darc 59

WINTER SERIES: MEADOW, DRIFT

MILAN DESIGN WEEK PREVIEW

AXEL SCHMID, INGO MAURER

LOBBY LIGHTING

#59

WELCOME

Spring is nearly upon us for folk in the Northern hemisphere! And we all know what that means… Milan Design Week is nearly here! At darc HQ, our inboxes are already filling up with press releases and showroom invites ahead of this year’s Euroluce. As always, this is such a busy time in the industry’s calendar with the show being a bookmark event to launch brand new collections, innovative products and unique designer collaborations. Within the short amount of time between receiving press information and our print deadline, we have collated some of the new lighting releases you will be able to catch at the show in early April.

darc has also been given an exciting exclusive from none other than the father of lighting, Ingo Maurer. His studio has worked hard to produce some new lighting pieces to launch at Euroluce, and darc’s Junior Journalist Ellie Walton was lucky enough to travel to Munich and interview Axel Schmid, Head of Design, to discover more about the studio, his work there and the brand-new product. We are very pleased to bring you this fascinating piece on p.44.

On the front cover, you will notice we have gone a little rogue with our image choice, but I couldn’t pass up the chance to feature this stunning image of Drift’s installation at the Museum of Art in Milwaukee, USA. This eye-catching image captures the blend of decorative lighting in an architectural space, beautifully juxtaposing the building’s bold lines and the delicacy of Drift’s floating, dancing pendants. Also - catch Drift speaking at Euroluce as part of its new International Lighting Forum.

Elsewhere in this issue, I caught up with founder of Amsterdam-based Studio Modijefsky, Esther Stam. This year marks the studio’s 15th anniversary, so we chatted design approaches, the interplay of light in their projects, and what it means to Esther to run an all-female design studio.

Our feature for this issue is Lobby Lighting. As part of this, we asked Chris Thornley, Associate Director at Conran and Partners to discuss design approaches to these unique spaces. We then bring you a selection of beautiful lighting solutions for a lobby environment that were entered into this year’s [d]arc awards.

This issue also features some lovely inspiration in the form of our On the Board feature, which looks at Yoko Kloeden’s Japandi-inspired interiors, as well as our Design Evolution Part 1. Featuring Schwung’s floral inspired Hana floor lamp.

Also, Manuela Hamilford of Hamilford Design, discusses the topic of biophilic lighting design and the importance of incorporating natural elements into your schemes. And, Danish designer Tom Rossau delves into his natural birch wood collection, TR7. All this, plus so much more...

The darc team looks forward to catching up with you all in Milan - drop us a line if you would like to meet up!

Sarah Cullen • Editor

FEATURED

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Interview: Esther Stam, Studio Modijefsky

On 8 March the world once again celebrated International Women’s Day. As part of darc’s ongoing celebration of the female design community, we spoke with Esther Stam, Founder and Creative Director of Amsterdam-based interior architecture firm Studio Modijefsky, which this year is celebrating 15 years of creating immersive interiors as an all-female team.

038

Materials: Tom Rossau

Two decades after its creation, the TR7 lamp remains a cornerstone of the Tom Rossau’s Core Collection. Designed in the early days of the brand, the TR7 lamp is rooted in the interplay of light and shadow.

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Exclusive Interview: Axel Schmid, Ingo Maurer Junior Journalist Ellie Walton presents an exclusive interview with Axel Schmid, Head of Design at Ingo Maurer, and the new release of Nalum.

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On Show: Milan Design Week Preview

Check out a selection of new products that will be on show at this year’s Salone del Mobile.

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

CONTENTS

PROJECTS

006

Focal Point

Winter Series: Meadow, Drift

008

Atlantis The Palm

World-renowned interiors studio Bishop Design has created not one, but two dining destinations in the lavish Atlantis The Palm resort in Dubai. Working collaboratively with Studio N, the teams have created outstanding venues for Chef Björn Frantzén’s debut in the Middle East.

022

Lina Stores Shoreditch

Lina Stores and Bar Lina Shoreditch received a historically sympathetic design by A-nrd studio for its Grade II listed location in London, UK.

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Feature: Lobby Lighting

With an introductory comment piece from Conran and Partners, we take a look at lighting considerations for lobby spaces, plus some of this year’s [d]arc awards entries with standout lobby installations.

INSPIRATION

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Design Evolution Part 1: Schwung Polish lighting brand Schwung unveils its design for a new floor lamp that takes inspiration from natural aesthetics, specifically the Camellia flower.

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Comment: Biophilic Lighting

Manuela Hamilford, Founder of Hamilford Design, discusses the importance of creating mindful spaces that have people’s wellbeing at the forefront.

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On The Board: Yoko Kloeden

Central to Kloeden’s philosophy is the Japanese principle of ‘yūgen’, which roughly translates to mean a deep sense of presence and peace found in the subtle beauty of life. Discover more about this design approach.

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In Focus: Pedregal Lanterne Atelier de Troupe discusses the design inspiration and materials behind its Pedregal Lanterne - hand-stitched leather lacework lampshades composed of parchment.

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

Finance Director | Amanda Giles a.giles@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

WINTER SERIES: MEADOW

WISCONSIN, USA

A site-specific installation created by Dutch artist duo Drift provides a contemplative space for awe and wonder beneath the soaring wings of the Burke Brise Soleil. Windhover Hall of the Milwaukee Art Museum comes to life with Meadow, the second iteration of the seasonal Winter Series. The installation by Drift open to the public during 18 January 18 – 13 April 2025, complements the organic architecture of the Quadracci Pavilion with luminous, dynamic blooms.

Described by Drift as an “upside-down landscape,” Meadow is an installation of choreographed kinetic flowers crafted with aluminium, stainless steel, robotic components, and vibrant fabric shades. The result of years of research conducted by the artist duo, Meadow mimics the deceptively simple workings of nature. The installation “blooms” - opening and closing to a gentle choreography using software researched and developed by Drift that creates an ever-changing display. The presentation is site-specific to the Milwaukee Art Museum in its number of flowers, choreography, and colours, which are inspired by North American wildflowers.

“Drift has long worked at the intersection of nature and technology, and I’m excited to present to our visitors their work within the context of the Quadracci Pavilion, a biophilic space designed by architect Santiago Calatrava,” says the exhibition’s curator Shoshana Resnikoff, Demmer Curator of 20th- and 21st-Century Design. According to the architect, The Quadracci Pavilion’s design “responds to the culture of the lake: the sailboats, the weather, the sense of motion and change.” Movement and interrelatedness among things play an important role in Calatrava’s work, and this sentiment is also echoed in Drift’s Meadow installation.

“We are honoured that we have the opportunity to immerse our artwork Meadow in the awesome space that is the Calatrava building of the Milwaukee Art Museum,” says Lonneke Gordijn and Ralph Nauta of Drift. “As longtime fans, it was a dream to design this artwork specifically to fit Windhover Hall. We worked with the perspective to draw the eye into the height of the open atrium to make visitors wander through the space vertically.”

“The first Winter Series presentation was a remarkable success, and I’m delighted to continue the series with an installation that transforms this iconic space into a gardenlike setting for everyone who enters the Museum,” adds Elizabeth Siegel, Chief of Curatorial Affairs at the Milwaukee Art Museum. “Meadow will leave visitors wonderstruck.”

www.studiodrift.com

Image: Front Room Studios courtesy of the Milwaukee Art Museum

ATLANTIS THE PALM

World-renowned interiors studio

Bishop Design has created not one, but two dining destinations in the lavish Atlantis The Palm resort in Dubai. Working collaboratively with Studio N, the teams have created outstanding venues for Chef Björn Frantzén’s debut in the Middle East.

