WELCOME
Happy New Year all! … Is it too late in the year to be saying that still? Nevertheless, welcome to the first issue of 2025.
And with the new year, we bring a new face to darc magazine! If you’ve not had the pleasure already, I’m pleased to introduce Rosie Jackson to the team. She is joining me as darc’s new international sales manager, and will be attending shows and events as well as showroom visits and press trips. Rosie joins us from the world of furniture - after a year away from the office travelling the world - bringing with her a passion for all things design and a fresh appetite for lighting.
Kicking off our Jan/Feb issue, we have an array of international projects from USA, Middle East, and China, as well as the first instalment of content from the [d]arc awards entries.
I also had the opportunity to speak with Occhio’s founder Axel Meise following the brand’s 25th anniversary last year. Occhio has firmly established its position in the world of lighting, bringing sophisticated product to the market that blends Italian flare and German engineering. Read the full interview on p.28.
This issue’s dedicated feature looks at Workspace Lighting. Following an insightful talk at last year’s LiGHT 24 exhibition, we recount Sarah Dodsworth’s work on Alexion and AstraZeneca’s new office in London, plus, a selection of recently completed manufacturer case studies.
Speaking of LiGHT 24, did you attend? This third edition of our show was a massive success, and we thank everyone for their continued support and participation! The [d]arc media editorial team smashed it out of the park with the extensive [d]arc thoughts talks programme, which featured panel discussions from the BIID, networking sessions with a number of women in industry associations, and quick-fire presentations from notable interior design studios discussing the relevance of decorative lighting in their projects. How on earth we’re going to top it with content for LiGHT 25 is a future Sarah problem…
Continuing the topic of events, have you seen that we are running an exclusive lighting-themed talks programme at Clerkenwell Design Week again this year? Held in the House of Detention, we will be curating and hosting a three-day talks schedule with interior designers, lighting designers, and architects. If you are interested in putting your name forward for consideration, please email Helen Ankers at h.ankers@mondiale.co.uk.
And while I will be in the depths of the Clerkenwell prison with the editorial team, Rosie will be jetting off to NYC to attend ICFF in May. Make sure you say hi and give her a warm welcome to the American lighting community!
Looking ahead, our next issue will be distributed at Euroluce in Salone del Mobile. I am on the hunt for all things Milan-related, so if you are launching a new lighting product or hosting an event, let me know so I can add you to our schedule and editorial list.
Not long now before the Aperol’s will be flowing!
Sarah Cullen • Editor
CONTENTS
FEATURED
028
Interview: Axel Meise, Occhio
The German lighting brand celebrated its 25th anniversary in 2024. darc’s editor speaks with Founder and Lead Designer to discover more about the company’s creation.
034
Materials: Luminaire Authentik
This Canadian lighting studio celebrates craftsmanship with the Monumental Collection, in collaboration with artist Zeynep Boyan.
052
Case Studies: Workspace Lighting
A selection of some of the latest project case studies that use decorative lighting in an office environment.
058
On Show: LiGHT 24 Review
LiGHT 24 is the UK’s only lighting-dedicated show. With record attendance for the show’s third instalment, the lighting and interior design industry came together to discover new products and participate in an extensive talks programme.
Catch up on what happened and who was there in our show review.
PROJECTS
006
Focal Point
Moli by Shi, 4Space
008
Focal Point
Lua, George Singer
010
The Crystal Orange Hotel
The Crystal Orange Hotel, located in the heart of Shanghai, has recently undergone a renovation by Vermilion Zhou Design Group, using crystal as heavy inspiration.
018
The Cocody Restaurant
The latest fine dining restaurant to hit Texas that combines European experience with the culinary tapestry from the West Coast of Africa. Renowned interior designer Nina Magon reveals how she masterfully wove two culturally contrasting concepts together to create a design that was elegant and sophisticated.
042
Focal Point
Scotiabank North, KPMB Architecture
INSPIRATION
027
Comment: Project Circularity
Interior Designer and Architectural Lighting Designer Sabine De Schutter, Founder of Studio De Schutter, discusses the importance of project circularity, and how to design for new spaces while restricting the amount of waste produced.
040
On The Board: Black Ivy Design
Tucked away in a basement beside the River Avon, this soon-to-open speakeasy-inspired bar, Hush, promises to deliver the mystery, glamour and intrigue of the Roaring ‘20s, reimagined for a modern audience.
044
Interview: Sarah Dodsworth, Ekho Studio
As part of the Workspace Lighting feature, we cover Dodsworth’s Q&A with [d]arc media’s Managing Editor Helen Ankers at LiGHT 24 on the studio’s work for Alexion and AstraZenaca’s new office.
066
In Focus: Gupica
Designed by Gupica for Fiam Italia, the Sipario lamp played a leading role in a new photographic project in the Remo Brindisi house-museum.
THE MAGAZINE
Managing Editor | Helen Ankers h.ankers@mondiale.co.uk
Editor | Sarah Cullen s.cullen@mondiale.co.uk
Junior Journalist | Ellie Walton e.walton@mondiale.co.uk
Contributing Editor | Matt Waring m.waring@mondiale.co.uk
International Sales Manager | Rosie Jackson r.jackson@mondiale.co.uk +44 (0)161 464 4750
DESIGN
Artwork | Dan Seaton d.seaton@mondiale.co.uk
Editorial | Mel Capper m.capper@mondiale.co.uk
CORPORATE
Managing Director [d]arc media | Paul James p.james@mondiale.co.uk
Marketing & Events [d]arc media | Moses Naeem m.naeem@mondiale.co.uk
Chairman Mondiale Publishing | Damian Walsh
FINANCE
Chief Financial Officer | Kurt Roberts k.roberts@mondiale.co.uk
Credit Control | Lynette Levi l.levi@mondiale.co.uk
[d]arc media ltd | Strawberry Studios, Watson Square, Stockport SK1 3AZ, UK | +44 161 464 4750
Printed by Buxton Press, Palace Road, Buxton, UK ISSN 2052-9406
FOCAL POINT
Moli is a newly opened gourmet Chinese restaurant from fine dining experts Shi. The fine dining venue is located in the Dubai Hills, a luxury residential area located within Mohammed bin Rashid City. UAE-based interiors firm 4Space Design created the opulent scheme for the food and beverage location, taking inspiration from traditional Chinese architecture. Upon entering the restaurant, guests encounter a space reminiscent of a Chinese temple. Two guardian lion statues greet guests at the reception area, which set the tone for the culturally immersive dining experience.
In the main dining space, a collection of large flower pendants adorn the ceiling. These bespoke designs were created exclusively for Moli by the 4Space team, and crafted by a specialist Chinese manufacturer that focuses on Chinese cultural décor elements. The pendants resemble jasmine flowers, which are a
symbolic representation of the restaurant’s “purity, grace, and elegance”. They are also a nod to the establishment’s name, Moli, which means “jasmine” in Chinese.
“These flower pendants were chosen to enhance the overall ambiance of the space,” explains 4Space Founders Firas Alsahin and Amjad Hourieh. “Their sculptural form and warm, ambient lighting create a captivating and inviting atmosphere. The pendants not only add a touch of elegance but also serve as a focal point that ties together the traditional and modern elements of the restaurant’s design.
“We believe these pendants bring a sense of harmony and sophistication to the space, reflecting the cultural and aesthetic values we aimed to achieve with Moli.”
With luxury at the heart of every element of this Shi experience, guests are provided with not only an exceptional gastronomical journey, but an incredible social ambience. www.4space.ae
DUBAI, UAE
MOLI BY SHI
LUA
Entered into this year’s [d]arc awards competition, Lua, meaning silk in Vietnamese, is an installation commissioned for a private residence in North Vietnam.
Created by London-based artist George Singer, with additional design completed by Onformative, the overall form of Lua consists of more than 20,000 solid glass balls, and is inspired by the movement of silk.
“We wanted to provide an aesthetic rich in elegance and grandeur, and with a strong sense of relaxation and luxury by creating the gentle but dynamic undulating curves and folds,” explains Singer.
“The form was designed in collaboration with digital artists, Onformative. Using cutting-edge digital technology we developed a form inspired by the natural movement of silk by developing surprising and captivating sweeping forms that would be impossible to design by the human hand.”
Each ball was hand-painted in various shades of amber and frosted white where the colour distribution was a function of the ‘tension’ in the fabric generated by the virtual silk-simulation computer model.
The installation is illuminated from above by UK-made spotlights from John Cullen Lighting and lit from within with hundreds of fiber optic light sources from UFO Lighting.
Numerous lighting effects, from relaxed evening mode to full party mode, are controlled using a wallmounted iPad. www.georgesinger.co.uk
HAIPHONG, VIETNAM
FOCAL POINT
PROJECT
CRYSTAL ORANGE HOTEL
Vermilion Zhou Design Group recently renovated the Crystal Orange Hotel in Shanghai. The scheme is heavily influenced by the concept of a crystal, inspiring key decorative lighting elements.
The Crystal Orange Hotel, located in the heart of Shanghai, China, offers an elegant, but not extravagant, pure, yet unpretentious accommodation experience through the cleansing and transformation of light. The hotel was recently renovated by Vera Chu, Founder and Lighting Design Director, and her team at Vermilion Zhou Design Group, an interior design firm located in Shanghai. Chu walk us through the project’s design journey, which began with the design phase in June 2023 until construction phase was completed in May 2024.
“This project involved the renovation of a hotel, complementing the new National Sports Center currently under construction next to the original hotel,” she explains. “In the future, the hotel will primarily serve business travellers in the surrounding area, as well as a portion of out-of-town tourists during weekdays.
The design is guided by the hotel’s operational service concept, aiming to create an upscale business hotel with the core theme of Crystal + Pure = CURE,” she adds. This idea of a crystal is a prominent theme throughout the space, and it dictated a lot of design decisions including the decorative lighting. The project features custom decorative pieces by Karidi, with general project lighting by Pak and table lamps in the bar by Kartell.
“We explored various approaches to transforming the impression of “crystal” into a visual experience by integrating lighting into soft and hard furnishings,” says Chu. “Beyond reflecting the theme, these lights also serve as essential ambient lighting elements. By utilising bright dimming scenes using Dajing controls, we precisely control the balance of brightness and contrast, creating eye-catching effects while fulfilling the lighting purpose.
