Operating Officer, and Design Directors Lewis Taylor and Ros Keet.

Keet

leads

the

FF&E

department, and a dedicated

“The hallmark of our projects is that they are incredibly well resolved from an operations standpoint... ”

original

foot-pedalled

During his time studying in London, Watson became well versed with – as he refers to it – ‘his triangle route’, walking along Sloane Square and down

residential design team is led

to the Habitat store, where he

by Associate Director Siobhan

would study everything in the

Kelly. In addition to the interior

shops along his route, learning

designers, the studio also employs several architects,

prices of items off by heart and developing his love for

furniture and product designers, and a business team

luxury items and interiors.

with in-house PR and marketing.

“I first met David Collins by chance,” he tells us. “He was

This August, Watson celebrated his 35th anniversary

wearing the same Dries Van Noten jacket as me, and at

at David Collins Studio. darc’s editor Sarah Cullen sat

that time you could only buy them in a specific shop in

down with the CEO to find out more about his career

Glasgow. It was a total fluke!

journey and how he has seen the world of design and

“David was a trained architect, and he had worked

decorative lighting evolve over the last three decades.

in commercial practices, but his passion was for

“I grew up in Glasgow, on the West Coast of Scotland.

interior architecture. He had designed famous London

I moved down to London to study Business and

restaurant La Tante Claire in 1985, as well as private

Economics, but I’ve always had a great passion for

homes and a men’s fashion store. These collective

design, art, architecture, and fashion – I’m still obsessed

experiences on projects from different sectors were

with fashion – and all manner of creative things,” he

the foundations the studio was built on.

says. “When I was younger, I was encouraged to choose

“That continues today, albeit now on a global scale with

a commercial degree rather than an arts degree. But as

an incredible range of projects. We might be designing

it’s played out, I’ve ended up where I belong and love.

retail spaces in Harrods London and a Nobu Hotel

48/49 | INTERVIEW | IAIN WATSON

“We have some lighting manufacturers and partners that we specify fittings from, but more often than not we create fully bespoke decorative lighting and furniture for our clients as we believe this adds value to a project.”

Portman Square in Marylebone. Private homes are

the potential that our cultural mix in the office would

also part of the mix along with commercial residential

gradually be eroded over time, with less international

developments.

students coming to study, live and work in the UK. But

“Wellness is a bit of a personal passion of mine, and

we hope this isn’t the case.”

I’ve seen it increase in popularity in the interiors’

Looking a little closer at the studio’s aesthetic and

world. Wellness is more than having a gym at the end

approach to projects, Watson explains that they

of the corridor. It’s about the quality of the air, the

steer away from trends and instead blend a unique

lighting, paint hues, what the paint is made of, and

mix of references, whether through historic periods,

materiality. It’s interesting to see this wellness brief

techniques, or theories. “Obviously, we are inspired

entering projects more.”

by the architecture of a space and its sense of place,”

In the early days of the studio, Watson spent a lot of time

he explains. “Often, people refer to our interiors as

in Paris with Collins, visiting flea markets and auction

timeless and I feel as a studio we demonstrate this

houses sourcing furniture and artwork. The design

very well. We did an assessment of the lifespan of

process for projects would always involve research

our bar and restaurant projects, and the average is

into local cultures, materials, and craftsmanship as

currently 18 years. The Wolseley will celebrate its 20th

well as higher levels of inspiration from galleries, for

anniversary later this year, one of the most successful

example, to give the project a sense of place.

restaurants in London, and it’s still serving 1,200

“David loved all things Art Deco, 1920s, and Hollywood.

covers a day. The Connaught Bar, also in London, is 15

Spaces that were elaborate, overscale and generally

years old and is still winning awards for best bar in the

over the top like a film set.

world. I like to say that we are the antidote to ‘being

“The studio has worked in more than 25 countries,

on trend’ – longevity and quality are at the centre of

which is inspiring in itself,” continues Watson. “You

all our designs.

embrace all the experience you’ve gathered, find local

“The hallmark of our projects is that they are incredibly

craftsman and artisans.

well resolved from an operations standpoint. We

“In our studio of sixty-five people, we currently

always push to get great quality and integrity in our

have 12 different nationalities, which enriches our

materials that age beautifully. Hospitality venues work

understanding and appreciation of cultures and

like machines and it’s important to understand exactly

continues to inspire us and our work.

how a space is used. It’s that thinking that underpins

“Something we feared as a repercussion of Brexit was

the experiences, so from the moment you cross the

IMAGES: LEFT - HARVEYS BY MARCO PIERRE WHITE, LONDON, UK; RIGHT - HARRODS FRESH FOOD HALL, LONDON, UK

ai16983201847_2023_10_darc_AF.pdf 1 26/10/2023 12:36:24

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50/51 | INTERVIEW | IAIN WATSON

street and approach a building - the signage, the

goals and them understanding the design needs to

arrival, the lighting, the acoustics - all this needs to be

go through a process to guarantee the highest level

curated.

of refinement. Especially when it comes to product

“Further to this, a project’s timeless quality also

design - prototypes are not to be skipped. “We

relies a lot on its concept and research that goes into

choose our clients based on shared values in terms of

each. The sense of place, the customer’s journey, the

commitment to quality, operations and budgets,” he

type of building it’s in, the cuisine or cocktails if it’s a

says.

restaurant or bar. Everything is so detail-oriented that

Another challenge the team has had to overcome

it is perfectly placed for where it is needed.”

arose in 2010 when they were commissioned to design

An example of where theatrics can play a role in DCS’s

the new build Mandarin Oriental hotel in Doha’s

interior design can be found at the aforementioned

Msheireb Downtown. “The hotel had numerous rooms,

Wolseley in London. The client requested a sister

huge male and female spas, restaurants, and bars – it

venue to be designed using the same theme and

was an incredible job. But the client wanted to work

concept. However, the location, rather than a grade II

to LEED platinum certification - a very high standard.

listed building, was a blank concrete box. “The perfect

LED lights weren’t what they are now and the ones we

complement we received was guests questioning

were given were cold and unflattering that weren’t

whether the building used to be an old bank. We had

suitable for a restaurant. In the end, we delivered gold

created this sense of familiarity using slightly aged

certification, which is still a high standard. It was a bit

marble – not distressed, just softened – which led

of a baptism of fire and a big challenge, but in turn

people to think it was a converted historic building,

we were well placed for future projects that came with

IMAGES: LEFT - CRITERION RESTAURANT, LONDON, UK; MIDDLE - LUTYENS ‘CARDINAL HAT’ CEILING LIGHTS, NYC, USA; RIGHT - THE WOLSELEY, LONDON, UK

when in actual fact it was pure theatre.