Conceptualised by Chef Björn Frantzén, who holds three Michelin stars for his restaurants in Stockholm and Singapore, FZN and Studio Frantzén, at Atlantis The Palm, both offer an immersive dining experience where exceptional cuisine meets artful design.

Studio Frantzén, is the first of two Middle Eastern ventures from Frantzén. The space represents a fusion of gastronomic artistry and immersive design. Leading the design process was Paul Bishop, founder of Bishop Design, supported by lighting consultants, Studio N and lead design consultants, Bluehaus Group. Known for their skills in merging bold creativity with atmospheric experiences, the interior design studio was chosen for its ability to complement Frantzén’s culinary ethos with creative, innovative spaces that seamlessly blends storytelling in both taste and visuals.

Studio Frantzen opened its doors to diners in October 2024 and marks Frantzén’s debut in the Middle East. The restaurant brings the chef’s distinctive blended Nordic-Asian vision to Dubai, in a space spanning 4,305sqft. Diners are immersed into the Frantzén experience throughout the main dining room, stylish bar, a dedicated candy room, and a private dining area. Each space in the restaurant has a distinct aesthetic yet are connected by a cohesive narrative that draws from the mystique of Nordic landscapes, blending natural textures with luxurious details that create an environment equally rooted in both Dubai’s vibrancy and Scandinavian heritage. The scheme features a curated colour palette that reflects Nordic landscapes shaped by nature and folklore. Copper accents, reminiscent of mining heritage, blend seamlessly with terrazzo-tiled flooring

“It [meeting Björn face-to-face] was one of the best decisions in shaping Studio Frantzén because to truly understand him as a person, his world, his psyche, and what makes him tick, I had to immerse myself in his universe.”

PAUL BISHOP, BISHOP DESIGN

that morphs into carpet, a nod to the moss underfoot when journeying through woodlands. A custom-made candlelight chandelier by Truelux, which dominates the main dining area, pays homage to the limited sunlight in Scandinavia, where candlelight is a soulful element of daily life. This ambiance celebrates the Nordic reverence for light, with subtle textures and handcrafted elements bringing a bespoke quality to the space, enhancing its charm and allure. Speaking of how his studio became involved in the project, Paul Bishop says: “It all started with a meeting with Atlantis. I told them - rather than meeting Björn over Zoom, I’d prefer to jump on a plane to Sweden and meet him in person. From the moment we met, there was an instant creative synergy - we just clicked. It was one of the best decisions in shaping Studio Frantzén because to truly understand him as a person, his world, his psyche, and what makes him tick, I had to immerse myself in his universe, understanding his philosophy,

and his approach to food and experience. That’s what laid the foundation for the design.

“When we were appointed in October 2023, the project had already begun, but the original design wasn’t what the partners were looking for. We had the opportunity to elevate and refine the vision, while staying true to its DNA. It took one year from the moment we came on board until its launch in October 2024.

“The brief was storytelling - pure and simple. It wasn’t just about creating another restaurant; it was about designing an evolving journey that unfolds over time, a space that doesn’t just exist but is experienced. Every zone had to be curated to evoke emotion and curiosity, guiding guests from one immersive moment to the next.

“We didn’t want to dictate how people should feel - we wanted them to connect their own dots, to discover, to interpret, and to immerse themselves in an environment where no two visits are ever the same.”

IMAGES: PREVIOUS PAGE: STUDIO FRANTZÉN MAIN DINING ROOM WITH CANDLE CHANDELIER BY TRUELUX, ABOVE: STUDIO FRANTZÉN BAR AREA

Continuing, Bishop discusses Björn’s character and influence on the scheme: “Björn is a purist, a culinary genius, and Dubai thrives on culinary drama, immersion, and sensory impact. It was the perfect match, but from a design perspective, we needed to ensure both were authentically represented. To achieve this, we wove a deeply rooted narrative into the very fabric of the space. While on the surface, it feels immersive, fun, and constantly evolving, beneath it lie subliminal messages and subtle references to both Swedish culture and Björn’s sensibilities.”

Delving into the lighting scheme, Lama Arouri, Managing Director of Studio N describes Studio Frantzén as a “celebration of light”.

“We designed a lighting scheme rich in playfulness and ambience. The overriding goal was to deliver a layered aesthetic that radiates warmth and character, while celebrating the decorative elements that make the interior design story so unique.”

Bishop continues: “Studio N were brought onboard as the lighting consultants, and their expertise was invaluable in shaping the atmosphere of Studio Frantzén. They dedicated countless hours, even beyond the launch, to fine-tuning the lighting, ensuring that every nuance was just right.

“Lighting is about mood, perception, and storytelling, fundamentally influencing how a space is experienced, so working with specialists ensures that every detail is meticulously refined to complement the overall design narrative. They bring technical precision and an understanding of how light interacts with materials, textures, and movement, elevating a space beyond just aesthetics. It was essential to create a space that shifts, evolves, and transforms throughout the evening. The interplay between architectural and decorative lighting, the careful balance of warmth and contrast, and the subtle ways light enhances spatial perception were all critical to achieving this.”

Leaning into the Scandinavian influences on the project taking notes from the region’s long dark nights, Arouri describes the use of candlelight as a key element of the scheme. “The beauty of candlelight is a fundamental part of the decorative lighting and manifests through a stunning bespoke chandelier featuring “floating” candles. The chandelier soars above the dining area and dominates the space, so the rest of the architectural lighting in this scheme is concealed and subtle to give the decorative lighting language space to breathe.

“The art of layering is fundamental to Scandinavian design, and this is illustrated through the decorative lighting,” she continues. “Aside from the main chandelier, the scheme features a mix of luminaires that don’t vie for attention, instead, they are soothing to the eye and add depth and materiality to the interior.

There are deliberate juxtapositions, so the delicacy of the candlelit chandelier is contrasted by a dramatic architectural ceiling, and the sleek metallic floor lamps are complemented by elegant, fluted pendants, both supplied by Truelux.

“Different lighting techniques were used to create mood transitions across the restaurant. A good example of this is the distinction between the lighting in the intimate seating booth and the showpiece bar.

In the booth, all you see is one single downlight, which does just enough to illuminate the table and highlight the red drapery and upholstery. The lighting in the bar is more dramatic – the whole space glows with design intensity due to the way light has been integrated into

the joinery and bar counter to make the surfaces come to life.

“The architectural lighting plays a supporting role, creating warmth and emphasising the tactile richness of the interior narrative. Where possible, light fittings were concealed in the architecture and surfaces through indirect lines of light and subtle interventions. Guests feel the effect of the light, but the visual aesthetic is calm and composed.

“The lighting design in Studio Frantzén was an exercise in beautiful contrasts - clean lines are offset by intricate details, minimal pieces are balanced with big expressive focal points, and dimly lit, intimate areas flow into bright, welcoming spaces.”

Speaking of the overall design and how closely it remained to the original brief, Bishop adds: “The brief didn’t necessarily change, but it did evolve. The foundation remained the same, but we fine-tuned it to suit the Dubai demographic and the context of Atlantis The Palm. A key addition was the candy room -

IMAGES: STUDIO FRANTZÉN FEATURING BESPOKE DECORATIVE LIGHTING DESIGNED BY STUDIO N, CREATED BY TRUELUX

something that wasn’t in the original plan but became an essential part of the experience.