“With the addition of intelligent dimming scenes, we strictly manage the brightness balance for different times or usage scenarios, extending the lifespan of the lighting fixtures while significantly reducing energy consumption.”
When it comes to blending the architectural lighting with the decorative fixtures, Chu explains how her
and the team adhered to the architectural lighting principal of balancing functionality with aesthetics.
“The primary lighting is seamlessly integrated into the architectural features and fixed furniture, meeting illumination requirements while effectively avoiding discomfort caused by direct light exposure to guests.
Localised decorative lighting is strategically used to create memorable brand elements and social mediaworthy highlights, further enhancing the hotel’s unique identity and appeal.
“Centred on the crystal theme, we explored various lighting techniques to express the essence of crystal,” she continues. “We strived to use these lighting effects to align with the theme while fulfilling basic illumination requirements. Additionally, we created a sense of depth across different lighting scenarios through localised functional lighting enhancements and intelligent dimming.
“We chose to implement a 0-10V dimming system, which provides more stable control over dimming scenes and compatibility with various lighting fixtures in later stages. However, this required mutual understanding with the client, ensuring they recognise and agree to the associated investment costs.
“The intelligent dimming system also automatically adjusts lighting scenes based on operational needs and foot traffic, effectively achieving energy savings.
“We also used high-efficiency LED lights with a luminous flux more significant than 100lm per watt, enabling us to achieve higher brightness with relatively lower wattage.”
There are multiple areas within the project that Chu and her team focussed their lighting designs on. Starting in the lobby, a striking infinity mirror crystal wall grabs visitor’s immediate attention. “This wall embodies the crystal design concept,” she elaborates, “utilising a large-scale sequence effect to create a captivating focal point for guests upon entering the hotel. It seamlessly integrates with ambient lighting to enhance the spatial layering. Guests can easily recognise this signature feature of the Crystal Hotel when taking photos.
The lighting design follows the philosophy of being a silent presence, providing relaxation, uplifting emotions, and adding emotional value to the space.
“While installing large ceiling chandeliers and decorative fixtures, we encountered the challenge of insufficient load-bearing capacity in the upper floor slab. We conducted multiple material optimisations for the fixtures and chandelier structures to address this issue, repeatedly refining and prototyping to reduce their overall weight. Ultimately, the design met our expectations and perfectly showcased the dazzling crystal brilliance or the distinctive reflective quality of mirror-finished stainless steel.”
Moving through to the elevator lobby and live cooking station area of the breakfast hall, the team utilised the texture of fluted glass to hide the lighting and signage.
“This creates a dynamic and blurred visual effect, evoking a sense of relaxation after a drink or a gentle awakening during breakfast, fostering an emotional connection for guests.”
In the meeting room, furniture and patterns were used to carry the theme through. “The meeting room’s ceiling design uses repetitive sequences to achieve visual simplicity and impact. Complex furnishing patterns echo the facets of the crystal. The colour scheme features deep blue and coffee tones, balancing the brilliance of crystal with a subdued aesthetic to align with the meeting space’s functional and aesthetic needs.”
Moving to the guestroom experience, attention
“Ultimately, the design met our expectations and perfectly showcased the dazzling crystal brilliance or the distinctive reflective quality of mirrorfinished stainless steel.”
to detail was paid through the corridors and into the rooms. “In the guestroom corridors, lighting is deliberately dimmed to give guests a transitional space to relax and decompress before entering their rooms,” describes Chu. “This design creates a warm and serene atmosphere.
“Guestroom lighting primarily features a soft 2700K colour temperature and indirect lighting to enhance the ambience while avoiding glare. Drawing from guest usage habits, we refined the control logic to create a more user-friendly and intuitive innovative lighting system. This resolves the common issues of overly complex smart controls, ensuring a more comfortable and convenient stay.
“We strive to minimise purely decorative lighting and adhere to a design philosophy centred on functional lighting to maximise energy efficiency in the interior environment. In our design, the primary visual focus
of the hotel brand is placed on three iconic modern crystal chandeliers in the lobby and a large installation above the bar area. The remaining lighting is seamlessly integrated into built-in furniture and other fixed architectural elements through indirect lighting design, achieving a harmonious balance between aesthetics and functionality.”
Challenges the team faced presented themselves through the lack of natural light. Chu elaborates: “The project’s most significant challenge lies in the building’s inherent lack of natural light, further compounded by the new sports complex under construction nearby, which blocks much of the external views and natural light. Our design focused on interior lighting without sufficient natural lighting to create dazzling crystal-like light and shadow effects. The central design theme aims to establish a dramatic ambience within the interior spaces. By leveraging adjustable lighting functions in
different areas, we created dynamic, theatrical effects tailored to various operational scenarios throughout the day.”
Reflecting on the project, Chu explains how it differs to others in the studio’s portfolio because lighting played such a key role throughout.
“Despite the constraints of the project conditions, we employed various design techniques to fully interpret the multifaceted nature of the brand name “Crystal”. We used lighting to emphasise the brand’s core concept. For example, we integrated star-pattern designs in the architectural elements with lightbox effects, applying them to different walls and ceiling surfaces. Additionally, we utilised the characteristics of the crystal’s geometric cut surfaces, skilfully using them to reflect materials. By leveraging lighting to
create dynamic and diverse light and shadow effects, we further highlighted the space’s uniqueness and the brand’s profound essence.
“The final results aligned perfectly with our expectations. During the early stages of the design process, we conducted thorough research and testing to minimise the risk of construction rework. At the same time, we strictly adhered to the design plan, ensuring that every detail was refined and fully implemented.
“We were fortunate that, despite a tight design, construction schedule, and a limited budget, we still created unique focal points for this hotel through thoughtful lighting design.”
www.vermilionzhou.com
CRYSTAL ORANGE HOTEL SHANGHAI CHINA
Interior Design: Vermilion Zhou
Design Group
Lighting Specified: Dajing, Karidi, Kartell, Pak Images: Jian Quan Wu
Using a range of bespoke solutions, the design team at Vermilion Zhou have created striking crystal-inspired chandeliers and prismatic lighting effects for the elegant hotel in the heart of Shanghai.
PROJECT
COCODY RESTAURANT
HOUSTON, USA
The latest fine dining restaurant to hit Texas that combines European experience with culinary tapestry from the West Coast of Africa. Renowned interior designer Nina Magon reveals how she masterfully wove two culturally contrasting concepts together to create a design that was elegant and sophisticated.
Houston, Texas is often described as the foodie capital of the American South, boasting an array of cuisines and food joints from hole in the walls to fine high-end restaurants. Houston has it all, or at least we thought it did until now, a new fine dining restaurant has landed and is offering a fresh perspective in Houston’s hospitality landscape. Cocody is a restaurant that offers a unique gastronomic journey that fuses its owners’ love of high-end Parisian hospitality with their native Ivory Westcoast cuisine. Established by Edwin and Edith Basso, the restaurant brings together renowned chefs David Denis, Lionel Debon, and Sylvian Denis, who came from a successful career at Le Mistrel where they caught the Basso’s attention. The final piece to the project, and challenge to conquer, was to seamlessly blend the West African culinary identity of the restaurant with a world-class establishment akin to those in Europe therefore, creating a distinct and immersive experience that will become a landmark in Houston’s fine dining scene.
Leading the design project was Austin Architect Winn Whitman who introduced frequent collaborator and Houston-based interior designer, Nina Magon. The Basso’s took Magon on to bring their creative vision to life and encouraged her to draw inspiration from far-flung places from around the world. One of the key influences came from one of Edith Basso’s favourite restaurants, Plaza Atheénéé in Paris, which influenced the colour palette of gold and pink hues, Venetian plaster, backlit marble, curved furnishings, and brass elements. Stand out features of the main restaurant include champagne brass-coloured arches and a golden horseshoe-shaped bar, crystal-lit dining room, and a whimsical lounge featuring playful details
like a Mona Lisa with a lollipop. The project took approximately two years from concept to completion, with every detail meticulously crafted to ensure an unforgettable dining experience.
“The balance was delicate, creating a space that celebrated global influences without veering into something garish, but rather, achieving an environment of refinement and timeless elegance reminiscent of Europe’s finest dining destinations” says Magon.
“We overcame this by meticulously curating materials, textures, and design elements that spoke to a sophisticated European aesthetic, while integrating subtle cultural nuances that honoured the culinary identity of the restaurant. By focusing on craftsmanship and restraint, we ensured every detail contributed to a cohesive and elevated ambiance that complemented the world-class dining experience the client sought to provide.”
Pivotal to Magon’s approach in realising Basso’s vision
was to infuse opulence and sophistication through the use of light, to ultimately craft an enchanting immersive experience. Lights played a central role and were added generously to the spaces, including 5,000 individual lights concealed within walls, stairs, and wine racks, with the help of lighting designer Andre Medena, of AM Light Studio, who dealt with all the technical lighting aspects. The decorative lighting was essential in creating Cocody’s enchanting ambiance, using custom sculptural pieces that added to that sense of luxury while aiming to still be functional and personable. The main dining room showcased a sparkling canopy of crystal lights that bathes the space with a soft ethereal glow. Created by VISO Lighting, the purpose of the installation is to provide a wow-factor centrepiece that refracts and reflects light in a subtle dramatic visual that doesn’t impede on the atmosphere or the patron’s experience.
In the private dining room, above the chef’s table
the lighting takes a more bespoke role with Preciosa’s ‘Pearl Curtain’, which is suspended at alternating heights to form a waving curtain. However, the light offers to be more than a piece sculptural art, blurring the line between functional and decorative. The chandelier’s programmable lighting systems enables for a variety dynamic sequences tailored to complement the cuisine being served. Originally intended to react to touch, the chandelier can now be programmed to create dynamic lighting sequences tailored to the patrons, adding an element of exclusivity and therefore sophistication to the space.
“Each of these elements were selected to serve a dual purpose: enhancing the functionality of the space while becoming a defining feature of its design,” comments Mogan. “The interplay of light, form, and material was carefully considered to ensure a cohesive yet dynamic experience, allowing the lighting to tell its own story within the larger narrative of Cocody.”