LEED or BREEAM certification briefs.”

“Similarly at Harrods department store in London,

When it comes to decorative lighting in a DCS project,

people were amazed that they had never been to a

custom and bespoke plays a big part.

certain section of the store before, when actually, we

“We have some lighting manufacturers and partners

had transformed it from the original staff canteen into

that we specify fittings from, but more often than

a 14,000sqft Shoe Heaven that looked like an original

not we create fully bespoke decorative lighting and

Harrods’ store experience. It was just a carefully

furniture for our clients as we believe this adds value

curated design that felt like it had always been there,

to a project.”

drawing heavily on the store’s archives and executing

Club Lucca in Hong Kong is a recent project that

the design to the highest standard.”

demonstrates some custom lighting the team created

It is apparent David Collins Studio prides itself on its

using alabaster. The fittings were considered at the

close working relationships with clients and end-users.

initial stages of the concept, during the creation of

Taking a leaf out of Charles MacIntosh’s book, the

mood boards with textiles, metal finishes, marble,

dedication to the smallest details in the design scheme

and alabaster. The outcome was a beautiful family

are fundamental to a project’s success.

of lighting, with subtle differences depending on the

A challenge the team comes across most frequently is

room they were fitted.

ever shortening design programmes, and the short cuts

Watson reflects on the first project he worked on with

that are suggested as a result of this. But, according to

Collins, Marco Pierre White’s first restaurant, Harveys,

Watson, education is key to the client achieving their

that received three Michelin stars. The interiors

®

52/53 |

“For us, technology must be intuitive and discreet... in the residential market people might want all kinds of bells and whistles, but the reality is sometimes they’re not very easy to use and very expensive to reprogramme.”

IMAGE: THE CONNAUGHT BAR, LONDON, UK

followed a 1920s concept with the space realised in a white-

In addition to product design collaborations, The Studio also

on-white palette. “The common thread for the design of this

works closely with lighting consultants such as Lighting Design

restaurant was plaster. Everything was custom made for the

International (LDI) for projects that need the elevated technical

space, from the wet plaster carved wall murals to the wall

lighting support. Simon Rawlings gives creative conceptual

sconces and chandeliers. It was another challenge for me

direction to the team at LDI - as well as other lighting

working with the fiery Pierre White, but we ended up building

consultants - to ensure certain elements are highlighted. The

a continued working relationship with him, completing designs

fresh food hall in Harrods is a prime example of the successful

for another 20 of his restaurants.”

teamwork between DCS and LDI, where technical lighting had

As well as having a strong bespoke offering, the team also

to be tested on site with the fresh produce to guarantee colour

collaborate with decorative lighting brands to specify off-the-

temperatures, for example, were correct to enhance the look

shelf products as well as create pieces. Watson references

of the fresh produce. “It’s an exacting process, testing and

their partnership with Lobmeyr, which supplied a re-issued

piloting. When I’ve seen some of the technical details in most

vintage chandelier for The Bryanston Show Apartment, London,

of these spaces, there are three or four layers of lighting that

a project the studio worked on in 2022. Prior to this, they

they must weave together. The lighting is so magical.

collaborated on a fixture for a villa on the Côte d’Azure in 2006.

“It’s also fundamental to the success of hospitality

The challenging aspect of the product’s design was connecting

environments, to aid in daily transitions from breakfast

the individual parts of glass and metal for the light fixture

through to evening. The mood and atmosphere need to evolve

without any visible screws. The original design, with 13 lights,

throughout the day.

combined a nickel finish for the body with plates of dark-nickel

“We always push clients to have a lighting consultant. As I

brass and smoke-grey glass for the shades. The design went on

said earlier it’s about educating clients, it’s the same with

to feature in the London Hotel in New York as well as in Collins’

lighting. They might not be aware that it’s such a specialism,

own home in the UK.

and really requires that technical knowledge that we don’t have

“For the project in New York, the client bought six floors of

in-house. Lighting design and consultation needs to be given

an apartment building, with the top four floors made into a

the importance that it deserves on a project. We’re always

quadruplex apartment and the floors below made into a duplex.

championing and putting forward the lighting consultants to

One of the ideas we had was to make a cubist chandelier, quite

work with us.”

geometric, but we made it to go four floors up the building in

One of Watson’s stand out projects in the studio’s portfolio of

a central staircase. That’s highly technical in terms of weight,

work is the Criterion Restaurant in London, another for Marco

safety, how to clean it, there’s lot to think about. So, certainly

Pierre White, that was completed in 1995.

Lobmeyr’s skills and how to do that were needed.”

“The room was so intimidating because of its grandeur. We

INTERVIEW | IAIN WATSON

lined these beautiful Fortuny Italian, hand-painted silk

world. “As the CEO from Hermes said, ‘luxury is an item

lights down the side of the room, which lowered the

that can be repaired’.

lighting levels and made the space feel more intimate.

“There isn’t so much a system in place for the end of

We couldn’t fix anything to the walls, so these lights

a project’s lifecycle, but more recently we have been

were freestanding floor lamps that added a touch

made aware of items of David Collins Studio furniture

of magic to the room along with sheer large, draped

and lighting being sold at auction to give them a

curtains.”

second life.”

Another of his favourite projects was for an installation

Technology is also becoming a more prominent focus

at Kips Bay Decorator Showhouse in New York, where

for decorative lighting and something Watson isn’t

the team created The Collins Room entrance hall

convinced by. “For us, technology must be intuitive and

based on the studio’s famous Blue Bar at The Berkley

discreet. We’ve seen complicated lighting systems, and

Hotel in London, which was completed in 2002. The

in the residential market people might want all kinds

six-week installation in 2016 featured semi- custom

of bells and whistles, but the reality is sometimes

versions of the Lutyens Cardinal Hat pendants that took

they’re not very easy to use and very expensive to

inspiration from the chandelier used in the original

reprogramme.”