“But beyond physical elements, the concept also deepened. It became about more than just the five senses - it tapped into something more profound, more psychological.

“At Studio Frantzén Stockholm, guests ascend in an elevator where the music builds, the lights intensify, and a euphoric anticipation takes over. That kind of energy is something we wanted to capture in Dubai -not through an elevator, but through visual storytelling, curation, lighting, and atmosphere.

“The goal was to heighten emotions, to play with perception, to create a space that lingers with guests long after they leave.”

Switching gears now to look at the design for FZN, a fine dining experience also located in Atlantis The Palm by Chef Björn Frantzén and designed by Studio N and Bishop Design.

Originally entrusted to another design firm, the FZN project faced challenges in meeting Chef Frantzen’s high standards. With the project already in progress, Bishop Design was called in to reimagine the space and bring the vision to life. The design team reinterpreted the concept to reflect Frantzen’s legacy and commitment to culinary artistry. The result is a space that elevates the dining experience, blending luxury, with whimsical elements and accessories.

Upon the push of a doorbell, guests enter through a private entrance, and are greeted into a space of plush textiles, statement lighting elements, and a muted colour palette all which work in unison to evoke the feeling of entering a private home.

The restaurant’s centrepiece is its open kitchen, where up to 13 guests can dine. This transparent approach emphasises Frantzen’s dedication to culinary artistry, making the dining experience personal and engaging. Additionally, four intimate low-set tables for a further

IMAGES: LEFT: STUDIO FRANTZÉN, RIGHT: ENTRANCE TO FZN

14 guests ensure that every diner feels connected to the experience. Gentle lighting throughout the space highlights key elements, including the kitchen and bespoke artwork, creating a warm and inviting ambiance.

While the restaurant shares the same level of sophistication as the resort, it stands apart with a design that focuses on intimacy and sensory indulgence. The location within The Avenues allows FZN to offer a discreet yet opulent experience, creating a refined dining destination that feels personal and inviting.

“FZN is the refined, intimate counterpart to Studio Frantzén, but from a design perspective, both venues were developed simultaneously as a single project yet two separate experiences,” explains Bishop.

“FZN had to be an immersive, highly curated journey. Unlike Studio Frantzén, which is high-energy and dynamic, FZN was about exclusivity, intimacy, and stripping fine dining down to its most personal and profound form. It was about dissolving barriers between guest and chef, creating an environment where the experience feels more like stepping into someone’s private residence than entering a conventional restaurant.

“The design had to ensure that the transitions between spaces felt fluid and were carefully orchestrated to create a subconscious shift from the warm, welcoming living room space to the moody, immersive dining area below.”

Studio N worked in partnership with Bishop Design to produce a lighting scheme packed with layers and intrigue. From the cleverly choregraphed arrival sequence, through to the flair and ceremony of the chef’s table, every element of the FZN journey has been illuminated with purpose and imagination.

The entrance to the restaurant is intentionally inconspicuous, illuminated only by a subtle solitary downlight on the door. This entices guests inward where they are welcomed by a softly lit reception. An enveloping layer of light at the base of the desk adds warmth to the space and highlights the contrasting smooth and textured finishes of the craftsmanship.

Moving upstairs, guests are then greeted by an upsidedown tree adorned with smoked crystals. The artwork is framed by a circle of light from the ceiling, creating an otherworldly atmosphere.

“As guests move into the heart of FZN – the show kitchen – a moody, high-contrast lighting scheme takes centre stage,” describes Studio N. “Focused beams spotlight the chef’s table and transform the kitchen into a performance space, where every detail of the process is highlighted and celebrated.

“In the nearby dining area, 10° narrow beam downlights cast halos of ambient light onto the tables below, and a stunning Bomma chandelier complements the proportions of the domed ceiling. The lighting design in this space has been integrated into the architecture with cheflike meticulousness to emphasise details such as the decorative niches, the red tiles behind the joinery and the gold patterns across the dark walls.”

One of the main challenges the teams faced was balancing a cohesive lighting scheme across the two floors, ensuring a certain level of intimacy and exclusivity was maintained.

“The concept needed to escalate as guests moved deeper into the experience, ensuring that each transition felt deliberate yet effortless,” explains Bishop.

“To achieve this, every movement through the space had to be carefully choreographed while still feeling like a natural evolution. Guests begin in the serene, churchlike entrance, before ascending to the living room on the upper level, designed to feel like an elegant private residence.

“From there, they descend into the subterranean dining space - the “copper mine,” buried in the belly of the mountain, where the full culinary spectacle unfolds. One of the biggest challenges in this area was how light interacted with the plated dishes. Too warm, and the intricate details disappeared; too cool, and the ambiance risked feeling clinical. To counter this, we integrated a bespoke dimming system that allows the space to adapt effortlessly, mirroring the natural progression of the evening.

“The design needed to feel seasonal, transitional, and deeply personal to Björn. Every element was crafted to reinforce the idea that this experience isn’t just about

dining - it’s about movement, transformation, and sensory immersion.

“By embedding this rich narrative into the very fabric of the space, we’ve created something that doesn’t just serve a meal - it orchestrates an entire experience.”

Decorative lighting was key to reinforcing the different stages of the culinary journey for guests. Arouri elaborates: “In the reception and showpiece kitchen, you see elaborate and sculptural bespoke pieces that are a visual representation of the artistry and creativity of the food. These pieces set the tone when guests arrive and imbue the kitchen with movement and character.

Elsewhere in the lounge, where guests relax and soak in the atmosphere before they start their gastronomic experience, the decorative lighting is cosy and domestic in tone to evoke a more relaxed and familiar feel.

“The relationship between the decorative and architectural lighting is symbiotic. A good example of this is a bespoke lighting feature in the reception that is simple in form and features strong linear lines. The minimalist aesthetic is carried through to the diffuse lines of light that you see embedded in the architecture and furniture.

“The architectural lighting heightens the atmosphere, especially in the key transition spaces where the goal was to keep things subdued and intriguing, while the

IMAGES: BOMMA AND LASVIT FEATURED IN FZN

decorative lighting adds to the allure and originality of the experience.”

Bishop adds: “Lighting is the silent orchestrator of emotion at FZN, shaping the journey and guiding guests through the experience we’ve created. Studio N served as our lighting consultants, bringing their expertise to ensure that lighting wasn’t just functional - but deeply experiential.

“Unlike conventional restaurant lighting, which remains static, FZN’s lighting evolves throughout the evening, with each shift meticulously calibrated to heighten a specific moment of the journey.

“Studio N dedicated countless hours to fine-tuning every detailadjusting colour temperatures, dimming controls, and fixture placement - ensuring that the interplay of light and shadow felt organic, immersive, and seamless.

“Ultimately, lighting at FZN doesn’t just set the mood - it defines the entire experience. It guides the emotional arc of the evening, subtly enhancing intimacy, spectacle, and drama, ensuring that every moment is curated, immersive, and unforgettable.

“As guests descend into the subterranean dining space, the mood shifts.

Deep shadows, burnished metals, and moody lighting create an almost cinematic quality, heightening the anticipation of what’s to come.”