In the grand room, light again takes the design focus in the shape of a breathtaking, multifunctional chandelier above the bar that serves as both a striking centrepiece and a structural marvel, supporting 5,000 pounds of liquor bottles. Expertly crafted in Colorado, this captivating feature is made from translucent materials, allowing for a seamless diffusion of light and the result is a dualpurpose masterpiece that combines opulent design with functional bottle storage, elevating the space’s aesthetic while reinforcing the bar’s role as a centrepiece for the restaurant.
The synergy between the design team and lighting consultants ensured that the lighting not only enhanced the ambiance but also became a defining feature of the space, with architectural and decorative working in harmony. The architectural lighting provided structure and direction, setting the mood and defining the spatial character, while also highlighting key features such as the backlit onyx, the stairs, and other specific architectural details. This then allowed the decorative pieces such as the Wink lamp by Masquespacio and Houtique, to add a layer of drama, and a “whimsical” atmosphere that Magon repeats throughout her design.
However, not all developments of the project worked so cohesively to begin with, including significant structural constraints that required careful consideration during the installation of the liquor chandelier and the crystal canopy.
Both elements necessitated precise engineering to support its weight and ensure long-term stability without compromising the design’s integrity. For the liquor chandelier, the team collaborated closely with fabricators and structural engineers to address the challenge of supporting its substantial weight while seamlessly integrating it into the space. They also worked to ensure that lighting connections remained hidden within the translucent material and carefully diffused the light to avoid harsh spotlights, creating a soft, inviting glow that enhanced the ambiance. The crystal canopy presented its own unique challenges to managing weight considerations, the team strategically positioned HVAC vents to prevent airflow from causing the crystals to move excessively or collide, ensuring the installation retained its elegance and harmony. Magon says: “the collaboration with our manufacturers and fabricators, such as 3Form, Preciosa, and VISO Lighting, was instrumental in bringing the vision to life. Each partner brought a unique level of craftsmanship
and innovation to the project. Their ability to translate complex designs into tangible, bespoke pieces was exceptional. For example, the crystal canopy and the liquor chandelier required precision engineering and an understanding of both the structural and artistic demands, which they executed flawlessly.”
The original brief also envisioned two full height restaurant levels for the main space however, this was made unfeasible due the HVAC ducts that were to be accounted for. To resolve the issue the design team collaborated closely to incorporate a mezzanine area, this was made possible by installaing a state-of-theart HVAC system and relocating on of the main pipes. By introducing a quasi-double-height area this allowed the stunning crystal canopy to dramatically span the area and creating an ethereal backdrop. When asked if there were any aspects Maron would reconsider, in hindsight she says she would explore ways to optimise the ceiling height in the space, despite successfully incorporating a mezzanine and addressing structural
constraints. She suggests greater vertical clearance could have allowed for even more dramatic design elements, particularly in the main dining area. However, the evolution of the brief ultimately resulted in a more dynamic and multi-dimensional design, one that exceeded the initial expectations while remaining true to the client’s vision.
Cocody as an establishment already set itself apart since the inception of its unique concept. However, as a design, it stands out for its seamless integration of light as a storytelling element. From the ethereal crystal canopy to the grand custom liquor chandelier, every fixture provided functionality in the form of a piece of art. By using custom pieces alongside dynamic lighting it enhances the customer’s experience making it evident it is a one-of-a-kind establishment. When asked about what makes Coody stand out in comparison to her other projects Maron says:
“What truly sets Cocody apart is its ability to transcend traditional restaurant design by blending architectural precision with artistic expression. It is a space that celebrates the fusion of form and function, creating an experience that is as visually captivating as it is immersive. This project stands as a testament to the possibilities of thoughtful design, making it a highlight in our portfolio.”
The realisation of Cocody’s vision was a collaborative triumph, seamlessly blending the expertise of the design and project teams, structural engineers, and skilled artisans. Innovative solutions overcame challenges such as structural constraints and airflow considerations, preserving both the aesthetic and integrity of the design. Timeless yet dynamic, every detail harmonises to captivate and inspire, leaving a lasting impression on all who enter. www.ninamagon.com
COCODY RESTAURANT
Interior Design: Nina Magon Studio Architecture: Winn Wittman
Houtique, Preciosa, VISO Lighting Images: Nina Magon Studio Custom
Cocody’s
Class leading LED, fibre optic and bespoke lighting solutions
sales@fibreopticlighting.com
19 - 20 November 2025, Business Design Centre, Islington, London
Join us at LiGHT, the UK’s only trade show dedicated to high-end lighting specification.
For those working in design, it’s the best opportunity in the UK to explore new products, access design talks, and network with those across the sector. Join thousands of other industry professionals for fantastic design inspiration.
From the publishers of:
COMMENT
SABINE DE SCHUTTER
Interior Designer and Architectural Lighting Designer Sabine De Schutter, Founder of Studio De Schutter in Germany, discusses the importance of project circularity, and how to design for new spaces while restricting the amount of waste produced.
We live in a world where businesses come and go, and where interiors of restaurants, offices, and hotels need to update to stay competitive or adapt to the changing needs. But as the demand for fresh, modern spaces grows, we find ourselves facing a troubling question: how do we design and plan new, innovative and trendy lighting schemes without creating mountains of waste? Figures from the EU show that 30% of all waste in EU’s landfills comes from construction sites. This is a huge amount of wasted resources. In a time where resource scarcity from rare minerals, or water and sand, is a known fact, how can we tackle this dilemma? The answer lies in rethinking our approach. As designers we need to start planning for deconstruction from the very beginning, so that we can plan for reuse of the luminaires. From the big element to the smallest component, the entire product life cycle needs to be considered and for this we also need the manufacturers and installers to get on board.
Earlier this year, one of Studio De Schutter’s projects had to move out of their space due to issues within the building. Suddenly, we found ourselves not coordinating a construction, but a deconstruction site. All stakeholders involved were demounting with the purpose to reuse. Let me tell you - this is a different kind of deconstruction.
To start, the entire situation was painful for our client who didn’t want to leave their beloved space, and for us as designers it was sad to see our hard and creative work go after just six years. Secondly, it was painful because so many materials and components were simply still far too good for the landfill, so we had to take action. The team at Studio De Schutter had initially reached out to the respective manufacturers, but they were not interested in taking any of their products back. So, we took it upon us to find new owners for the lighting fixtures. Through our network we found new homes for almost all of the lighting fixtures, even for the bespoke lighting systems. Luckily, we had designed a modular system back in 2018 to optimise cost and reduce installation efforts. This proved to be a blessing when thinking of reusing this lighting system in different spaces. At the same time, a great learning experience for the future, always keep demolition and reuse in mind.
At Studio De Schutter this wasn’t our first circular project. In Impact Hub Berlin, which was planned between 2021 and 2022, around 70% of the materials used are recycled, upcycled or sustainable. The low prevalence of the circular approach in the construction industry led to a non-linear planning process that
required us to develop numerous ideas and undertake intensive research into suitable products from various sources. In particular, sourcing leftover stock, low-cost but sustainable products and decommissioned but functional luminaires from other construction projects required extensive coordination beyond the usual catalogue selection. Despite the unconventional approach, we were able to meet all relevant standards and our client’s brief.
In the future, I wish to see more openness to designing with existing stock. There’s no reason why second-hand products can’t look just as good as brand-new ones. As specifiers, we also want to see more lighting fixtures that are rescued, collected, and stored, ready to find new homes. This would allow lighting designers like us to give products a second life.
Another barrier we frequently encounter is resistance from installers. They often hesitate to work with used products, viewing them as a risk and that again could scare off clients and investors. Installation firms are often unsure of the product’s condition, and without manufacturer support, nor warranty, the process feels too uncertain. It would be incredibly helpful to have manufacturers provide repair kits along with clear guidelines to ensure the success of reused fixtures.
We also need more products designed to be repaired, not replaced. Standardisation of lighting components can help make this a reality, but it requires the industry to think beyond initial installation. What happens when a part fails? Can it be easily replaced or repaired? If we don’t address these questions, we’re missing a huge opportunity for sustainability. And product passports will be the next steps.
The building and lighting industries are at a crossroads. We can continue down the path of constant replacement and waste, or we can embrace a new way of thinking - one that values the full lifecycle of products. The shift towards circularity will require effort from everyone involved: manufacturers, designers, installers, and even clients. As designers it will change the way we plan. It will be a new balancing act between creativity, site-specific installations and keeping circularity in mind.
Let’s make it easier to repair and reuse. Let’s design with modularity in mind. Let’s plan for deconstruction and see every product as something that has the potential for a second, or even third, life. Our work doesn’t have to go to waste, and neither do the materials we use to create it. The time for change is now!
www.studiodeschutter.com
INTERVIEW
AXEL MEISE
In 2024, Occhio celebrated its 25th anniversary. darc’s editor Sarah Cullen caught up with Axel Meise, Founder and Chief Designer, to find out more about the brand’s creation.
With the opening of its latest showroom in London in 2023, the German lighting brand, Occhio is firmly establishing its position in the world of lighting. With its distinctive sleek aesthetic and high spec technological developments in lighting quality and control, the brand has a bright future as a leader in the premium lighting field. What other brand could pull off the suave Mads Mikkelsen as the face of a large advertising campaign?
Light and product design seems to be an innate part of Axel Meise, who began designing during his studies in the 1970s. “I have been working with light my whole life,” he explains. “First it was a hobby – when I was a teenager I began creating lighting in my family’s home, in Düsseldorf. Then, in the early 1980s, I moved to Munich for my mechanical engineering studies, which I financed by selling my first lighting designs. During my studies, the technological change from incandescent to halogen happened. I saw the great potential of this new light source and decided to start my first venture to put my ideas into practice.
“At the time I was young and inexperienced, I made some mistakes and had to sell the company. I started all over again with my own lighting store and provided lighting consultancy for end-users and professionals. This was when I better understood what the customers wanted, what the market had to offer – and what was missing.
its role within interior design: “Furthermore, we consider light to be the fourth dimension in space; with light, we can design rooms, set accents, stage highlights, create islands of light and lead the user through a room or space. And, by the way; with good light, the perception of the finest materials, structures and shapes chosen for the interior design can be enhanced. In other words, light sets the tone, without the right lighting design/scheme, every interior concept falls apart, every design piece would not come into its own.