Blue Bar scheme. The original design from the 1920s

It’s evident the experts in design longevity, luxury

used plates of glass, which were updated to alabaster

furniture and bespoke lighting design are quickly

in the new installation.

making a name for themselves as a British icon in the

Looking ahead, environmental, social and corporate

interior design world. And, if the studio continues to

governance (ESG) is on everyone’s minds at David

create projects the way they have for the last 38 years,

Collins Studio. Circularity and repairability are avenues

there’s no doubt we will see their designs standing the

the studio are keen to explore, as Watson keeps an

test of time for many years to come.

eye on other industries to see how they tackle these

www.davidcollins.studio

challenges and what might filter into the interior design

IMAGES: LEFT - BESPOKE CHANDELIER IN COLLABORATION WITH LOBMEYR; RIGHT - BESPOKE WALL SCONCE, CLUB LUCCA, HONG KONG

54/55 | COMMENT | BATHROOM LIGHTING - MASSIMO MINALE

COMMENT

C AGE D WE T

London’s Buster + Punch continues its legacy of solid metal innovation with its newest lighting collection, the IP-rated Caged Wet. darc met founder and creative director Massimo Buster Minale to discuss the challenges of creating striking outdoor and bathroom lighting while staying true to the brand’s design philosophies.

Architect and custom motorcycle maker Massimo Buster Minale launched Buster + Punch 10 years ago. A fusion of his passion for design, motorcycles

Introducing our Bathroom Lighting Feature, Buster + Punch’s Founder and Creative Director Massimo Minale talks to darc about designing lighting to withstand the harsher environments of bathrooms and outdoors.

and the subcultures of London, Buster + Punch quickly became synonymous with the innovative use of solid metal, precise engineering and an unmistakable aesthetic attitude. Recent years have seen the label torque up its focus from creating details towards creating collections of details that can be deployed throughout entire spaces.

“While we don’t follow trends so heavily, we’ve always been a responsive brand that listens to our audience and gut instinct. Over the past few years, we’ve been able to explore the expansion of our core collections to give people the chance to have a House of Buster + Punch. Ways to use our lighting, architectural hardware, switches and sockets, plus accessories to create seamless combinations throughout a space, not just a zone within a space,” explains Minale.

“It’s a pivot that’s led to the brand’s handmade modular kitchen and a new hardware range developed for the demands of the bathroom. The latter, called Cast, uses a new technique for Buster + Punch, which is the culmination of years of research and development.

56/57 | COMMENT | BATHROOM LIGHTING - MASSIMO MINALE

“I wanted to unify two different finishes in one piece of

some significant iterations allow it to stand firm against the

hardware. On one side, highly polished solid metal, which I

demands of wet spaces and outdoor use. Gone is Caged’s

wanted to fuse with a more rough, raw, sand cast aesthetic.

original marble back panel, replaced with a solid metal

It’s a story of rough and smooth. It had to be a seamless

back panel, sand-cast and with a unique patination that

marriage of finishes, and we eventually succeeded,” Minale

speaks of its production. Its tactile, matte black powder-

continues.

coated cage now holds glazing with discreet air inlets to

The casting technique had several unique attributes. The

allow moisture to evaporate.

first was reducing waste materials to virtually zero, and it

“We wanted to keep the aesthetic close to the original

also meant each casted piece is unique – a limited edition

Caged but give people a new materiality to explore. And it

of one, which is rare in production. The process of our sand

had to complement the rest of the Cast collection to make

casting requires that each mold be broken to access the

it easy to integrate into a space that uses our bathroom

resulting cast. Tiny deviations within consequent molds

collection. We’ve seen already that people are using it

and environmental conditions inside the production hub

outdoors and in wet spaces but also throughout the rest of

result in a unique result with every cast. Caged Wet is

their interiors,” notes Minale.

available in the brand’s standard finishes, with a stainless-

Caged Wet uses Buster + Punch’s own machined solid

steel base material, and given a durable EPL coating for

metal lamp holder and its original Buster Bulb, the world’s

waterproofing. This ensures that Caged Wet is perfectly

first designer LED lamp boasting nine patents. Minimal

colour-matched when combined with other Buster + Punch

material waste and exceptionally low energy usage from a

detailing and accessories used in a project.

striking IP-rated light mark Caged Wet as an attractive and

“In spaces like the bathroom, it’s crucial that your finishes

very usable light for contract and hospitality use.

match throughout your details and hardware. With that in

“Exploring spaces and areas of use that others might shy

mind, the Cast bathroom collection has everything you

away from is something that defines Buster + Punch. We’re

need to specify your space from top to bottom with Buster

a label always looking to break new ground and challenge

+ Punch. And that’s the launchpad from where Caged Wet

the perceptions of what an object could be. There’s an

began,” says Minale.

opportunity to be discovered in every aspect of design,

Caged Wet takes Buster + Punch’s versatile Caged lighting

lighting, detailing, etc. This is why Buster + Punch exists,”

back to its original starting point, to revisit its composition

concludes Minale.

with IP-rating in mind. While the strict caged form remains,

www.busterandpunch.com

COMMENT | BATHROOM LIGHTING - SARAH SPECK | 58/59

COMMENT

SARAH SPECK Sarah Speck is the Director of Product Strategy for Hudson Valley Lighting Group. From current trends to optimising usage, she has a wealth of knowledge in design, materiality, and placement of light fixtures. She reveals how to light an undervalued yet essential space, the bathroom.

Lighting a bathroom should strike a balance

benefit from layered lighting, which is a combination of

between functionality and creating a calming

multiple light sources – recessed, sconces, pendant lights,

space with high aesthetic value. A bathroom can

and more. Two to three light sources are ideal in a master

be strictly practical – or it can be a jewel box that pleasantly

bathroom to provide enough illumination for grooming

surprises guests. The type of lighting needed depends on

purposes as well as ambient lighting options. We also

whether you are lighting a powder room, or a true bathroom

recommend adding a dimmer switch to your recessed

where grooming and makeup application will occur.

lighting. It will put you in control of the amount of overhead

My advice below can be used as a foundation, but ultimately,

light needed, plus it can help you conserve energy usage in

there is no right or wrong answer. Bathroom lighting is

your home.

largely at the discretion of the designer or homeowner, so Best Placement for Lighting

don’t be afraid to follow your instincts.

If you have a spacious bathroom, consider lighting each Key Bathroom Trends

section separately. For example, treat the shower as one

Bathroom trends right now centre around promoting

section and the sink as another. Then, light each according

indulgence and relaxation, two things that we can all use a

to its purpose. Over the shower and vanity, task lighting

bit more of. While we don’t always follow trends, they are a

is best to provide maximum illumination for applying

great starting point to spark ideas when lighting your space.

makeup. However, we recommend ambient lighting for the bathtub area where you don’t need intense light. A romantic

• Statement-Making Fixtures:

rises

chandelier or a pair of soft sconces will do the trick. If

in popularity, we’ve seen more statement sinks and

As

maximalism

you are displaying artwork, consider accent lighting that

freestanding tubs made from natural stone, like marble or

specifically illuminates the piece, making it a focal point.

granite, with heavy, unique veining. The stone adds a sense of drama and luxury, which can be complemented by ornate

Pay Attention to Moisture

light fixtures or contrasted by sleek, contemporary ones.