Reflecting on the two projects, Bishop explains how Studio Frantzén was never just about aesthetics, but about creating an experience that lingers, going beyond traditional design and taps into sensory perception on a

deeper level. “The space was designed to reward curiosity - it doesn’t reveal everything at once,” he says.

“Instead, it unfolds over time, offering new details, new moments of discovery with every visit. It’s a design that feels alive, constantly evolving, shifting as the evening progresses, as light changes, textures deepen, and the energy of the space transforms.

“I always say, the best designs aren’t just seen, they’re felt, and that’s exactly what we’ve achieved here. Studio Frantzén isn’t just a restaurant; it’s an experience, a journey, a story that guests become part of.

“The uncanny similarities between Björn and me, made a huge difference in this project. That connection shaped everything. It wasn’t just about designing a restaurant, it was about designing his world, his essence, his story. Ultimately, it was about crafting an experience that feels like stepping inside Björn’s mind.

“Early on, we quickly realised just how alike we are. We share the same interests, the same music taste, the same humour. Because of that, I instinctively understood what he wanted and how to manifest that into a space that felt right for Dubai without losing the brand’s identity. It wasn’t about adapting; it was about translating the essence of Studio Frantzén into this new setting.

“The restaurant is a journey that takes guests through a mystical Scandinavian Forest, through layers of contrast, light and shadow, artwork and accessories warmth and mystery. The mural above the

IMAGE: FLOS PENDANTS, FZN

atrium ceiling is a great example of this, it tells the story of the gods of Valhalla looking down at the guests, yet even they can’t get a seat at Frantzén. It’s this kind of mythical storytelling, this blend of darkness, whimsy, and sophistication, that makes the space so unique. It’s beautiful but eerie, refined but rebellious, constantly inviting curiosity and discovery.

“If I had to pick one standout element; it would be the ceiling composition,” he continues. “Its fragmented structure mirrors the canopy of a Nordic Forest, where pockets of darkness filter through like the prolonged twilight of Scandinavian winters. These raw, natural elements of Nordic landscapes have been subtly reinterpreted, creating a space that feels both organic and immersive.

“And then there’s the chandelier suspended beneath ita feature that went through its own journey of evolution. What began as a single concept was deconstructed, reimagined, and refined through multiple iterations before reaching its final form. It’s a nod to the Scandinavian relationship with candlelight - something deeply ingrained in their psyche. Beyond its function as a source of light, it carries a ritualistic, intimate, and profoundly emotional significance, born from enduring the long, dark winters. For me, it’s those details that define the space - elements that haven’t just been incorporated for aesthetics, but because they evoke, narrate, and resonate.

“Honestly, I don’t believe in the idea of a “finished” project - there’s always room to push things further, explore new layers. But as it stands, Studio Frantzén delivers exactly what it was meant to - an experience that feels alive, immersive, and ever evolving.

With more time, I would have loved to explore even deeper sensory engagement - more interactive moments, more storytelling elements woven into the details. Who knows? Maybe we’ll take it even further in the next outpost.”

As for FZN, Bishop describes the destination as “unlike anything else in Dubai”.

“The brief remained consistent throughout the process. However, the design naturally evolved as we refined how to execute the vision in a way that felt even more immersive and seamless.

“Rather than making drastic changes, it was about deepening the experience, ensuring that the transitions between spaces felt intentional, emotionally charged and became part of the storytelling.

IMAGE: BOMMA CHANDELIER, FZN

“Every element was designed to heighten the intimacy, drama, and exclusivity that defined FZN. It wasn’t about altering the concept, but about enhancing how it was brought to life.

“It’s not just about fine dining - it’s about breaking down the barriers between chef and guest, making every moment feel personal, exclusive, and immersive.

“The concept of having a dedicated chef for every course is something I haven’t seen done at this level before. The direct interaction between guests and the artisans behind their meal transforms dining into a fully immersive journey. It’s no longer just about the food - it’s about the story behind each dish, the technique, the inspiration, and the connection. And the design had to do the same.

“The two-floor layout plays a crucial role in shaping this experience. From the entrance to the upper-level living room, the stage is set, designed to feel more like stepping into an elegant private home than a traditional restaurant. Every element - the textures, the lighting, the curated artwork - works together to establish a sense of intimacy and exclusivity.

“Then comes the descent - the shift from warmth and familiarity into a moody, theatrical setting where the culinary spectacle unfolds right in front of them. Unlike Studio Frantzén, which is bold, high-energy, and dynamic, the journey at FZN is understated yet deeply symbolic. Even something as simple as ringing a doorbell at the entrance immediately shifts the perception - this isn’t just dining, it’s a private, curated experience.

“It’s this layered emotional progression and sensory immersion that makes FZN a first-of-its-kind dining experience.

“I wouldn’t have changed anything for this project. Of course, there are always things that could have been done differently, but in terms of the final outcome, FZN delivers exactly what we set out to achieve.

“If anything, with future outposts, I’d love to explore even deeper layers of sensory engagement - further enhancing the seasonality, the transitions, and the way the space evolves throughout the evening.”

www.wearebishopdesign.com www.studionlighting.com

“It’s not just about fine dining - it’s about breaking down the barriers between chef and guest, making every moment feel personal, exclusive, and immersive... The direct interaction between guests and the artisans behind their meal transforms dining into a fully immersive journey.”

PAUL BISHOP, BISHOP DESIGN

Bishop Design and Studio N worked tirelessly to create detailed schemes for both Studio Frantzén and FZN restaurants for Chef

Tapping into rich cultural heritages and natural elements as sources of inspiration, the venues create immersive and memorable experiences for their diners that combine design and culinary journeys as one cohesive experience.

ATLANTIS THE PALM

Interior Design: Bishop Design

Lighting Design: Studio N

Lighting Specified: Articolo, Berg, Bespoke pieces by Truelux, Bomma, Collier Webb, Flos, Karakter, Kooij Images: Natelee Cocks

Björn Frantzén.

LINA STORES SHOREDITCH

Lina Stores and Bar Lina Shoreditch received a historically sympathetic design by A-nrd studio for its Grade II listed location in London, UK.

Set in a grand Grade II listed bank on Shoreditch High Street originally built in 1868, Lina Stores Shoreditch is the new East End venue for the iconic Italian restaurant, design by award-winning design studio A-nrd.

To begin with, the studio stripped back a lot of the space’s modern alterations and reinstated the historic fabric of the building, restoring it to its original grandeur, while infusing a dose of Lina Store’s signature Italian elegance.

Seating 150 across two floors, the vast space is a mix of an open plan brasserie-style restaurant, a private dining room, a hidden basement cocktail bar, making the new opening a destination from day to night.

Speaking of their involvement with the project, Alessio Nardi, Founder, and Lukas Persakovas, Director, of A-nrd sit down with darc to discuss the studio’s design methodologies for the project.

“We were approached by the White Rabbit Group – the group behind Lina Stores,” explains Nardi. “They had seen our work and wanted us to come on board to create something special for Shoreditch, which is their flagship restaurant. We had a very open brief as they trusted us to interpret their brand in a very authentic way.”

“It’s always an open conversation with the client,” adds Persakovas. “We usually go through a preliminary concept phase, which is where we will show mood boards and raw ideas in the form of sketches to test

“As a studio we have a background in lighting design, so we always try to bring a mix of bespoke, vintage and off the shelf lighting pieces to a project.”