“Our light should not illuminate a room but get a living space to shine. Light should create atmosphere that is tailored to the individual needs of the people, the rooms, the architecture and their surroundings.
“We’re often not aware of this, but light has a crucial influence on our mood and emotions. In the end, you could say, artificial light is a human cultural achievement.”
“Moreover, controlling the light in the room or the whole building is extremely important. Why? As mentioned, light creates atmosphere, light affects our feelings and mood. Light should therefore be adaptable depending on the time of day, activity, and personal mood. That’s why the light in all our luminaires and ranges can be adjusted easily, intuitively and individually, especially when you opt for our Bluetooth based Occhio air App. We call it ‘joy of use’. But of course, you can connect Occhio products to the different home automation systems based on KNX or Dali as well.”
I couldn’t find a system that covered all the needs of a lighting designer in one concept, in one quality, in one consistent design. So, I had to invent it myself.
“In 1999 I started Occhio. It was - and is – a disruptive, holistic concept, and was an instant success.”
When asked what fascinated him about light, Meise believes that it is the “source of life”.
“We’re often not aware of this, but light has a crucial influence on our mood and emotions. In the end, you could say, artificial light is a human cultural achievement. Without light, even the most beautiful interior design wouldn’t be visible.”
He continues, describing the importance of lighting and
Meise has witnessed two of the largest developmental changes in lighting during his career. Notable, the introduction of halogen lamps in the 1980s and later the banning of incandescent lamps and phasing out of halogen. Meise reflects on the latter technological development as one of the best and worst things to happen to the industry. “At the beginning [of banning incandescent], our business model along with the entire industry was turned upside down. But it soon became the start of a rapid technological shift towards the new LED technology – and therefore to entirely new possibilities in design and control. We decided to develop the electronics for this new technology in our own: a very ambitious approach, but it paid off. With highly innovative, user oriented operating functions such
“Generally, we take a holistic approach to design and our luminaire series is evidence of this: individually or as part of a connected system, Occhio luminaires unlock the power of light in every living situation.”
as touchless control, up-down fading, and the Bluetooth-based Occhio air control system, we have also created distinctive features that make our products unique in the market. In the end: LED became a game changer for us.”
Adapting with the evolving technology over the years, Occhio has managed to establish a clear aesthetic for the brand that blends inspirations from classic Italian lighting design with the wellversed attributes of German engineering – a concept that supports the origin of the brand’s name.
Meise has fostered Occhio’s distinguishable aesthetic by taking a “holistic approach” to his designs. “At Occhio, uniqueness is one of our core values” he explains. “Uniqueness in design, lighting quality and joy of use. Every series follows this path and are carefully curated by me. Generally, we take a holistic approach to design and our luminaire series is evidence of this: individually or as part of a connected system, Occhio luminaires unlock the power of light in every living situation. All our products can be combined seamlessly due to their consistent design and choice of surfaces, which blend puristic elegance with attention to detail.
“Occhio’s design philosophy has always been
characterised by purism. With the new Luna luminaire series, we opened a new chapter –towards a significantly more stylish, emotional design language, yet without compromising on the unique quality of light and magical operation.
The two new highlights of the series include: Lunanova, which shows what is possible in this area and interprets the opulent theme of chandeliers in a completely new way. The spherical appearance of the light object is an expressive statement and, together with the incredible lighting quality and unprecedented lighting effects, an absolute eyecatcher.
“Luna pura is Occhio’s first wireless luminaire, allowing the magical power of Luna anywhere, anytime. With infinitely variable dimming and a ‘colour tune’ gradient, the lighting atmosphere can be adjusted - from cool moonlight to the warm glow of a lamp, to romantic candlelight. A pura is rarely alone: one Luna pura is fascinating –multiple Luna pura are a new dimension of luxury and ease of use. Also, several of the luminaires can be controlled together via air sync – as if by magic.”
Part of remaining relevant in a fast-paced world is creating a product that is timeless and built to last. When it comes to trends, Meise promotes
IMAGES: LUNA PURA MOOD1 BY ENOKHOLSEGAARD, LUNA SOSPESO, LUNANOVA MOOD BY LAURA THIESBRUMMEL
a long-term and sustainable approach to product design. “Trends come and go. The best lighting quality will always be key for the best possible perception of your ambience. And with a growing choice of surfaces, we adapt our style options to the long-term trends in interior design.
“As mentioned above, people want to experience light in different ways, depending on their needs, their wishes, their moods. For us, this means that people want to be even more active, intuitive, and playful with light, and experience completely new ways of using light to shape their environment and enhance their well-being. With our holistic approach, our innovations and the comprehensive possibilities for control and interaction, Occhio already offers incredible possibilities. And we are already working flat-out on new concepts that you will be hearing about in the coming year.
“Let’s also talk about expectations; customers are paying more and more attention to sustainability.
Occhio stands for high quality and timeless design and therefore long-lasting, sustainable products. Of course, people are expecting cutting edge technology and innovations, which Occhio can offer on a totally new level. But it goes far beyond the products, because at the end of the day our customers buy the light from
Occhio, an experience, an added value to their life. This is our mission, to bring the new culture of light to the people because good light means quality of life.”
Reflecting on his work in Occhio’s portfolio, Meise is most pleased with his most recent collections.
“Every single Occhio luminaire series, every one of its characteristic designs, fills me with great pride. But our latest models have a special status. The Gioia series (2022) really is our redefinition of table and reading lights. A truly incredible series - technically, creatively and functionally.
“Also, with the new Luna luminaire series, we have created a completely new icon. At the last Milan Design Week, we also presented our first chandelier –Lunanova. The spherical appearance of the light object is an expressive statement and, together with the incredible lighting quality and unprecedented lighting effects, it is an absolute eye-catcher of which I am very proud. And now – brand new, our fist wireless luminaire Luna pura. It allows you to experience the magical power of Luna anywhere - at any time.”
What are the next steps for the brand, what can we expect to see from Occhio moving forward? “If you decide to go for Occhio products, you will experience the future of light today in terms of design, lighting
IMAGE: OCCHIO GIOIA LETTURA BY BOHMANN+SJÖSTRAND
“Mission-wise, it has always been our goal to raise awareness of the role that good lighting plays in our lives and the important influence it has on our wellbeing.”
quality and especially regarding joy of use. Up-down fading, colour tune, gesture control, or the Occhio air app… this is a totally new way to interact with light.
“But, more generally, we see the future as not only in selling unique, highly innovative luminaires to our customers, we also see it in the idea of ‘Light by Occhio’. Our customers will increasingly opt for a holistic lighting experience that only we can offer. They buy into atmosphere, mood, and wellbeing. They will live the culture of light by Occhio by having their living spaces designed holistically with our light so they can fully enjoy its huge value and enrich their quality of life. Instead of saying ‘I have Occhio luminaires’, in future our customers will say: ‘My light is from Occhio’.
“As a European leader, we are one of the most innovative companies, which has developed from a German design icon into an international brand in the luxury segment. I am very proud of what we have achieved so far. But of course, our ambition is to become a global player and bring Occhio’s culture of light to more and more people in the world. Mission-wise, it has always been our goal to raise awareness of the role that good lighting plays in our lives and the important influence it has on our wellbeing. When customers tell me about their Occhio luminaires with shining eyes, it fills me with great pride. “Light is passion, joy, and quality of life!” www.occhio.com
IMAGES: LEFT: OCCHIO LIGHT BY BOHMAN+SJÖSTRAND, TOP RIGHT/BOTTOM RIGHT: LUENEBURGER HEIDE BY ROBERT RIEGER
MATERIALS
THE MONUMENTAL COLLECTION BY LUMINAIRE AUTHENTIK
Luminaire Authentik envisions blending sculptural art with functional lighting. In collaboration with artist Zeynap Boyan, they created The Monumental Collection, stoneclay sculptures inspired by ancient Turkish architecture.
Luminaire Authentik, based in Toronto, Canada emphasises customisation as a core principle, offering a hands-on approach that allows customers, architects, and designers to create bespoke lighting fixtures. Since 2021, this collaborative ethos has extended to the local artistic community through an artist residency programme. The initiative invites artists to explore how their mediums, such as ceramics and metal, can interact with light, blending their creativity with the company’s expertise in functional design. By fostering experimentation and innovation, the residency highlights the shared artistry of customisable lighting and traditional art, celebrating the connection between technical skill, creative freedom, and storytelling.
Now in its third residency the Canadian lighting brand has partnered with artist Zeynap Boyan to create ‘The Monumental Collection’. This series of clay fixtures draws inspiration from the legacy of ancient civilisations and the rich cultural heritage of premodern Turkey, paying homage to the grandeur of classical architectural while blending elements from Hellenistic, Roman, Byzantine, and Anatolian artifacts into a reimagined, modern lighting design.
When asked about what it was about Boyan’s work and vision that made her fit for this term’s residency, founder of Luminaire Authentik, Maude Rondeau says:
“Through this collaboration, Boyan brings her deep understanding of materiality and her poetic approach to form, enriching our creative process. Her hand-
sculpted ceramic pieces not only highlight the tactile beauty of clay but also introduce a fresh narrative dimension to our customisable lighting, further pushing the boundaries of what’s possible when art and design come together.”
At the core of every piece by Luminaire Authentik is the harmony between tradition and modernity. Their handmade production process prioritises quality and precision, using a combination of time-honoured craftmanship and innovative designs, where lighting is both sophisticated and functional.
Boyan’s hand-sculpted ceramics presented a unique challenge: integrating delicate, irregular forms with precise lighting systems. The process involved iterative prototyping, testing, and refining to ensure the ceramic components retained their artistic integrity while meeting functional and structural requirements.
Central to each design is a hand-sculpted knob, a defining feature of Boyan’s work that enhances the organic quality of the collection’s forms. Sculpted entirely from stoneware clay, each piece undergoes an oxidation firing process, is finished with hand-brushed glaze strokes, and is completed with Luminaire
Authentik’s custom products, showcasing their artisanal approach. Boyan’s choice of stoneware clay and fire oxidation techniques allowed earthy tones and textures to be produced, grounding the collection in naturistic aesthetic while also dedicated to Luminaire
Authentik’s sustainable minimum waste practices.