Due to the high humidity levels in bathrooms, there are

• Warm Wood: The use of wood in the bathroom is another

several things to avoid. Fabric shades have the potential to

growing trend, with bleached, blonde, and mid-tones

mildew, so they are not recommended for bathrooms. As a

creating a cozy, spa-like atmosphere.

workaround, you can find some that are pre-treated or made

• Handmade Tile: Incorporating comforting, handmade

of performance blend fibers that are moisture-resistant.

design elements like naturally textured tile on the floor or

Unlacquered brass may also be a material to avoid due to

walls is another way to create a soothing atmosphere in

the potential to patina over time. When brass is exposed

your bathroom. Consider using ambient lighting fixtures to

to high levels of moisture, it will naturally change hues,

accentuate the warm glow.

resulting in a green discoloration. While many appreciate

• Moody Hues: As we shift away from stark, neutral

the vintage charm of patinated brass, it’s less commonly

paint colours, moody hues are taking over. Colours and

seen in bathrooms as it doesn’t have a fresh, clean look. Of

paint techniques (or wallpaper) with depth and richness

course, always check with an electrician before installing

are designer favourites at the moment – perfect for your

lighting in a place with a lot of humidity. For a shower, you’ll

cocoon-like space.

need special wet rated lights.

• Finishes: Light fixtures in brass and chrome or nickel

Even in small rooms, I’d urge homeowners not to

tones add a bright, contemporary touch of style. Or for

underestimate the power of lighting. Paying attention to the

customers seeking a darker metal finish, industrial black

nuances of your lighting decisions can make or break the

are downtrending, with warm, modern bronze emerging.

atmosphere in the room, which is why it’s so important to consider functionality and have options to suit your needs.

Layering Lighting

Lighting makes all the difference – turning a highly utilitarian

A single ceiling flush-mount might be functional in a small

room into one that feels like a personal sanctuary.

bathroom, but it doesn’t exactly create a space that helps you unwind after a long day. Instead, most bathrooms

www.hvlgroup.com

60/61 | PRODUCTS | BATHROOM LIGHTING

FEATURE

B AT H RO OM L I G H T I N G P RO D U C TS

Turn Ambientec Crafted from a solid block of metal, it boasts a sleek and refined form with a hard, textured feel that fits comfortably in your hand. Rising upright with unwavering grace, emitting soft, ambient light. Gently touch the top of the shade, and the character of the light changes. You can adjust the brightness in four levels, from a subtle candle-like glow.

Equipped with IP66 waterproof performance, it can withstand strong water flows from any direction, ensuring safety for various settings, including bathrooms. www.ambientec.co.jp

I-Line LZF I-Line is a smooth and sleek lamp, with a clean, architectural line.

Designed by Burkhard Dämmer, I-Line is available in two sizes: medium and large suspension. I-Line’s unfussy design is perfect in places and spaces that call for a practical, yet elegant, luminaire: above a countertop or a worktable, for example. I-Line’s wood veneer, dimmable LED, and light-filtering diffuser, provide both direct and ambient light. All LZF lamps are treated with Timberlite, its patented treatment that protects wood veneer from moisture. www.lzf-lamps.com Image: Ángel Segura

Nara Astro A complete, IP44-rated lighting solution for both hospitality and premium residential bathrooms, Nara features a crisp metal base combined with your choice of contemporary glass shades.

The Nara range consists of a pendant ceiling light with integrated LED and a self-levelling arm, suspended from a crisp metal base. The shape of the pendant light flows seamlessly into the glass shade, which is available in five modern designs. All Astro bathroom lights and shades are IP44-rated, making them a safe, durable choice. www.astrolighting.com

Kiki Contardi Kiki is a delightful modular light that will add a touch of style to any indoor space. The lamp is available in wall, table, and suspension versions, with a metal structure in satin gold nickel, brushed nickel bronze, anthracite or white finishes, and an opal white glass diffuser.

The fabric wire can be colour-matched or in contrast to the lighting body, allowing you to create patterns on walls. The Connect version has IP44 protection and can be ordered with a plug for connection to a socket. www.contardi-italia.com

Campbell Straight Arm Lyngard

Frida Curiousa

Handmade in the UK, Lyngard designs and manufactures fine bone china lighting, including IP44-rated lights for the bathroom.

The Campbell wall light is a beautiful and versatile option that is available in a variety of patterns and colours. The shade is made from fine bone china, which is fired at a high temperature to make it strong and durable.

Suitable for residential and hospitality projects. www.lyngard.com

A new collection of IP65 and IP45-rated bone china options slipcast by Esther Patterson.

The pieces are created using multiple coloured bone china, fired just once, significantly reducing the ecological footprint of each piece.

Handmade ceramic samples can be ordered, and due to their handmade nature, exact colours and intensities may vary. www.curiousa.co.uk

Image: Chris Snook

Airon Glow Buoyant Radiating a soft and magical energy, the playful, jewel-like, Airon Glow IP40-rated pendant embodies a simple charm while maintaining an elegant feel. The sandblasted glass diffusers are all handblown, making each one of them singular and unique, and offering an organic assembly when installed as pairs or clusters. www.buoyantnyc.com

Pillar Original BTC

Cavity Wall serien.lighting

The Pillar light’s sophisticated Art Deco lines belie its original maritime purpose. Part of Original BTC Group’s Davey Lighting repertoire for almost a hundred years, the Pillar is IP44rated and safe for use in shower rooms and bathrooms. Hand-cut, extruded glass rods housing an integral LED are set within a choice of weathered brass, polished brass, or chrome plated casings. www.originalbtc.com

Cavity Wall is both an uplight and a downlight, creating parabolic light fields on the wall. The housing follows the gently rounded design language of the product family; Cavity Ceiling, Cavity Recessed and Cavity Suspension also feature the characteristic funnel-shaped light emission. All versions of the luminaire are also available in IP44 for covered outdoor areas and splash-proof bathrooms. www.serien.com

62/63 | INTERVIEW | TRIQIS

INTERVIEW

TRIQIS During this year’s London Design Fair held at the Truman Brewery, London, darc’s editor Sarah Cullen hand-selected some of her favourite designs and new brands to explore a little further. She caught up with new-kids-on-the-block, Triqis to find out more about the studio’s inception.