ALESSIO NARDI, FOUNDER A-NRD

the water before we dive deeper and begin to design in detail. As the client had a very open brief and we’re very experienced in creating spaces that cater to various needs (the client, the staff, the customers), it was a very easy project.”

Upon entering the building, guests are welcomed by a vast coffered ceiling featuring traditional half-sphere pendants, created by A-nrd and Lights.On Design, and decorative steel pillars, which instantly create a statement. Taking inspiration from post war European brasseries, the scheme combines past and present details. In line with the studio’s ethos, the design avoids overbuilding by repurposing and valorising existing structures and finishes, walls and windows. Exposed plaster walls contrast with the painted niches and arched panels in pistachio green, a colour that is intrinsically linked to Lina Stores.

A mixed variety of tables and seating options are spread across the dining space, all with an unobstructed view to the open kitchen. Bespoke low-level banquette seating designed by the studio and upholstered in a dark Hunter green jacquard velvet, frames the main restaurant window area and adjacent wall. Collective groups of empty wine bottles stacked behind banquettes, together with dark oak wall panelling and custom steel table lamps designed in collaboration with A-nrd and Lights.On create cosy intimate corners for diners.

A wall-to-wall bar and open-plan kitchen feature counter seating for 11. Enhancing the existing arched bays, A-nrd created a bespoke back bar with a tilted mirror top reflecting the glossy green textured tile accents and Italian apéritifs on display. 1950s tubular design is a recurring theme across the restaurant and is a design detail that is carried through the custom lighting designed by A-nrd in collaboration with Lights. On, which feature arched brushed steel stems and deco-esque opaque globe shades. Taking cues from the work of Carlo Mollino at the Torino Teatro Regio,

the design is realised as wall lights and as a central lighting installation between seating banquettes, which creates a visual balance between the low seating and high ceilings.

In the private dining room, the arched bespoke wall lights are continued, poised to frame diners with a soft, warm illumination and aesthetically pleasing element of symmetry.

“Decorative lighting helps create the narrative so it’s always very important,” explains Nardi. “As a studio we have a background in lighting design, so we always try to bring a mix of bespoke, vintage and off the shelf lighting pieces to a project.

“Something to always consider is the type of illumination - this needs to be right or it can create the wrong atmosphere - for instance on the ground floor brasserie, we mostly used diffused lighting with fully opaline glass fixtures. This was in the form of traditional half sphere pendants, and large opaline globes on curved brushed steel stems. The custom brushed steel table lamps, which sit behind some of the wall booths, were designed to also illuminate with a very diffused glow so that across the space, there are no glaring light sources or severe light.”

Hidden behind an unmarked door painted in deep burgundy is Bar Lina located in the basement. In contrast to its brighter counterpart upstairs, Bar Lina is a moody, monochromatic and burgundy delight with soft lighting and reflective surfaces that create an intimate and glamorous ambience.

The long, monolithic communal bar is illuminated with low hanging bespoke brass pendants, which hang from a ceiling that retain their natural texture painted in a high gloss dark red hue.

Lit from above, drapery adds a warmth and softness with their colour and texture reflected around the room creating a cocooning atmosphere. Complementing the statement bar table designed by A-nrd, a matching Rosso Levanto cocktail bar with illuminated back bar and a DJ booth combine to create an evocative and expressive space, which is an instant talking point.

Flowing through the lower level, the lounge area has a bougie vibe and continues the monochromatic aesthetic. Punctuation walls and mirrored arched alcoves, lighting is a mix of wall sconces from Flos, which provide a soft wash of illumination and a vintage chrome chandelier by Gaetano Sciolari.

Located in what was the bank’s vault is a semi-private

booth, which evokes a 1970s New York vibe with an Italian flare. Featured in this space are Esagonale pendants by Bruno Munari for Danese in a light chrome finish. These provide the only contrast in the entirely red room, adding a luxurious touch to the space and drawing together the lower-level palette.

“Bar Lina on the lower ground floor is much moodier and here we employed more directional light, so the bespoke fittings are fully encased in chrome metal,” says Nardi.

With regards to designing bespoke lighting pieces for their projects, A-nrd always start the process with a lot of research. “For this project we looked at vintage Italian lighting, in particular Carlo Mollino,” explains Nardi. “We then take those influences and our designs and translate them to the architecture of the building. With this project we wanted to make sure the lighting fit exactly with the architecture; for instance the ceiling lights purposely take up half the coffers and the table lights fit harmoniously with the panelling size.”

“ [Working with Lights.On] was very much a collaborative process,” says Persakovas. “We have worked with them before, so we provided them with our ideas and initial design direction and developed the lighting in more detail using their expertise as lighting designers.”

When balancing the architectural lighting elements with the decorative, Nardi expands, explaining that the aim was for them to both complement each other.

“The decorative lighting mostly provides accent and diffused light while the architectural lighting, which is mostly in the form of spotlights and LED strips, bring functional light were needed (behind shelves, on pathways, etc).

“Lighting really is key within hospitality design; it can make or break a customer’s experience. You don’t often and likely won’t notice a well-considered lighting scheme, but you will always remember a bad one, so it’s important to get it right. People want to feel at their best, relaxed and comfortable when out dining/ drinking and the wrong light can make you feel the opposite.”

Persakovas adds: “Given the historical nature of the building, we had to be sympathetic and consider what could be done - for instance on the ground floor we avoided wall lights as the conduit route would not be straightforward. Instead, we opted to integrate table lights and arm lights behind booth seating so that cabling could be done through the floor and up.”

Reflecting on the completion of the project, Nardi highlights that the scheme stayed true to the initial brief, with only minor adjustments made along the way. The project did, however, pose differences and unique experiences compared to other projects the team has completed in their portfolio.

“The duality of the spaces is something quite unique,” says Persakovas. “We have designed other, two-floor restaurant and bar spaces, which had semi contrasting atmospheres, Casa du Frango at Heddon Street springs to mind. Downstairs its Green Room cocktail bar stands apart from the main ground floor restaurant, but the contrast isn’t to the same extent as with this project. The brasserie and Bar Lina are two very different design languages, and their contrast is a real surprise and delight.”

Nardi adds: “The standout feature has to be the grandeur of the building. We were able to apply our strengths in refurbishment with the project. As a studio we always focus on valorising the existing architecture of a space. The building had seen numerous unsympathetic modifications over the years as a high street bank, so it was great to strip that back and see so many original features preserved especially on the ground floor – the coffered ceiling, wooden panelling, marble mosaic floors - which we could celebrate and really build into the design concept.

“We wanted to create a space for Lina Stores that felt authentic and familiar, but at the same time was surprising. Developing the material and colour palette, I believe we created a richly layered interior for both levels, full of subtle design details, which celebrates the fabric of the historic building and creates an immersive and new Lina Stores experience.

“There honestly isn’t anything we would change; the design is pretty close to our initial concept and we are really satisfied with it. The response to it has been incredible so we’re happy!”

www. a-nrd.com

LINA STORES

LONDON, UK

Interior Design: A-nrd Lighting Specified: Bespoke Lights.On Design, Flos, vintage Gaetano Sciolari, vintage Esagonale Pendants by Bruno Munari for Danese.

Images: Lina Stores Shoreditch: Adam Firman and Mark Anthony Fox. Bar Lina: Felix Spector

Using a variation of bespoke fixtures, sourced pieces and vintage finds, the team at A-nrd have created a eye-catching design for Lina Store’s new location in the heart of London. Being respectful to the building’s history, the team have brought the original features back to life all while maintaining Lina Stores’ signature Italian flare.