MANUFACTURING PROCESSES
Sculpted entirely from stoneware clay, each piece undergoes an oxidation firing process, is finished with hand-brushed glaze strokes, and is completed with Luminaire Authentik’s custom products, showcasing their artisanal approach.
“One of the most crucial aspects to get right in the process was addressing the unpredictability of ceramics because factors such as shrinkage can occur during the fire process. Achieving consistent integration with lighting components required balancing the organic imperfections of ceramics with the clean lines of lighting design, this was both a challenge and rewarding creative endeavour.”
One of the most crucial aspects to get right in the process was addressing the unpredictability of ceramics because factors such as shrinkage can occur during the fire process.
Achieving consistent integration with lighting components required balancing the organic imperfections of ceramics with the clean lines of lighting design, this was both a challenge and rewarding creative endeavour.
“Every residency challenges us to think differently about design and innovation,” says Rondeau. “Jeremy Le Chatelier’s [first artist in residency] use of construction waste redefined our approach to materials, while Édith Sévigny-Martel’s [second artist in residency] ceramics introduced new forms and textures to our collections.
With Zeynep, the collaboration has pushed us to explore the fusion of tactile, sculptural ceramics with sleek, modern lighting systems, resulting in pieces that are both functional and deeply emotive.”
Boyan’s designs and artistic perspective is profoundly influenced by her time growing up in Istanbul and how remarkable artifacts are seamlessly embedded into everyday surroundings. She recalls how walking through neighbourhoods like Beyoğlu and Sultanahme - where churches, bazaars, mosques, and ancient ruins coexist - felt like stepping into different eras. These experiences offered a tangible sense of existing within a complex, multi-layered environment shaped by countless civilisations.
Boyan adds: “Being surrounded by such a unique blend of history, art, and architecture in daily life can feel both overwhelming and, at times, unnoticed. However, living abroad in recent years has given me a new perspective on how deeply the past informs the present. I now have a deeper appreciation for the complex cultural roots of the places I’ve lived and their ability to hold so many histories at once.
The Monumental Collection reflects this personal journey, blending classical forms with contemporary craftsmanship to honour the beauty and strength of this layered heritage, while reinterpreting it in a way that feels fresh and modern.”
The Monumental Collection was released in January with an opening vernissage, followed by a two-day exhibition in Montreal. Luminaire Authentik says they hope the collection will conjure discussions on technical processes and artistic breakthrough among the industry, while evoking the public’s curiosity and wonder to see light as a medium for storytelling and artistic expression. www.luminaireauthetik.com
As anticipation builds, Warwickshire, UK, is preparing to welcome its newest hidden gem: Hush, a private members’ club like no other. Tucked away in a basement beside the River Avon, this soon-to-open speakeasy-inspired bar promises to deliver the mystery, glamour and intrigue of the Roaring ‘20s, reimagined for a modern audience by interior design studio Black Ivy Design. With its interior scheme rooted in the Art Deco era and an exquisitely curated lighting scheme, Hush is poised to become a must-visit destination for those in search of elegance, atmosphere and escape.
The vision behind Hush is clear: to transport guests into an opulent underground world steeped in the allure of Al Capone, jazz-filled nights, and moonshine-fuelled revelry – but with a contemporary, luxury twist.
“The client wanted all the hallmarks of a classic 1920s bar, including Art Deco references, but executed with a luxurious, high-end feel,” shares Leanne Armstrong, Founder and Creative Director of Black Ivy Design. “It’s about stepping into another world – a place where every detail tells a story.”
While the journey to bring Hush to life has taken nine months, the transformation
of the basement space has been nothing short of remarkable. Challenges, including low ceilings, damp from the nearby river, and logistical hurdles with ventilation, were overcome with creativity and determination. And with the opening now on the horizon, the result is a beautifully atmospheric club that feels intimate and entirely transportive.
The basement’s low ceilings turned out to be a blessing in disguise, inspiring an innovative and layered lighting concept that lies at the heart of Hush’s ambiance [1]
“The space forced us to think differently about lighting,” explains Armstrong explains on how the layers of lighting helped detract from the low ceilings.
“We embraced layers of illumination – uplights, hidden strip lighting, wall sconces, and soft pendants with tassels [2] – all placed strategically to evoke warmth and a sultry, intimate atmosphere.”
In the later stages of the project, every detail was meticulously planned to ensure the lighting enhanced rather than detracted from the design. “The Anna Hayman Designs pendants [3] became a defining feature,” Armstrong shares, “delivering both
HUSH
Black Ivy Design has created a luscious speakeasy bar taking heavy inspiration from the 1920s era. Luxurious fabrics, rich colours and heavy patterned wallpapers all add to the layered design, which incorporate the Art Deco environment for a contemporary audience.
cost-efficiency and a perfect synergy with the warm, inviting glow of the table lamps.”
The team’s intentional approach avoided the risk of overpowering the design with excessive brightness. To infuse a modern edge and add textural depth, meanwhile, LED strip lights were thoughtfully positioned behind the furniture, creating a subtle yet impactful layer of illumination.
Warm white lighting was chosen for its ability to create a golden glow – inviting guests into a cocoon-like environment where time seems to slow. Bespoke fluted glass fixtures add further intrigue, casting soft patterns of light that ripple across the space, while nodding to the timeless Art Deco aesthetic.
The promise of Hush is not just its lighting, but also its luxurious, tactile design [4]. Velvet reigns supreme, draped elegantly across walls, adorning furniture and framing the room in sumptuous detail.
Deep reds, navy blues and Art Deco-inspired patterns [5] create a rich and inviting palette, while textured chenille wall coverings [6] add layers of sophistication. An Arte Secret Silhouettes wall mural is lit by dim spotlights [7], which ties in the colours
and textures of the space.
“We wanted to create a space that feels immersive, warm, and luxurious,” Armstrong adds. “From the fabrics to the lighting, every choice was about enhancing that feeling of stepping back in time to something truly special.”
As Hush prepares to open its doors, excitement among Warwickshire locals and beyond is palpable. The club promises to be far more than just a bar; it’s an experience – a place where lighting, materials and design harmonise to create a space that feels timeless yet refreshingly new. For those lucky enough to gain membership, Hush will be a sanctuary of warmth, texture, and light, offering a glimpse into the magic of the ‘20s, right beneath Warwickshire’s surface.
When the doors open, one thing is certain: Hush is ready to glow. www.blackivydesign.co.uk
SCOTIABANK NORTH
Scotiabank — one of Canada’s largest financial institutions — sought to create a new environment for its employees that “appreciates and leverages diversity to innovate, motivate, and build a performance-oriented culture.” A new environment that would be a matured expression of the Scotiabank brand and establish for them a global workplace strategy. The result is Scotiabank North, a new extension of the bank’s downtown Toronto campus located at Bay Adelaide North designed by KPMB Architects. Through extensive user engagement workshops aimed at understanding the culture of Scotiabank and the design elements that would enhance their way of working, employees were able to actively participate in shaping the office’s features, visual expression, and functionality. Spaces for connection and socialisation in Scotiabank North were given just as much
attention as workstations, and to maximise access to natural light for all employees, there are more open interior spaces than there are perimeter offices.
Following the Covid-19 pandemic, ideas of what a workplace could look and feel like started to change. To better engage Scotiabank’s employees, attract new talent to the office and host clients onsite, the team took inspiration from hospitality when designing Scotiabank North. They created spaces that integrate art in a meaningful way, employ high-quality materials, and prioritise human-centered design.
The project team employed Scotiabank’s corporate colours in subtle yet intentional and elevated ways, from graphic wayfinding to bespoke toned light fixtures from the Sainte collection by Lambert & Fils.
www.kpmb.com
Image: doublespace photography
TORONTO, CANADA
INTERVIEW
EKHO STUDIO
SARAH DODSWORTH
Ekho Studio collaborated with Arup to create a new, dynamic London-based office for Alexion, which was recently acquired by AstraZeneca.
Pharmaceutical company Alexion, recently acquired by AstraZeneca, has a newly completed 7,000sqft workspace located within AstraZeneca’s existing offices at St Pancras Square, London, UK.
During trade show LiGHT 24 in November last year, [d] arc media’s managing editor Helen Ankers hosted an exclusive Q&A with Sarah Dodsworth, Founding Partner at Ekho Studio, who worked on the project. Dodsworth discussed the project’s journey along with her studio’s collaboration with design and engineering firm, Arup. Ekho was brought on as lead consultant/lead designer on behalf of the client for RIBA Stages 1 to ascertain and fix the project brief and vision. Following on, it was brought into Arup’s team as the “specialist design services” to join its multi-disciplinary team covering mechanical, electrical, acoustics, environmental and general design management.
“It was of paramount importance to the client that the design solutions were as coordinated as possible, so this model of team structure was adopted,” explains Dodsworth. The brief for the new design was to enable greater collaboration to drive an innovation agenda, as well as ensuring the new space harmonised with AstraZeneca’s existing offices. These include the 21,000sqft, awardwinning commercial head office for AstraZeneca UK, located on the building’s 8th and 9th floors and designed by Ekho Studio in 2021/22, becoming the agency’s first completed project.
Helen Ankers: How did Ekho get involved in the project and what was the initial brief?
Sarah Dodsworth: We’ve been working with this client for a number of years, and this project is an evolution from a scheme that we delivered in 2022 in the same building, which was a relocation of their commercial marketing team from a huge building on the outskirts of Luton into Central London. You can probably imagine, without focusing too much on it, was a huge cultural shift for all manner of reasons - the ways of working, the approach to collaboration with partners being in central London, etc.
“It provides a space with the ability to arrive at any time of the day into an environment that’s appropriate for that, which feels beyond a typical office. ”
Over the next few pages you will find an edited recount of the discussion that took place at LiGHT 24, followed by Dodsworth’s reflections on the completed project, shared exclusively with darc.
This project is on the sixth floor of their new London HQ building, and as mentioned it’s an evolution of where we were with the other scheme. What differs with this design is that it combines workplace for a team that call it home, every day. With a reception concierge, but also significantly, a big conference meeting tech suite. What it offers is a touchdown for the senior execs - who are part of this global company - who travel all over the world, a place to drop in when they land into the UK before moving on again. So, it provides a space with the ability to arrive at any time of the day into an environment that’s appropriate for that, which feels beyond a typical office. It has the business lounge facilities, the hospitality lay down, catering facilities, and top-notch tech spaces to hold conferences, etc. All of this is combined with what you would call a workplace, with desks, quiet pods, that kind of thing.