Triqis is a newly established design studio based in London, with its manufacturing base in the West Midlands. Co-founded by Kwaku Boateng and Erwan Louis, the pair first met while studying industrial product design at university. darc first came across the new studio during London Design Fair and were impressed with the level of standards and finishes the duo were producing as young product designers.

“After being in London for some years we noticed that in the world of design there were many leaders producing high quality furniture and lighting from many other countries, however little to no British representation,” says Boateng.

“Another thing that we noticed was the lack of diversity in the space,” adds Louis.

“This is what drove us to found Triqis, as well as providing an outlet to express ourselves through design,” says Boateng.

The two designers come from very different walks of life. Boateng was born and raised in London before moving to Trinidad for 13 years of his childhood then returning to the UK. Louis on the other hand is originally from Brittany in France but emigrated to Iceland with his family during his teenage years before heading to the UK for university.

“Design for me has always been my happy place where

“Kwaku’s years of experience in contemporary design

I can create and express myself freely, so the vision

and leading growth for some of London’s most

was always to start my own studio.”

successful tech companies, has played a massive role

Something Louis agrees with: “Yes, I’ve also always

in our design, processes and growth of the studio,”

wanted to start my own studio, however I also wanted

observes Louis.

to gather some industry experience to figure out what

Whereas Louis brings a wealth of experience with

I wanted to focus on as well as get a taste of what the

some of Italy’s top lighting brands, which Boateng

world of contemporary design was like as it differs

believes gives them “the edge that shines through the

from industrial.”

execution of our designs”.

Boateng adds: “I guess you can say it was always in the

“Our

solid

education

in

industrial

design

for

plan, it was only a matter of time.”

manufacture, mixed with our immersion into the

Bringing products to the design industry that are

contemporary design world is what really sets us

proudly British made is key to the studio’s ethos.

apart,” he adds.

“Having spent years residing and working in the design

“Our polar opposite backgrounds could also be considered a key characteristic of Triqis, which is something we want to express through our current and future designs. This is what design is about, storytelling.

“Quality of product and light specification is what we are proposing with no compromise. We aim at covering the entire interaction with light, whether it is the quality of the light itself, how it interacts with spaces and the way the user interacts with it. This can be as simple as the way it is switched on, such as on the Lorraine lamp.”

Boateng adds: “We want to provide the industry with something new in the 21st century, something fresh, high-quality and exciting yet sophisticated, considered and well-designed out of the United Kingdom.”

Despite the duo’s unwavering enthusiasm, starting a new business is never easy and they have faced a number of challenges along the way. This, however, is what has helped build the foundations of who the designers and the brand are today.

“What went wrong? In the beginning… so much!” reflects Boateng. “But that is a part of the journey you just can’t avoid, especially when developing a high-quality product and brand. It took us some time to figure out how our design styles and processes complimented each other as well as defining our processes. Logistical, supply and design problem solving, resulting in many sleepless nights in the studio that have all been crucial aspects towards the Triqis you see today.

“In the early days of running the studio from affordable artist spaces, we’ve had nightmares where the studios have been requested to be evacuated with little to no notice in the middle of projects and operations.”

“We laugh about them now, but at the time it was anything but funny,” adds Louis.

“Off the back of all that, our manufacturing capabilities are something that have come a long way and that industry, most of my experience being in Italian

I’m proud of, as it allows us to ensure the quality,

lighting, along with our different walks of life was

sustainability, and ethical practices that we provide.”

something we believed should be part of the studio,”

What can we expect from the young studio over the

says Louis. “We also identified the pure need for high

next year? More lighting! “During the show, we unveiled

quality uncompromised British, and moreover local

our collection of decorative lighting pieces. Moreover,

products, and this was one of the main driving points

you can anticipate the addition of some innovative

towards owning aspects of our manufacturing and

technical lighting options to our range in the upcoming

operating here in the UK.

year,” explains Louis.

“Developing our own manufacturer was a logical

Boateng concludes: “We’ve been thrilled by the

step, first for the transparency in terms of product

industry’s positive response since launching our

provenance and the benefit it has on our socio-

products at the London Design Fair. Currently, we’re

economic surroundings. As well, it helps in developing

working on some exciting interior projects too, so stay

local know-how and enhancing our clientele’s

tuned.”

experience in dealing with us on projects.

www.triqis.com

64/65 | ON SHOW | LONDON DESIGN FAIR - EDITOR’S PICKS

ON SHOW

LO N D O N D E S I G N FA I R - E D I TO R ’ S P I C KS Admirador Golden Golden Editions Admirador is made with Veta Vera grass reeds using traditional basket weaving skills from Bolgatanga in Africa. The outer brass wall support is crafted using a traditional lost wax technique in Kumasi, Ghana. The mould is made from wax and then covered in dung and earth and left to dry. The melted recycled brass melts the wax and takes its place. www.golden-editions.com

Flare Céverine Gerard

Chrysalis Meseme Studio

Flare is a wall hanging light sculpture that explores and revitalises the ancestral use of palm leaf basketry by applying it to a modern object.

The dome shaped ribbon embraces the strong yet pliable properties of the material to create a unique form without the use of structural elements. Every curve and loop has been carefully handcrafted to create a functional yet contemplative piece of art. www.ceverinegirard.com

Chrysalis is the latest collection of suspended ceiling light fixtures by Riya Panchal, the founder and designer of Meseme.

The fixture’s innovative design features adjustable ombre coloured flat glass wing attachments and a custom-built push button mechanism, enabling seamless 45° adjustments across a 180° span, creating 24 distinct configurations. www.mesemestudio.com

Grain x Cupola Poise Tamasine Osher Combining the organic and innovative Grain lampshades with the framework of Cupola Poise pieces, the resulting designs for floor, table and ceiling lamps are delicate, elegant and tactile.

The newly designed mechanism harnesses the tactility, allowing the user to rotate the arm and change the height. The Grain shade hangs on the opposing end of the curved arm from a machine spun cone-shaped metal weight. www.tamasineosher.com

Biofabricated Pendant MushLume Lighting

Spira Federico Fiermonte

These pendants are grown using the roots of mushrooms and sustainably sourced hemp.