INTERVIEW

ESTHER STAM

On 8 March the world once again celebrated International Women’s Day. As part of darc’s ongoing celebration of the female design community, we spoke with Esther Stam, Founder and Creative Director of Amsterdam-based interior architecture firm Studio Modijefsky, which this year is celebrating 15 years of creating immersive interiors as an all-female team.

Esther Stam is a designer that is captivated by all things authentically crafted and the human experiences that surround this. People are at the heart of everything she does, from designing thoughtful and culturally inspired venues to fostering a collaborative working environment in her studio.

“Knowing how something is made, whether it’s the space itself or the objects that fill it, reveals insights that create unique designs rooted in each specific location. Esther’s work is founded on her belief that a design is stronger when in harmony with its environment,” describes her studio. “She plays with a space’s dimensions, and fills it with craftsmanship, colours, and materials to tell rich, involving stories. By exploring the contrast between abstract ideas and the solid nature of construction, Esther creates new worlds that entice, engage and envelope.”

Speaking with darc, we wanted to discover Stam’s approaches to design, business leadership, and what it means to run an all-female studio.

Starting things off in typical darc fashion, we discussed her studio’s approach to using light in projects and the role decorative lighting plays in their schemes.

“Lighting is one of the most powerful tools in design,” she says. “It defines mood, highlights architectural elements, and enhances textures and materials. But more than that, lighting guides movement and directs the eye - it leads you through a space, shaping how you experience it. That’s why at Studio Modijefsky, we always weave light through our interiors, working with a mix of indirect and direct lighting, accents, and statement pieces. Decorative lighting should always work in harmony with natural light, complementing it rather than competing with it. For us, lighting is essential in defining an interior, just like texture, shape, volume, material, and colour - six tools we use to develop a unique, tailormade design language for every project.

a circle with a fish tail - which appears in different forms, such as around a column at Polly, where the metal tails act as supports, or at Leo, where a marble tail ornament sits beneath the light sphere. At De Witt Brasserie & cinema spaces, we designed custom fixtures that reference the building’s past as a monastery, with arched light lines and aged brass mesh evoking the feel of a cloister. And at Museum Arnhem, we created a massive chandelier that fills the impressive height of the space. Its arches mirror the historic dome, and each one emits a slightly different light temperature, subtly glowing, brightening, and dimming at their own rhythm - giving the chandelier an almost living presence within the room.”

When asked about what considerations need to be made when specifying decorative lighting in a project, Stam adds: “Lighting is more than just function - it’s a layer, a chapter in the story we’re telling, and a way to highlight the spatial qualities that already exist. It can be a red thread running through an interior, connecting different elements and guiding the experience of a space.

“Lighting is one of the most powerful tools in design. It defines mood, highlights architectural elements, and enhances textures and materials. But more than that, lighting guides movement and directs the eye...”

“We always consider how a fixture interacts with its surroundings, the type of light it emits, and how it strengthens the overall narrative. Often, it’s a combination of custom-designed pieces and carefully specified fixtures that together create depth and atmosphere. We love collaborating with craftspeople who experiment with new techniques or revive nearly lost ones, creating pieces that aren’t just about trends but truly add to the richness of a space.

“Natural materials play a big role in our designs, as do brands and designers who explore the qualities and potential of materialswhether through innovation or by embracing nostalgia, like marbled globes or cut glass. These traditional techniques, slowly disappearing as factories shut down, bring a unique warmth and character that is hard to replace.

“Light itself can have a form, like a neon installation or a sculptural fixture, a colour that shifts the mood, or a materiality that interacts with its surroundings, such as glass or alabaster. That’s why we often create our own lighting designs, always considering the context, culture, and history of a space.

“For example, in one of our project’s, Hotel Rumour, the lighting was inspired by the shape of a wall in the Burcht van Leiden, making it a direct reflection of its historic setting. In our Goudvisch projects, we designed multiple light fixtures based on the logo we created -

“Beyond aesthetics and craftsmanship, lighting helps create a strong sense of place. That’s why we would love to take on more large-scale hotel projects in new locations, beyond the places we’ve worked so far. Working internationally, in significant cultural settings, would allow us to fully immerse ourselves in local crafts, techniques, and materials - letting decorative lighting become an even more integral part of the story.

“Over the years, we’ve built relationships with makers who specialise in everything from semi-finished products to fully custom creations - whether it’s neon, spun-metal fixtures, 3D-printed lighting objects,

“A big learning curve has been mastering spatial storytelling. Designing spaces that not only evoke emotions but also leave a lasting impression. A process I’ve become deeply passionate about, as it’s where design truly connects with people.”

or sculptural pieces crafted with robotic arms. Frederik Molenschot (Studio Molen) is another great example; his work blurs the line between lighting and art.

“I also love brands that create lighting so subtle it almost disappears - beautifully engineered spotlights that blend seamlessly into a space, as much as those that make bold, expressive statement pieces. Some brands truly excel at this balance. For me, it always comes down to the authenticity of materials, a sense of timelessness, and a strong, unique identity.”

Turning the conversation to Stam’s role as founder of her business and the team she has cultivated around her, she tells us some of the key elements she has learnt through business ownership.

“Building and leading Studio Modijefsky for 15 years has been an incredible journey full of lessons. One of the biggest takeaways is that running a studio is just as much about people as it is about design. The right team is everything - people who bring their own creativity and ideas but also support each other and push one another to do better. Flexibility is just as important, because every project, client, and challenge are different. And I’ll never underestimate the value of balancing the business side of things - understanding contracts, managing budgets, and staying organised is just as vital as the creative work.

“But above all, I’ve learned how important it is to stay true to yourself. To follow your own compass: what excites you, what inspires you, and what fuels your

passion for design. Your way of working, your signature, your vision. These are what keep you inspired and make your work meaningful for both yourself and those around you. That’s why it’s so important to surround yourself with like-minded people, people who share your energy, believe in what you do, and trust you. And to make space for life outside of work, because often, it’s the things we see, read, or experience elsewhere that spark the best ideas.”

Upon reflecting over the last 15 years, some of the biggest learning curves Stam has had to overcome are found in finding the delicate balance between creative ambition and real-world constraints such as budgets, regulations and functionality. “Over time, we’ve learned how to adapt and set boundaries, understanding when we need to compromise to stay within practical limits, and when to push for design that truly reflects our vision. Sometimes that means adjusting to fit the needs of the client, and other times, it means holding firm on our creative choices. We’ve honed our ability to create spaces that are not only visually stunning but also durable and functional.

“Another big learning curve has been mastering spatial storytelling. Designing spaces that not only evoke emotions but also leave a lasting impression. A process I’ve become deeply passionate about, as it’s where design truly connects with people.”

Running an all-female team was not an intentional move on Stam’s part, but it has become a characteristic that

IMAGES: HOTEL RUMOUR, DE WITT BRASSERIE AND CINEMA, MUSEUM ARNHEM

Paisley, satin brass finish floor and table lamp with adjustable shade and marble base also available in a matt black finish.

is celebrated in her practice. “It wasn’t intentional at first, but over the years, our team naturally evolved into a powerhouse group of women - talented, driven, and deeply passionate about design. And that has brought so much to the studio. Interior architecture is about being the spider in the web, creating a vision that needs to be carried out by many different hands, across disciplines, and brought to life in the best way possible. That means leading, motivating, problem-solving, and making sure the design stays strong through every challenge, whether it’s technical feasibility, inventing new solutions, testing materials, or working within budgets and timelines. Our team excels at this because they not only bring creativity and skill but also a strong sense of collaboration. They are team players, both within the studio and in the complex network of a project.