“We had to ensure that we nailed all of that before we started explaining how we can still make this really soft, warm, welcoming.”
Ankers: What struck me when I initially saw the images was how much it felt like a hotel.
Dodsworth: Given the nature of their business, it was important the design wasn’t about frivolity and making things look nice for the sake of it, the absolute fundamentals of it were productivity, ensuring this is a place where wellbeing thrives, and ensuring it’s a functional workplace. And then what ensued around the aesthetics and the look and feel followed. There was no one in that business that would’ve taken us seriously if would’ve honed straight in on textures, colours - which we love doing by the way - but we had to ensure we gained their trust, and they understood what we were doing. For example, the investment into AV and these meeting spaces is so reliant on the lighting: the scene setting, the control element, the glare, the uniformity of light. We had to ensure that we nailed all of that before we started explaining how we can still make this really soft, warm, welcoming. It’s a much softer approach to what an office feels like. Given this is a space where people land in at any given time of the day, it’s not just a nine-to-five workspace, the layering of the lighting, the warmth, but the ability to manipulate and control those spaces from a daytime into an evening use was really important.
Ankers: What challenges did you come across and what were the key focuses?
Dodsworth: I’d say we had opportunities and challenges with this one. I’m sure anyone else involved in interiors, architecture and lighting knows what I mean when I say when you inherit a Cat A spec building - an office building - and there’s already ceilings and lighting in place, the challenges around justifying why we want to remove what’s there, which is new, which is an unsustainable approach, but it’s actually really unconducive for us to be able to create this layered, softer, more nuanced scheme. In some ways it presented an opportunity for us here because this was a previous fit out of a previous occupier that just needed stripping out.
What we were able to do within the office space significantly is define and design something quite tailored and unique that then made the lighting design intrinsic to that rather than, for example, a grid, with a format, with a uniform of light that then no matter how many lovely pendants, layers, and integrated LED fixtures you input, can get lost and not often read because the standard of light is already quite overwhelming.
So, that was an opportunity that we took, there was
“We very much have to work collaboratively with the entire design team to ensure that we’re illustrating that this works functionally, fundamentally, but equally we’re not just there to nod along and tick the boxes, but to push the agenda as well... ”
flexibility. But, conversely to that around the challenges, in the workplace it is all about uniformity of lighting.
As much as I’d love to do a little bit more around the contrast between light and shadows, we’re working with engineers and lighting designers, which require uniformity of light in these boardroom spaces and workplaces to ensure that it’s a productive environment.
We don’t want people complaining of fatigue or headaches, and the lighting is very much working with that. There’s a beautiful curved blue bespoke bulkhead in the ceiling of the large meeting space, and that caused us real challenges to get the right approach of uniform lighting without a huge proliferation of fittings that just ruined the whole installation’s curved nature. That got the engineers and the technical side ticked but also allowed us to bring in the softer elements as well.
Often, when something looks simple I think you can appreciate that it was hard to achieve to get elements looking beautiful and considered and curated.
Ankers: How was the client to work with - welcoming of new ideas or rigid with the brief?
Dodsworth: I think that is the benefit of working with a client before, isn’t it? You’ve bought some trust, and we delivered quite a groundbreaking scheme for them a few years ago, which was a game changer for them. I think
we had the opportunity there because the marketing team were a slight subsidiary of the global team, and they wanted to purposefully mix things up and do things differently. They wanted spaces that felt more hospitality focussed.
So, when we latterly do these spaces, which are very much for a corporate audience, we’ve at least got some great benchmarks, we’ve already brought them on that journey. Needless to say, there are the standards that are written within the corporate literature around the CIBSE guidance and the lux levels being 500, etc. So, we very much have to work collaboratively with the entire design team to ensure that we’re illustrating that this works functionally, fundamentally, but equally we’re not just there to nod along and tick the boxes, but to push the agenda as well and explain how the workplace has changed, as we all know, believe us there’s another way. We can get these spaces to be functional but also make them beautiful so that people genuinely want to come to work as well.
It’s about dialogue and it’s about throwing yourself into those technical workshops as well as it is then relaying that back to the client where some of the technicalities are lost but ensuring them that you’re ticking every box as it were.
IMAGE: BUSINESS LOUNGE WITH ISLAND UNIT, ACOUSTIC SUSPENDED CEILING RAFTS, DEFINED SUSPENDED LIGHTING, AND ARCHED CARVED SCREENING
Ankers: You mentioned working collaboratively with other designers on the project; do you have a lighting design team, or did you work with another studio on any lighting design for this project?
Dodsworth: At Ekho Studio, we’re all interior designers. We are massively passionate about lighting design because if you haven’t got good lighting, no matter what we do, you will only achieve so much. Even though we like to think we’re fairly well-educated, we would always collaborate. On some projects it’s a given that the design team doesn’t just have an electrical consultant, it involves lighting specialism. It isn’t always a given, so we are massive advocates - I sometimes think I should be on commission with the number of times I try to get feature lighting consultancy in on a project! As much as we have the vision and we know what we want to achieve, we fundamentally could not do that solo; we very much work as a team and rely on coming together to discuss how we achieve things and how we can do it across all the different parameters that we need to do.
Ankers: Where do you think an interior designer’s job ends and a lighting designer’s starts?
Dodsworth: I can only speak from our experiences. Our studio sees a project through to completion following the RIBA stages all the way through to RIBA
six. So, to me it doesn’t end, but obviously you have different involvements at different stages depending on how technical the stage is. You’re selling the dream, interpreting the brief at RIBA one and two, and then bringing in lighting design hopefully never later than RIBA stage three; now we need the help. We’ve sold the concept and everyone’s on board, but we really need [the lighting designers] to help us work this out.
Ankers: What were the standout features for you in terms of the lighting?
Dodsworth: They probably look very simple but I am incredibly proud of the timber rafts that we created for the office space, because when you walk in, the tone is just set. Generally, we are used to a more gridded version of ceilings, unless you have some cool warehouse or ex-industrial building. This is an a-typical office building. The fact that we could get the client on board to invest, because it is quite a bespoke, tailored solution, we wanted the natural materials and tones to create the whole story of sustainability around the choice of materiality and that connection to nature. But I think what’s really important to how we approach the lighting within the workspace, and again, this comes back to this layered lighting, was that it wasn’t just strips of LEDs throughout. Yes, we had to ensure for the uniformity, but there’s lots of downlights that provide IMAGES: QUIET ROOM WITH ACOUSTIC FINISHES AND SOFT SEATING
softer pooling of light in conjunction with something more functional. And then where we’ve got some of the suspended pendants within the collaboration zones, for me it’s really important to ensure that lighting’s not just coming down, it’s actually indirect as well. I can’t help but feel that sometimes when you go to Scandinavia particularly, they’re really good at getting the light to be indirect as well as direct and bounce off the surfaces, which creates for a softer environment. I am a migraine sufferer and too much of bright lighting really triggers me. So, I think it’s just about how people feel comfortable in the space, but then ensuring that it is productive throughout all these hours of operation. I’m also really proud of the bespoke curved blue ceiling installation that we developed, which comes off some of the original concepts around form that we wanted to do. Curves have this sort of subliminal, relaxing and softening feel to them. How do we take a very corporate client and create a sophisticated and calm space that can’t be too homely, because that would have been frowned upon - it’s sophisticated and grown up and professional. That particular ceiling was a real challenge. So, we formed this bespoke bulkhead, and the blue colour, which has a mottled texture, is formed from a natural clay product. This gives a real striking effect within the space and allows the light to bounce off something with some aggregate and texture to it. Set within that is acoustic panelling, which had to be bespoke formed to fit in our shapes and finished with beautiful handblown glass pendants dropping down. Lots of design workshops went into this feature, and
it was very much about bringing everybody on board collaboratively.
Overall, there are loads of lovely details throughout, lots of nice pendants, table lamps and integrated LEDs, which are all fabulous, but were a little more straightforward to deliver. It’s always the things that are a challenge that particularly stand out in your head.”
Reflecting on the project as a whole, Dodsworth elaborates to darc the working relationship Ekho Studio had with Arup. “This was our first time working with Arup. We learned an appreciation of the technical aspect of a fitting, so much more than what it looks like. For example, the output of a light per unit being a determining factor, which influences quantity and spacing, not least linked to the energy efficiencies too.
“The client team’s priority was always function over form and to generate spaces for high productivity. Our challenge as a project team was to find solutions that meant we delivered on functionality with a considered design approach.
“The architectural lighting elements were intrinsic to ensuring spaces are appropriately lit to suit the usage of each environment, while the decorative elements created warmth and softness, which resulted in a layered approach. This gave the scheme it’s unique edge and aesthetic and also meant that the work settings are very adaptable.”
www.ekho.studio
LONDON, UK
Interior Design: Ekho Studio
Lighting Design: Arup
Lighting Specified: Astro Lighting, Atelje Lyktan, Brokis, Diligent Lighting, Kemps, Lamp/ Wila, Light Forms, Marset, Muuto, Pholc, Phos, Stoane Lighting, Thorn, Whitecroft Lighting
Images: Billy Bolton
Working closely together with Arup on the lighting design, Ekho Studio created a hospitalty inspired environment for Alexion’s new office within AstraZeneca’s building. The scheme’s aim was to create a space that fostered productivity for an international team using the office at all times of day and night.
IMAGES: INNOVATION ZONE, FLEXIBLE FURNITURE SOLUTIONS FOR AD-HOD TEAM SCRUMS; BUSINESS LOUNGE BREAK OUT WITH BANQUETTE SETTINGS
ALEXION ASTRAZENECA
Photo
© paper softwall designed by
Stephanie Forsythe + Todd MacAllen for molo
UFO LIGHTING
SUMITOMO CORPORATION EUROPE, UK
Universal Fibre Optics was approached in September 2024 by office refurbishment specialists DMG Workplace to collaborate on an exciting project at the London real estate of the Sumitomo Corporation Europe. Located at Vintners Place, the project encompassed a major transformation of the existing office space to create a feature rich environment within a free flowing and collaborative space.