“By tapping into a unique material science that uses mushroom mycelium, we can begin to reimagine a more sustainable future. At the end of its lifecycle, it can return to the Earth adding nutrients back to the soil rather than lasting for hundreds of years or releasing toxins,” says Danielle Trofe, biodesigner and founder. www.mushlumelighting.com

Spira is a sculptural lamp that plays on the contrasts between a light and dynamic shape derived from nature with an artificial, heavy, and robust material like concrete, with a decorative touch given by the internal light running along the slender shape. Spira is made with a concrete composed of recycled aggregates for a more sustainable result, cast in a 3D printed mould made up of five parts. www.fiermonte.design

BATHROOMS BROUGHT TO LIFE For more bathroom inspiration download the Quintiesse and New Elstead 2024 Catalogues today. +44 (0)1420 82377 | enquiries@elsteadlighting.com | www.elsteadlighting.com

Elstead Darc FP Nov2023.indd 1

18/10/2023 12:28:09

66/67 | FOCAL POINT | THE POWER OF COLOUR

FOCAL POINT

THE POWER OF COLOUR LONDON, UK

A colourful celebration, a welcoming hug.

This is the experience that visitors enjoyed when they arrived for London Design Fair 2023. Drenched in colour with the heart light as a central statement of love and inclusivity in the design community.

In partnership with Lick, the colour-centric home décor brand, 2LG Studio designed ‘The Power of Colour’.

The polished steel heart light feature, a collaborative design between 2LG Studio and Cameron Design House, is perhaps an unexpectedly naive statement for a design show. “Deliberately so”, says Russell Whitehead, Co-founder of 2LG Studio.

“We wanted to comment on the need for emotion and vulnerability in the design world, as we face multiple new challenges and creative shifts, we need to be open, inclusive and brave. The heart is the most simple and universal of icons that felt powerful and true at this moment.

“When we first sketched the idea of a polished inflated heart light, we knew it would require a skilled technical process to craft, and so we instantly thought of Cameron Design House. We had worked together previously on our Capsule pendant lights and were impressed by the way the lights were crafted and the skills of the team, so we were excited to invite them to be a part of this project. This concept light required a leap of faith and it is a testament to the strength of our bond as collaborators that it became a reality within such a tight timeline.” www.camerondesignhouse.com www.2lgstudio.com

68/69 | FOCAL POINT | THE SKETCH

FOCAL POINT

THE SKETCH LONDON, UK

One of the stars of London’s Gastro scene, The Sketch, has installed a natureinspired glass installation ‘Herbarium’

by Lasvit. Housed in The Glade section of the restaurant, visitors are transported to a fairy-tale setting adorned with hand painted velvet furniture, carved wood, mirrored accents, and artisanal wallpaper - setting the stage for the ‘Herbarium’ to shine.

The

‘Herbarium’

spans

4x6-metres

comprised of 240 externally lit, gilded glass components, harmonising seamlessly with the enchanting surroundings. Using an avant-garde glassmaking technique, Lasvit’s ‘Herbarium’ captures the essence of nature in a timeless manner. Molten glass flows over dried flora, converting them to ash yet immortalising their impressions on the glass surface. These glassworks, also available with gold detailing as seen in The Sketch, allow bespoke designs for various spaces.

The installation was conceptualised by Mária Čulenová, Petra Junová and Štěpán Gudev. Designer Čulenová says: “Our glassworks are surrounded by wild nature.

In this countryside, we can find the roots of glassmaking as well as Lasvit. What we wanted to do in Herbarium was to capture this wilderness so anyone can take home a piece of this landscape, a piece of the Bohemian meadow as well as a piece of nature frozen in glass.”

The installation was launched on 19 September, coinciding with London Design Week, and ran until 16 October 2023. www.lasvit.com

Industry-leading keynotes Focused breakouts A hand-selected product showcase

Sustainability is today’s most urgent topic for interior designers.

Sustainable Design Summit brings together brand owners, designers, and trusted suppliers from the cruise, hotel, and aircraft interiors sectors to discuss the new era of sustainability goals and celebrate truly sustainable interior design.

Shaping sustainable interiors for land, sea, and air.

Intimate networking

Book your pass today 28 November 2023 Museum of London Docklands www.sustainabledesignsummit.com

SDS Advert - DARC.indd 1

11/09/2023 10:23:07

ON SHOW | LIGHT23 PREVIEW | 70/71

ON SHOW

H e l d o v e r t w o d ay s at t h e B u sin e s s D e sig n C e n t r e i n I s l i n g t o n , L o n d o n , t h e U K’s o n l y d e d i c a t e d e x hibitio n for l ig h tin g s p e c if i c a t i o n , LiG HT 2 3 w il l b e h e l d o n 2 1 & 2 2 N o v e m b e r 2 0 2 3.

IMAGES: JAMES GIFFORD-MEAD

New For 2023 Following the success of LiGHT 22, the second instalment of the lighting specification show brings new additions for LiGHT 23. The Gallery Level of the Business Design Centre will once again be a hive of activity. With [d]arc thoughts and LiGHT Work joined this year by even more exhibiting brands, in collaboration with darc magazine, year two of LiGHT sees a new dedicated Decorative Lighting area called darc space, providing high-end decorative lighting brands.

Located in a prime position outside the [d]arc thoughts talks arena and adjacent to the trade associations lounge, darc space will provide visiting designers working in hospitality, high-end residential, and commercial sectors a plethora of decorative lighting fixtures and inspiration.

Also new for 2023, the British Institute of Interior Design (BIID) will host a networking day and LiGHT Lunch on 22 November for its members and potential new members in the Associations Lounge, which can be found next to darc space.

Also on the Gallery Level, for the first time, SGM Light will host visiting designers with refreshments throughout the two-day show at its SGM LiGHT Bar.

[d]arc th o u g hts @ LiG HT 2 3 Curated by the [d]arc media editorial team, [d]arc thoughts is a two-day talks programme held during the show. In collaboration with lighting control specialist Lutron, the programme features lively panel discussions and short, sharp presentations from high profile designers working across all sectors of design – whether that’s lighting, interiors, or architecture.

Below, we outline some of the talks visitors can expect from the [d]arc thoughts programme that we think will particularly appeal to darc’s readers.

All talks will take place up on the Gallery Level – next to darc space and the Associations Lounge. Talks are free to attend for all registered LiGHT 23 visitors. www.lightexpo.london

72/73 | ON SHOW | LIGHT23 PREVIEW

TA L KS H I G H L I G H T S Tu e s d a y, 2 1 N o v e m b e r

W e d n e s d a y, 2 2 N o v e m b e r

1 0 :1 5 – 1 1:1 5 | D e sig nin g f o r a Global Brand Moderator: Sarah Cullen

1 0 :1 5 – 1 0 :4 5 | I n C o n v e r s atio n | E d e n, N e w B a il e y

Speaker: Nick Hickson, THDP; dpa lighting consultants; David

Moderator: Sarah Cullen

Collins Studio.