“I truly believe the world needs more female influence in design. There is an incredible strength in women, but also a certain softness that makes for a powerful combination in our field. We’ve had occasional male interns, and men are always welcome here, but the reality is that we see a lot more women applying. And what matters most is passion, talent, and the ability to bring people together. That’s what makes our team so strong.

“For me, having an all-female team has brought so much more than just great design - it has shaped the culture of the studio itself. I firmly believe that more women should be in leadership positions, and I see Studio Modijefsky not just as a platform for design but as a place where young designers can grow, gain confidence, and establish themselves as professionals. Over the years, I’ve seen team members evolve into

strong, independent designers, and that process is incredibly inspiring. It’s a space where creativity, collaboration, and mutual support thrive, and that energy feeds back into everything we do.

“On a personal level, I’m constantly motivated by my team: their ideas, their dedication, and their drive push me to dream bigger and grow further. They challenge me to expand my own boundaries and be the best at what I do. And beyond that, it also shapes our design approach. There’s a deep instinctiveness in the way we work, an emotional sensitivity to spaces that goes beyond just aesthetics and function.

We don’t just create interiors; we craft narratives that make spaces feel personal, immersive, and meaningful.”

As an influential role model in the design field, darc asked Stam who some of her inspirational and influential figures have been in her life and career. Plus, what advice would she share with budding female designers.

“Some of the most inspirational women for me include Kelly Wearstler, Dorothée Meichozon, Rachel Whitehead, and Es Devlin. These women have not only shaped the design world but continue to push boundaries with their unique, visionary approaches. I also find inspiration in women across various fields -business, art, and creativity - who lead with resilience, vision, and the courage to challenge conventions.

In the design world, I’m also inspired by figures like Ingrid Donat, Patricia Urquiola, Lina Bo Bardi, Tracy Emin, Faye Toogood, Hollie Bowden, and Charlotte Perriand. Each of them brings something special. Whether it’s their innovative materials, their boldness in design, or their willingness to break with tradition.

IMAGE: VAN STAPELE RETAIL & BAKERY

“Stay open to opportunities, and when they come, dive in, even if it feels like a big leap. Trust yourself, your creativity, and your own path. ”

“Believe in your vision and trust your instincts. The design industry can be tough, but persistence and passion will take you far. Surround yourself with people who inspire and challenge you, and don’t be afraid to take risks. Also, understanding the business side of design will give you the freedom to create on your own terms.

“It’s also important to talk to people - ask them how they’ve done things and be open to learning. Stay open to opportunities, and when they come, dive in, even if it feels like a big leap. Trust yourself, your creativity, and your own path. Don’t be afraid to start from the bottom. Everyone starts somewhere, and it’s never about getting the perfect project from the start. You have to put in the work, learn from the experience, and keep going.

“We live in a time where social media can make things seem instant, but I believe in putting in the hours, staying open, and knowing that one thing leads to another. Know what makes you unique and understand that having a genuine personality can take you a long way. Ultimately, it’s about connecting with people - finding that chemistry - and making sure you speak your dreams into existence.”

Looking to the future, the studio is set to release a second book in their Making Space series, Making Space: projects 2021-2024. The first book was launched in 2020, pulling back the curtain on its design process, highlighting the materials that inspire them, the projects they’ve brought to life, and the stories they aim to tell through their work. “Compiling the book allowed us

to pause and reflect on what we value most: designing spaces that feel rooted in their surroundings, resonate with those who use them, and invite people to feel at home.”

Looking ahead, Stam highlights that in 2025, there will be a shift in the studio’s focusto creating spaces that people want to “travel to – places that offer more than just function, but immersive spatial experiences”.

“Hotels, restaurants, and destinations that evoke emotion and storytelling through design. And at the top of our dream list - a cocktail bar in New York, one with moody lighting. We’ve dreamed about it so much that we already have a colour palette and the ideal purple plum-coloured lights in mind. We’re constantly exploring new materials, techniques, and ideas to elevate our work, staying curious and committed to crafting environments that not only tell better stories but also draw people in.

“But my real dream is a hotel. A hotel in a special location. Hotel projects are different because they have a longer timeline and so many different spaces to design - from the lobby to the cocktail bar, from the restaurant to the wellness area, and, of course, the rooms. This gives us the opportunity to create a truly beautiful design language and tell a richer, multi-layered story. A story that weaves in history, local crafts, techniques, materials, colours, and resources. Generating an ultimate sense of place.”

www.studiomodijefsky.nl

IMAGE: TEAM STUDIO MODIJEFSKY

DESIGN EVOLUTION

SCHWUNG

CREATIVE STUDIO

For Part 1 of our next instalment of Design Evolution, Polish lighting brand Schwung unveil its designs for a new floor lamp that takes inspiration from natural aesthetics, specifically the Camellia flower. Catch Part 2 in issue #60, our May/Jun edition.

At Schwung, founded over a decade ago by Dominique Sente (Belgium) and Rudi Nijssen (Netherlands), craftsmanship and artistic vision converge in sculptural compositions of solid brass and glass, forming enlightened objects that transcend time.

Hana - meaning ‘flower’ in Japanese - embodies the quiet elegance of the Camellia, a blossom radiating purity and serene energy. Drawing inspiration from the essence of nature, the Hana floor lamp, an eagerly awaited new masterpiece in the meticulously crafted collection, evokes profound connections to the world around us.

In the pursuit of a dialogue between ethereality and strength, from a variety of materials, borosilicate glass - delicate yet resilient - was chosen for the cloche, handblown by a master artisan. An additional refinement - sandblasting its surface - enhances the remarkable light dispersion, reminiscent of sunlight gently filtering through the morning mist. This subtle interplay of form and glow is designed to elevate space, bringing the tranquil allure of nature indoors. www.schwung.design

COMMENT

MANUELA HAMILFORD

Biophilic Lighting: Designing with Nature in Mind. Manuela Hamilford, Founder of Hamilford Design, discusses the importance of creating mindful spaces that have people’s wellbeing at the forefront.

In the evolving landscape of interior design, there is a growing recognition of the importance of creating spaces that do more than just look good - they need to make people feel good too. Biophilic design has been a particularly powerful tool in transforming interiors and is increasingly discussed - it was even the subject of a recent panel discussion I was a part of at last year’s LiGHT 24 exhibition in London. The concept centres around reconnecting people with nature and natural light cycles, which have been shown to positively impact wellbeing, emotions, and sleep patterns. Biophilic lighting enhances both the aesthetic and emotional experience of a space.

When I founded my interior design studio, my goal was always to create spaces that foster wellbeing and happiness. Biophilic design has long been present in interiors, traditionally seen as maximising natural light and incorporating natural materials. However, we are now delving deeper into its psychological aspects. A Human Spaces research report found that biophilic design can improve productivity by 6% and boost creativity by up to 15%. It’s not just about adding a skylight - it’s about thoughtfully integrating lighting in a way that connects a space to the natural world. In our projects, we are reassessing our approach to biophilic lighting, which has become a key element in modern interior design, both residentially and commercially.