UFO’s role was to specify, manufacture and install a sparkling star ceiling in the building’s Wellness Room. The end client desired a space that seamlessly combined elegance and sustainability while maintaining a luxurious feel through contemporary design. To bring
this vision to life, UFO carefully selected its 0.75mm and 1.00mm PMMA end-lit fibre, paired with our Vega LED slimline light source. This lighting solution was ideal for the project, offering not only bright light, but also a captivating twinkle effect to the light points. Its slim shell was also perfectly suited for the small ceiling space which was available to install the unit in.
UFO was able to utilise DMG Workplace’s render artwork of the room to precisely map out the star points in the ceiling, opting for a more densely packed layout than typical.
www.fibreopticlighting.com
ARTEMDIE
REIRE, ITALY
Reire’s office lighting project, by GMRT Associati, transformed the space into a modern and functional environment, thanks to a lighting design aimed at optimising comfort and productivity. The choice of specific optics for the workstations ensures uniform, glare-free lighting, promoting concentration and wellbeing. The integration of natural light with our solutions is designed to preserve the open atmosphere and enhance the architectural features, such as the wooden trusses and glazed volumes of the meeting rooms.
Featured products from Artemide used within the space include Turn Around, Turn Around Floor, and Funivia by Carlotta de Bevilacqua and Vine Light, Alphabet of Light, and La Linea by Bjarke Ingels Group.
The lighting blends harmoniously with the materials and acoustics, creating a space that combines modernity and efficiency, enhancing Reire’s identity with a view to sustainable and innovative design.
www.artemide.com
Image: Michele Nastasi
BALANCE ARCHITECTTURA
BICOCCA
SUPERLAB, ITALY
Bicocca Superlab is a redevelopment project (LEED Gold) of a 6,500sqm space in Milan by Balance Architettura.
The pre-existing four-storey building formerly housed the offices of historic Milanese metallurgy factory, Breda Siderurgica and is located in one of the first industrial districts of the city.
Now a contemporary and adaptable workspace, the building’s original iron structure has been exposed to allow for the industrial characteristics to be appreciated as well as allowing each floor to react with space, light, and context. The upper floors are differentiated with subtle shades of colour; green on floor zero, yellow on the first floor, and coral on the second.
“The goal was to maintain the industrial memory of the building. The pre-existing structure of extraordinary precision and beauty was preserved and became the main starting element. The focus of the project was therefore to add as little as possible and work on the internal flows and functions,” says Alberto Lessan, Co-Founder and Architect.
The space is furnished with a number of high-end furniture and lighting brands. Pictured are the Werefkin lamps from Sammode, which are typically hung in a horizontal format, however the team decided to hang them in a vertical setting to create an eye-catching lighting statement. www.blaarchitettura.it
Image: bg Prometeon
FORMAT4 OFFICE & SHOWROOM
CLUJ NAPOCA, ROMANIA
The office and showroom of Format4 architects, designed and built by the firm, is a contemporary and warm environment blending natural materials and clean lines.
The choice of +Kouple lamps came naturally, as the design of the brand’s lamps met the values of the office: clean and clear design lines, natural and good quality materials and a strong sense of identity. Having wood and concrete as the main backdrop, the metallic lighting fixtures came as a stylish detail that complete the overall look and feel.
The first lamp that you set your eyes on when you enter the space is the CAP lamp, with its clean aesthetic and clear design. A circle of indirect light
creates a point of interest above the three lamps hanging at different heights above a table, adding an interesting dialogue as well as emphasising the table as the central piece of the lounge area.
Four aligned Plate lamps seem to be floating in the meeting area, adding detail, a point of interest and a hint of colour in an otherwise minimal, wood interior. Last but not least, the team selected two different colours for the hanging BLT CAP lamps, showing the gender of each bathroom and adding a focus point for each space.
www.pluskouple.com
Images: viewcatchers
Li GHT 24 REVIEW
A record-breaking 5,500 visitors passed through the doors of London’s Business Design Centre for LiGHT 24 to see the latest offerings from more than 160 high-end international lighting brands.
Now in its third year, LiGHT 24, the UK’s only dedicated high-end lighting exhibition, welcomed thousands of visitors to London’s Business Design Centre.
Held on 20-21 November 2024, the show attracted a broad mix of visitors from right across the design and build industry, including lighting design, architecture, interior design, and engineers.
Visitors were invited to attend inspiring talks and presentations from more than 35 speakers, all while making new industry connections through creatively curated networking opportunities.
New for this year, a stand-out feature of the show was the light art installationIntra-Spectrum - created by artist Frankie Boyle and powered by formalighting with Casambi control. The piece, taking the form of an immersive tunnel of reflected light, led visitors on a sensory journey into the [d]arc thoughts talks space. The installation was a big hit with attendees, providing an ideal Instagram-moment, and a rare slice of calm from the busy show floor.
As with previous years, the show offered many networking opportunities, including a complimentary late-night drinks event during the first evening. Exhibitors took full advantage of the late-night opening, with many hosting stand drinks receptions. SGM’s purpose-built bar on the gallery level was a popular draw once again, while the show floor was a buzz of activity right up until closing time.
Following proceedings on Day One, several brands took the initiative to host “unofficial” after parties, to keep the festivities going until the early hours. Showing no sign of slowing down after the first night’s antics Day Two was once again alive with activity, and saw the return of the popular LiGHT Lunch in the Associations Lounge.
This year’s LiGHT Lunch was centred around a Women in Industry networking event, hosted by representatives from Women in Lighitng, Women Lighting Professionals, Women in Office Design, Women in Architecture, and the Women in Furniture Network. The event was designed to offer an in-person opportunity to find out more about these empowering initiatives, and how everyone in the industry can show their support and work towards change.
On the show floor, visitors could experience first-hand some excellent collaborations between lighting designers and manufacturers, who worked together to create some unique and awe-inspiring stand designs. Artin Light collaborated with mawa design
on an amazing, immersive light and sound experience (a collaboration spawned from meeting at [d]arc sessions). Elsewhere, Archifos collaborated with ADO Lights on its stand design, while on the decorative side, Foundry worked with Lodes to create an exciting new way to experience its products. See more of their installation concept below.
For those visitors who still had work commitments, they could also take advantage of the on-site cafe and dedicated LiGHT Workspace, illuminated with Platek’s Eretrea collection of portable lamps.
Following the event, [d]arc media Managing Director, Paul James says: “We are thrilled once again with the positive response to the show – every year LiGHT grows in terms of both exhibitors and visitors, and it keeps getting bigger and better. With an increase in attendee numbers again this year, it’s been proven that the lighting, design and architectural communities are keen to come together and collaborate, raising the quality and sustainability of future projects.”
Helen Ankers, Head of Content for LiGHT, adds: “We are so pleased with the success of this year’s show as we expanded even further throughout the Business Design Centre. With even more exhibitors, the inclusion of a second talks programme in the Associations Lounge, exclusive light art installation by Frankie Boyle, and the Unibox [d]arc awards installation, which was given a second life as a pop-up photo booth, it was wonderful to see visitors from all corners of the design industry engaging with the new elements and I’m already excited to start planning 2025’s features and programme.”
LiGHT 25 will be held on 19 & 20 November, 2025. For all exhibitor enquiries, please contact John-Paul Etchells on jp.etchells@mondiale.co.uk. www.lightexpo.london
LiGHT Images: Natalie Martinez Photography | Olivia Ross for Streeem
LODES x FOUNDRY
Lodes lamps, conceived as functional solutions and decorative elements, came to life within the Standard Bespoke System. This system not only offers freedom of composition to illuminate any type of environment but also introduces the innovative ‘Out of Scale’ concept. Thanks to the latter, it is possible to create largescale configurations of numerous elements, allowing the creation of impressive customised lighting compositions.
On the occasion of LiGHT 24, Foundry Lighting Design Studio realised a special interpretation of this concept through a scenic dome-shaped composition with Random Solo on Lodes’ stand.
Pictured here are the initial concept sketches alongside the realised installation at the show, where visitors could see the Random Solo pendants in full scale. www.lodes.com / www.foundry.london
[D]ARC THOUGHTS
Back for another year, the ever-popular [d]arc thoughts talks programme, supported by Lutron, covered some of the biggest topics in the industry across its two-day schedule of presentations and talks.
The programme included 35 speakers across 22 sessions that covered a full range of interior design, architecture and lighting and design topics, ranging from in-depth panel discussions, to quick-fire, 15-minute presentations.
To add some structure to the programme, this year the talks were divided into five core themes - the Business of Design; Light + Interiors; Wellness; Sustainability; and the Environment.
Proceedings opened on day one with a fascinating panel discussion, led by STIR World Curatorial Director Samta Nadeem, which explored the Next Generation of Design. The panel, which included Tiziana Regalado and Isabelle Lane of Akarui, Sacha Abizadeh of WSP, and James Poore of JPLD, examined topics such as routes into the industry, eductation and mentorship.
The first track of quick-fire presentations included talks from Anna Sbokou, Founder of ASlight, on the newly formed Business of Light programme; Marcus Steffen, Founder of Akarui, on the role of a lighting designer in the wider design sphere; Luke Artingstall, Founder of Artin Light, discussed the journey that led to him starting his own practice and developing his unique style; while Juan Ferrari, Project Director at Hoare Lea, attempted to quantify the “value” of light. As the industry’s go-to “AI guy”, his talk also included references to ChatGPT, with some very creative, AI- generated images used throughout.
The afternoon proceedings on the first day, dedicated to Light + Interiors, opened with an interior design-centric panel discussion on how lighting design can enhance accessibility in interiors. Returning for their second year, the British Institute of Interior Design came together to form this panel discussion, moderated by May Fawzy of the BIID, along with panellists Carmelina Dalton of KEMSI, Lindi Reynolds of Lindi Reynolds Interiors, and Manuela Hamilford of Hamilford Design. The group discussed how a well designed space ‒ including both interior and lighting design ‒ can allow those with accessibility concerns to flourish, with reference to some beautiful case studies.
The relationship between interior design and lighting design continued into the quick-fire sessions. First, Jo Calver, Creative Director of Isla James Interiors, led an in-depth explanation of how lighting is the “secret to a successful interior”. To learn more about Calver’s approach to interior design and the integration of lighting design in her projects, check out issue #57 of darc magazine to read an in-depth interview held by darc’s editor Sarah Cullen ahead of her appearance at LiGHT 24.