Speakers:

This talk will unpick what it takes to work successfully with a

Lightforms.

global hospitality brand – giving the audience tips and tricks on

We take a closer look at SpaceInvader’s spectacular work with

how to ensure continuity, design style, working with demands and

Lightforms on one of the UK’s most environmentally-friendly

challenges.

office buildings.

1 1:3 0 – 1 2:3 0 | H e a d l i n e S l o t | Il l u m in atin g B o u n d a r ie s

1 1:3 0 – 1 2:3 0 | D e s i g n i n g for Sm all a nd L arge Spaces

Moderator: Matt Waring

s u p p o r t e d b y t h e BIID

John

Williams,

SpaceInvader;

Paul

Shoosmith,

Headline Speaker: Grimanesa Amorós.

Moderator: Susie Rumbold, Tessuto Interiors

Our keynote speaker will present the exploration and creation

Speakers: Stephen Dick; Residence Interior Design; Stephanie

of art through light. The presentation will be followed by a Q&A

Dias, Sdias London; Debbie Power, KSS.

session with arc Editor, Matt Waring.

Our expert panel brings a wealth of experience, from stadiums to five star hotels, from homes in the UK to homes overseas.

1 2:4 5 – 1 3:4 5 | S u s ta i n a b il i t y & C ir c u l a r i t y i n D e s ig n

Join them as they discuss lighting spaces big and small from the perspective of an interior designer.

Moderator: Jessica-Christin Hametner, Editor-in-Chief, ICON Speakers: Rachael Flint, Michael Grubb Studio; Kevan Shaw, Kevan

1 5:4 5 – 1 6: 0 0 | E v o k i n g L u x u r y wit h Lig h tin g

Shaw Lighting Design; Nigel Tresise, Align Design and Architecture.

Speaker: Sandra Brookes, Lighting Design International.

An ever-popular topic, our panel of experts will delve deeper into

In order to evoke luxury in a space the appropriate lighting design

the world of circularity and sustainability within lighting and the

is essential to enhance the overall experience. Making reference

wider design set-up.

to the xx Hotel, Sandra Brookes will highlight how creating an

Magazine

exceptional atmosphere for guests is key to get them to stay

1 4: 0 0 – 1 5: 0 0 | D e s i g n i n g f o r H e a lt h y O f f ic e S pa c e s Moderator: Samta Nadeem, Curatorial Director, STIRworld Speakers: Beata Denton, Reflex; Simon Kincaid, Conran & Partners; Miguel Aguado, Lutron; Natalia Duffy, Cundall.

With well-being at the forefront of everyone’s minds, a healthy office space is something that should be considered as standard, but the question is, how simple is it to implement?

1 6:3 0 – 1 7:3 0 | R e s t a u r a n t & B a r D e sig n Moderator: Helen Ankers Speakers: Matteo Bianchi, interior designer; Krishna Mistry, Mistry Lighting; Tony Matters, Faber Design.

With hospitality venues in hot competition with each other, it’s important that venues stand out from the crowd and present a unique offering in comfortable surroundings. Our design experts look at how design focused interiors can elevate restaurants and bars to that next level.

and to entice them to come back again and again creating a continuous and successful business.

Experience Athena A simple, flexible, all-in-one commercial lighting control system that puts the power of personalised light in the palm of your hands.

Visit us at LiGHT 23 Stand 8 (Main Entrance)

74/75 | ON SHOW | LIGHT23 PREVIEW

Cono di Luce Lodes Lodes is launching its first collaboration with Ron Arad: Cono di Luce - a lamp that marries Lodes’ technical know-how with Arad’s artistic flair. The technology enclosed in Cono di Luce defines its identity. Using a flexible printed circuit board in a ground-breaking way, encapsulated within an element as simple as a transparent Pyrex cone, the lamp exudes a dualism between on and off that is easily discernible. When illuminated, Cono di Luce reveals its true decorative essence. www.lodes.com

Fris Marset

Cosmos Quasar

Fris is a multi-purpose lighting system available in a wall, ceiling or pendant version, which allows you to combine several units in different sizes and positions, each one aiming its own beam of light. In the pendant version, each Fris unit is supported by a strap, so that several can be placed horizontally, in line, one on top of the other, or perpendicularly, creating intersections of light. www.marset.com

Cosmos, by Jan Pauwels, consists randomly placed LED circuit boards and tiny metal rods as the only two basic elements of this light fixture.

They give the lamp its structure and shape. The circuit boards have LEDs on both sides. Every Cosmos is handmade, which makes every model a one-of-a-kind. www.quasarholland.com

Sizzano Lena Lighting The Sizzano line, designed by Jakub Zarzyński, is a modern luminaire with an element of classicism.

The luminaire was created with modern interiors in mind. It can act as general lighting, as well as provide ambient light, creating a mood in the room. The diffusor, which is delicate in visual perception, and at the same time very durable and impact-resistant, is the basic decorative element of this lamp. Wrapped in a collar, it looks elegant and gives the interior prestige. www.lenalighting.pl

Rowan Ebb & Flow

Humble Bug Pad Home

A classic Ebb & Flow design, the Rowan is now available in five new colours. With an eye on texture and taste, the new colours are produced with a sanded surface that creates a warm and marble-like effect when lit. The sanded effect evokes a sense of the tactile and inspiration for the colour names: marshmallow, candy, latte, brownie, and earl grey. The new colours are available from January 2024. www.ebbandflow.com

The Humble Bug is a wireless table lamp that gives you up to 90 hours of light. It’s a statement piece suitable for both indoor and outdoor use. Place it on a sideboard, in your study, or during an outdoor dinner (IP65 waterproof). Additionally, the Humble Bug pairs with your smart lighting, letting you control it through your phone, voice, switch, or motion sensor. Switch between three modes: candle, ambiance, and work. www.padhome.co.uk

76/77 | ON SHOW | LIGHT23 PREVIEW

Pill Empty State Empty State, sister-brand of Cameron Design House, will be unveiling an immersive installation of its award-winning Pill collection.

The Pill pendants are available in a range of mesmerising glass colours including opal, pink, smoked, green, blue and a striking new amber finish. Designed to be hung individually or as a cluster. Handmade in the UK from hand blown glass with burnished brass features. www.emptystate.com

Pina Zafferano

Ixa Artemide Ixa is a complete, transversal family designed

by Foster + Partners for Artemide, whose composition begins with the intelligence of a spherical head with a 360° freedom of movement. The head separates the electrical cable from the mechanism and is connected to the structure itself by a magnet that allows it to freely rotate, allowing its handy light to be projected in any direction. www.artemide.com

Pina is a rechargeable cordless table lamp. A touch control on the base allows switching on/off, dimming, and selecting the colour temperature of the light (2200K, 2700K or 3000K). An electronic control system monitors the remaining autonomy of the lamp and ensures a constant luminous flux until the battery runs out. www.zafferanolighting.com

Wave Abalon The limited-edition new Wave table lamp is designed by Ana Bridgewater in collaboration with sustainable wood turner Memories of Green.