In a conversation with [d]arc media’s Helen Ankers, Sarah Dodsworth, Founding Director of Ekho Studio, talked about her work on the AstraZeneca and Alexion offices in London’s St Pancras Square. Full coverage of this Q&A can be seen in our Workspace Lighting feature on p.44 in this issue.
Following Kevin Chung, Design Director at AB Concept’s comment piece in issue #56 of darc magazine on the importance of decorative lighting in an F&B environment, Wing Shum, Senior Interior Designer at AB Concept brought the conversation to life for LiGHT’s audience, declaring it the “soul of a space”.
Finally, Neil Knowles of Elektra Lighting gave a whistlestop tour of the studio’s work on the renovated Hilton Park Lane hotel, focusing on the hotel’s reception and lounge, as well as the entirely new cocktail bar.
Day one closed with a conversation between Helen Ankers and Frankie Boyle, who delved deeper into the inspirations and products powering her Intra-Spectrum installation, created exclusively for LiGHT 24.
Day two was focused around themes of wellness, both for people and planet. Kicking things off was a panel discussion led by Dr. Shelley James that focused on lighting controls, and the barriers and solutions faced when developing integrated control strategies. On her panel were Paul Nulty, Founder of Nulty, Ravi Lakhani, Head of Smart Solutions at Cordless Consultants, and Miguel Aguado, Product Management at Lutron.
Following this, Xander Cadisch of Phos talked about the “90% Challenge” and the need to redefine the indoor space, citing his recently published book, The Light Within Us, before Hugo Lyndsay-Fynn of Palladian Architects talked about how to maximise wellbeing in residential environments, and particularly the dichotomy that can exist between advancing technology and connection to the environment. To read more on this topic, brother and fellow Founding Partner of Palladian, Beatle LindsayFinn wrote an insightful piece in issue #55 of darc magazine.
Martina Frattura, Founder of the Beauty Movement, explored the relationship between beauty and light, while addressing the contemporary relevance of aesthetics in the built environment; before Seraphina Gogate of GDM Building Consultants explored how light and lighting parameters can affect neurodiverse populations, including
how inappropriate lighting can increase anxiety, stress, and discomfort.
The Sustainability theme kicked off with a non-lighting related panel that looked at the change of pace when it comes to sustainability. Moderated by Chloe PetersenSnell of Mix Interiors and featuring Adam Strudwick of Perkins & Will, Rachel Hoolahan of Orms, and Thomas Lommee of Open Structures, called for radical action and revolutionary design ideas to push sustainability forward.
Closing out the [d]arc thoughts programme, the topic turned to the envrionment. First up, Jordi Rocasalbas of Leds C4 explained the Starlight Certification for night sky preservation and how best to achieve it.
Up next, Chiara Carucci, Founder of Noctua opened up on her ongoing collaboration with marine biologists as part of the EU Life21 Turtlenest initiative, in which she is designing lighting with loggerhead turtle protection in mind. The talk examined the importance of interdisciplinary collaboration for wildlife conservation, and the role of informed design to achieve overall sustainability.
Closing the programme, Kerem Asfuroglu of Dark Source explored the trends in tackling light pollution, sharing examples of several [d]arc award-winning projects in the process.
All talks were recorded by Streeem, and are available to view on the [d]arc media Vimeo page.
www.vimeo.com/showcase/11485671
LiGHT Images: Natalie Martinez Photography | Olivia Ross for Streeem
PRODUCTS ON STAND
Artemide/Foster + Parnters
Inspired by Alexander Calder’s dynamic sculptures, Ixa is a versatile lighting family that embodies elegant balance. Featuring a fully adjustable spherical head, rods, and counterweights, the family expands through a multitude of stylish and colourful desk, floor, wall and ceiling structures, meeting a wide range of lighting needs. www.artemide.com
Cometa is a reading lamp unlike any other. With exceptional versatility, it combines a highly functional light source with an elegant and unique aesthetic. Integrated with innovative Ray Technology, glare is eliminated, and the light ray is directed forward onto the page without disturbing anyone else in the room. Cometa is the perfect fusion of unique cutting-edge technology and beautiful functional design. www.daylightcompany.com
Rosebud Castaldi
A bollard inspired by the shape of the stem of a rose. This outdoor lamp is designed to become an integral part of the garden; an external light that hides in the undergrowth, discreetly lighting up gardens, terraces, paths and open spaces. Its modular elements create a variety of compositions at several heights, avoiding the risk of glare through dedicated optics. The lamps are available in three sizes and four finishes.
www.castaldilighting.it
Bella Zoom DuraGreen
DuraGreen is a lighting brand specialising in sustainable miniature fixtures that blend style and functionality. The Bella Zoom range redefines decorative lighting with groundbreaking zoomable optics, allowing users to easily adjust beam angles from 20 to 50° for accent, ambient, or task lighting by rotating the front ring. www.duragreenlighting.co.uk
Linear Deco 68 is an elegant, wall mounted luminaire finished in bronze. It can be mounted vertically or horizontally and can be supplied in alternative finishes as required. It has multiple dimming options for both commercial and residential environments. The cylindrical design provides an even distribution while remaining decorative. www.dal-uk.com
Usable as a bollard, wall light, or ceiling light, Esse-Ci’s Clou revolutionises outdoor lighting as an innovative modular system. Its structure, characterised by a petal-shaped extruded profile, accommodates LED strips and adjustable spotlights, allowing for the creation of diffused lighting scenarios. Clou is the ideal solution for enhancing green areas, walkways, and façades, combining functionality and aesthetics for endless creative solutions.
www.esse-ci.com
Clou Esse-Ci
Cometa Daylight Company
Ixa
flexxica Jungle flexxica
Designed by Kabo & Pydo - Design Studio, this decorative lamp invites more nature into the interior, which is the primary goal of the biophilic design trend. It can be used both as a lamp and a plant pot. The lamp emits a soft, silky-smooth light that creates a relaxing ambiance. The luminaire is suspended on two fabric bands, available in various colours. The rotomoulded lampshade makes the lamp completely waterproof. www.flexxica.com
Bilo Prolicht
With its mouth-blown opal glass globe, Bilo, part of the Ghost family, becomes an aesthetic highlight, ensuring harmony in any space. With its even light distribution, it is suitable for both general lighting and creating a mood-enhancing, inviting ambiance. As a standalone fixture, it emphasises its elegant and minimalist aesthetic, while in creative compositions, it takes on a strong artistic character.
www.prolicht.at
Image: Gavriil Papadiotis
Paisley
Franklite
Introducing the all new Paisley family, a range of sleek, contemporary table and floor lamps in satin brass or matte black finish. A decorative marble base anchors these angled lamps with adjustable shades featuring white interiors. These lamps can be easily dimmed with in-line switches on the cables. www.franklite.co.uk
Roger Pradier
Hogar Moucharabieh blends tradition with modern elegance. Inspired by intricate oriental patterns, it reinvents the art of moucharabieh with laser-cut designs. This decorative light creates a unique interplay of shadows and illumination, casting a sparkling glow that enhances spaces, especially during evening hours. The collection is made by Roger Pradier, a French outdoor lighting manufacturer. www.roger-pradier.com
Image: Arnaud Childéric - Kalice Photographies
A small and simple spherical body that exalts the art of glass craftsmanship. The refined spheres generate evocative reflections of natural elements, water wavings hit by lights and shadows that mutate generating nostalgic atmospheres. They can live alone, on the ceiling, on the wall or suspended, and to be arranged rhythmically in elegant suspended configurations. www.panzeri.it
Tratti is a scenographic modular lighting system made up of floor lamps, ceiling lamps and wall sconces that stand as entities in which lighting and matter unify. Characterised by a slightly grainy white finish, noticeable even when turned off, and made of 3D printed nylon powder, these lamps are defined by a soft and diffused light that outlines the anatomical structure of the element from the inside.
www.tooy.it
Murane Panzeri
Tratti Tooy
Hogar Moucharabieh
IN FOCUS
What is the concept behind the Sipario lamp?
The Sipario lamp was designed by multidisciplinary creative studio Gupica for glass specialists Fiam Italia.
The design started with glass – the design choices for Sipario are tied to techniques for making curved fused glass, which have been Fiam Italia’s specialty for decades. So I came up with the idea for a lighting product with a very theatrical impact, but that also enhances those distinctive qualities.
What are its design inspirations?
The Sipario lamp is inspired by the world of the theatre – it captures emotions and characteristics of the stage, and transforms them into a striking yet functional object. In the theatre, the curtain – “sipario” in Italian - symbolically separates the real world from the world of imagination: as soon as it opens, the audience is enveloped in light and wonder.
How long have you been working on the product for?
About a year, since I first met with the company to discuss the project and see in person the techniques they use, through the creation of the first prototypes of the glass plates, and finally to the lighting tests with the technical office.
What was the most challenging aspect of producing this piece?
Since this is a product with a very visible light source, with a transparent glass structure that supports and diffuses it, the real challenge was finding the right intensity of the light. It had to be a bright lamp, but also adapt to rooms where a pleasant, restful light is wanted.
What technologies does Sipario use?
A special LED light source is inside the lamp, with linked chips that form a single unit. The system allows better performance in terms of light temperature, and it provides greater light output with a reduced surface area while also guaranteeing uniform luminance with a continuous band of light that lends a pleasant, evocative aesthetic element to the room.
What materials and design process have been used?
The lamp is made up of just a few pieces, but every component is fundamental and very distinctive. The main feature is the fused glass plate. Glass fusion takes place in kilns that reach temperatures between 650° and 900°C. During this transformative heating process, the glass plate is reshaped, thanks in part to gravity as well, to match the desired mold, which in this case is a corrugated-effect metal plate. The aim was to lend a rigid material the appearance of soft, flowing movement, like fabric. Finally, the lamp’s power cords are covered in a dark red textile material, an important aesthetic element that recalls the braided cords used to move old theater curtains.
Please describe the product in three words. Dynamic, Dreamy, Architectural
www.gupica.com
Images: Filippo Candotti | Simone Fico
Sipario Gupica Fiam Italia
One product, many looks.
LYSABEL