Crafted from repurposed elm wood with a matte finish, this lamp breaks away from conventional shapes. Sustainability is woven into every aspect, from its materials to its packaging. It’s designed for minimal waste and easy disassembly for a new life cycle when its journey ends. www.abalonuk.com

Belle Nexia Belle, designed by Nahtrang Studio for Nexia, is a captivating family of luminaires.

With three typologies: individual, linear system and chandelier; Belle adapts to the needs of any project through a complete customisation that includes shape (semi-circular or conical), material (glass or metal), colour, number of luminaires and distribution. www.nexia.es

Dimmable LED Filament Zico Lighting Zico Lighting introduces its ultra-dimmable LED filament light source, a blend of aesthetics and cutting-edge technology. Its decorative lamps provide flicker-free technology, illuminating spaces for 30,000 hours, that come with a three-year warranty and a choice of socket types. Lamps come in a range of shapes, glass finishes and base caps, and feature high CRI, a variety of colour temperatures, and lumens. www.zico.lighting

LiquorLamp Sconce Modern Light Fixtures, made in the USA from 100% recycled bottle glass

www.cplighting.com Instagram @cplighting

78/79 | ON SHOW | LIGHT23 PREVIEW

Featured in this year’s darc space, an area of the LiGHT 23 exhibition dedicated to decorative lighting, [d]arc media presents the last two winners of the [d]arc awards in the Kit-Decorative category.

The awards celebrate the best in lighting design projects and product design in the lighting sector and is voted by those in the industry. Therefore, it is a true representation of the specifiers’ favourites in product design.

Featured below are the winning products that will be displayed for visitors to see in person.

Fresnel Table Light Jonathan Coles – Winner 2021 The Fresnel Table Light completes the Fresnel Collection, a family comprised of a pendant, chandelier, and wall lights.

Inspired by a fusion of Art Deco and Mid-Century design principles of material, form, and function and with a heavy nod to original arc light experiments.

Central to the design is the relationship between the lenticular lenses of the reeded glass, the diffused light core filling the whole form with light. The inner light core houses warm white LEDs complementing the hue of the brass. High quality and high CRI LEDs are incorporated with a 2400k colour temperature.

The cylinder shade hovers above a solid machined brass base, its form mirrored in negative. Concealed in the base is an integrated, linear, touch-sensitive dimmer to carry the integrity of design throughout the family and to engage a tactile user interaction with the material.

The lights are hand-assembled and finished to order from solid brass parts, designed and engineered with precision at Jonathan Coles’ workshops in Henley on Thames. Features born of the manufacturing process are maintained as delicate detailing. These lights are made for longevity with each component part replaceable. www.jonathancoles.co.uk

Wave Collection Curiousa – Winner 2022 Combining the organic nature of free-blown glass

To create a floating soft beam of light the Wave

with a modern aesthetic, the Wave Collection

Collections uses LED technology. Each sculptural

designed by Esther Patterson, founder of Curiousa,

light houses a spiral of LED strips within a diffused

includes six lights, ranging from table lamps to

tubular suspension, punctuated by solid brass end-

vertical and horizontal statement sculptural lights.

caps, creating a beam of light that glows through

Patterson says: “I wanted something that was

the linear stacked glass pieces. They are powered by

modern and streamlined but held onto my

low voltage currents through fine suspension wires

natural bent for colour, the organic form and

creating a feeling as if they are floating on air.

the ‘handmade’, something that would be

With a choice of 22 colours, all glass is made to

interchangeable and repairable – to last a long time.

order and free-blown in the UK, and all brass

Plus, a piece that stands on its’ own as a sculptural

and wooden parts are sourced from small local

entity in its’ own right – not just a light.”

workshops.

Each element, whether glass, wood or metal

It’s also important that these lights stand the test

has been carefully hand-crafted in the UK, then

of time and are built to last. Each of these lights can

hand-assembled by the Curiousa team in their

be taken apart and each part can be replaced and

Derbyshire workshop. Every piece of glass is unique

refurbished.

as it’s free-blown, without the use of moulds, using

www.curiousa.co.uk

just the skill of hand and eye to guide each shape.

Careful precision and detail were required as each glass piece is carefully ground and polished to fit perfectly together in an effortless line.

muuto.com

new perspectives on scandinavian design

Visit us in Copenhagen, Stockholm & Paris

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26/10/2023 16.15

AD INDEX

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PROUDLY SUPPORTING

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82/83 | IN FOCUS | MUUTO

IN FOCUS

Calm Wall Lamp Al ek se j Isk o s muuto

How did this collaboration with Muuto occur?

I have a long-standing dialogue and collaboration with Muuto, so I decided to stop by and show them my idea. They immediately liked the concept and could see its potential, so we started developing the lamp together. It was an easy start. Muuto has a fantastic team with a lot of competence, so collaboration is always delightfully easy.

What is the concept behind the Calm Wall Lamp?

It is all about light. Instead of forcing the light to be something it is not, it is given the opportunity to spread in the same way as it does in nature – with a smooth gradient transition from light to shadow. It is easy on the eyes, it feels natural, and it looks beautiful.

Calm Wall Lamp is an archetype, both as a geometric shape and as a symbol of the sun but treated in a new way — it is updated with an innovative material and a different approach to light.

How long did you work on the product?

The entire process took about four years, from the first sketch to the finished product. It took a lot of time to develop the construction and to find the right fabric, light source, and electrical components. The advantage of that approach is that you have the time and opportunity to work with all aspects of the design, to find the best solutions without haste and unnecessary compromises. The four years felt long, but if it means that you make a product that will remain on the market for 40 years, then that time is well spent.

What was the most challenging aspect of producing this piece?

We tried a lot of textiles before we found the right one, and we did a lot of tests to achieve a construction that is simple, rational, and as light as possible. All elements had to play together in a harmonious way. The lamp looks so simple, but sometimes the simple is the most difficult to achieve.

What materials have been used and why?

Textile is the lamp’s most important material – it has a wonderful tactile touch, and it diffuses light in an incredibly warm and beautiful way. www.muuto.com

Gramm The lightest light

It’s main feature is the possibility of rotation. For a pleasant indirect light you simply rotate it with one move.

intra-lighting.com/Gramm