At its core, biophilic lighting is about designing with the natural world in mind, creating lightscapes that mimic the rhythms, colours, and qualities of natural light. Natural light plays a vital role in how we experience a space, influencing our mood, energy levels, and even our health. By harnessing the principles of biophilic lighting, we aim to enhance the sense of connection to nature, even when indoors.

One of its key principles is mimicking natural light cycles - incorporating daylight and its changing qualities while using artificial lighting to replicate the warmth, intensity, and colour temperature of natural sunlight. Having grown up in Italy, I am particularly aware of the challenges in a city like London, where natural light can sometimes be scarce. Introducing lighting that mimics outdoor light can significantly improve the experience of a space.

Incorporating biophilic lighting starts with a deep understanding of how light behaves in nature. The first step is to maximise natural light wherever possible - large windows, skylights, and open spaces are crucial in ensuring daylight is used to its full potential. However, natural light cannot always meet the needs of every space, particularly in the evening or in areas lacking direct access to windows. This is where thoughtful artificial lighting comes into play. We often use a combination of warm, diffuse light to replicate the glow of daylight. Dimmable LED lighting in soft white and amber tones allows us to simulate the natural progression of daylight, from the bright glow of morning sunshine to the gentle hues of evening. The goal is to create an indoor lighting environment that reflects the shifting colours of the outdoors.

Throughout the day, sunlight transitions from warm yellow in the morning to crisp blue at midday, before softening to deep reds in the late afternoon and evening. Blue light, similar to natural skylight, stimulates serotonin production, promoting alertness and focus. As night falls and blue light diminishes, melatonin levels rise, encouraging relaxation and sleep.

Striking the right balance between these two hormones can significantly impact sleep quality and overall wellbeing.

Beyond lighting temperature, the quality of light is key. We integrate layers of lighting - ambient, task, and accent lighting - to create a balanced effect that suits the needs of a space. Ambient lighting fills a space with overall illumination, task lighting focuses on specific areas or functions, and accent lighting highlights particular features or artworks.

We incorporate biophilic lighting into a wide range of projects, from luxury residential homes to commercial spaces. Each project provides an opportunity to explore how light can transform a space and evoke a connection to nature.

One particularly memorable project was a penthouse in central London, where the client was passionate about bringing nature into their urban home. We installed large floor-to-ceiling windows to flood the space with natural light, complementing this with carefully selected lighting fixtures inspired by organic forms. Tree-branch-shaped pendants and softly glowing table lamps brought a sense of the outdoors inside. We also integrated adjustable LED lighting systems that allowed the temperature of the light to shift throughout the day. Knocking through walls to open up the space and using glass doors to divide areas maximised light flow. Additionally, we incorporated living green walls, wood, and other natural materials to enhance the biophilic experience.

In commercial spaces, biophilic lighting has been linked to increased productivity and creativity. Offices that integrate natural elements and lighting often report higher employee satisfaction, improved focus, and enhanced collaboration. In our designs, we have found that biophilic lighting fosters a more positive, energised environment - whether in a home, an office, or a restaurant.

The benefits of biophilic lighting extend far beyond its visual appeal. Research shows that exposure to natural light - or light that mimics it - has a profound impact on health and wellbeing. Natural light helps regulate circadian rhythms, leading to better sleep and increased daytime energy levels. It also improves overall health by reducing stress and anxiety. Looking ahead, demand for biophilic design, particularly in lighting, is only set to grow as more people recognise the importance of creating spaces that support physical and mental wellbeing. Advancements in technology, such as dynamic lighting systems that adjust in real-time to changing daylight conditions, will further enhance the impact of biophilic lighting on the spaces we design. www.hamilforddesign.com

MATERIALS

TR7 BY TOM ROSSAU

two decades after its creation, the TR7 lamp remains a cornerstone of the Tom Rossau Core Collection. Designed in the early days of the brand, the TR7 is rooted in the interplay of light and shadow.

Tom Rossau has always been captivated by the interplay of form, light, and material. What began as a personal fascination with shape and structure evolved into a celebrated design philosophy that thrives on exploration and play. It also lies in the curvaceous landscape and ethereal light of Rossau’s birthplace Odsherred, Denmark. With a focus on the intriguing relationship between geometry, materiality, and light, his work is a celebration of timeless craftsmanship and elevated design.

Since establishing his design studio in Denmark in 2005, Rossau has continued to refine his signature approach, crafting sculptural lighting pieces that transform when they’re lit. His designs, particularly the TR7, highlight the beauty of slatted construction and the dynamic relationship between natural and artificial light.

The inspiration behind the TR7 stemmed from discovering a material rather than a predefined concept. Rossau was initially working with white plastic for a different lamp design between 2003 and 2004 however, unsatisfied with the “feel” of the plastic he sought out something more tactile and began to experiment with flexible wood veneers. His search led him to the remarkable 0.7mm-thin translucent birch plywood, a Finnish three-ply veneer that possesses both rigidness and flexibility.

“Once I had this material in my hands, it proved it was able to do so much more,” says Rossau. “It went from

being an aesthetic choice, of wanting a more organic look, to being the start of the design process. There were more design options as a consequence of how the material was behaving being both rigid and flexible, lightweight and translucent. There were quite a few possibilities to the material when it came to shaping, and creating three dimensional shapes. It was very much a question of the mechanical behaviour of the wood veneer strips.”

The TR7’s signature design is defined by overlapping slats of wood veneer that shape both light and shadow. Available in birch veneer or white PC nonwoven, the lamp diffuses a soft, inviting glow for an intimate atmosphere. The collection includes pendant, floor and table lamp versions, making it a versatile choice for commercial and residential spaces. Rossau describes his light fixtures as “light-emitting sculptures”, for they act as pieces of art that enhance a space when switched on or off.

The journey of the TR7 wasn’t without its obstacles. In early experiments the birch veneer proved too rigid and would tear itself apart under tension. Rather than forcing the material, Rossau embraced the natural behaviour of the wood.

He says: “The very first time I tried to make a lamp with the birch veneer, the material exploded. We used that experience to create new designs, while learning how to work with the material. One of the first things I had

MANUFACTURING PROCESSES

“There were quite a few possibilities in the material when it came to shaping it, to creating three dimensional shapes. It was very much a question of the mechanical behaviour of the wood veneer strips.”

At the core of the Tom Rossau studio and TR7 production is the principle of HIHH meaning Human Intelligence, Human Hands, with the belief that the majority of production is done by hand and in Copenhagen. While some modern technologies like 3D printing are used for internal components, the design and assembly are fundamentally manual.

to look at was the full production process of the fixtures. Breaking the production into smaller parts, with glueing processes, drying time, using staples, and so on. I let the material lead the design process, rather than the other way around.”

At the core of the Tom Rossau studio and TR7 production is the principle of HIHH, meaning Human Intelligence, Human Hands, with the belief that the majority of production is done by hand and in Copenhagen. While some modern technologies like 3D printing are used for internal components, the design and assembly are fundamentally manual, keeping the Rossau design and production process the same as it has been for 20 years, therefore maintaining a level of artisanal craftmanship. For Rossau it is important to celebrate the natural qualities of wood and its ever-changing state, allowing its so-called imperfections to create unique versions of the TR7.

Sustainability is also at the core of the TR7 and the Tom Rossau brand, with 90% of its materials sourced in Europe and the fixtures produced in Copenhagen minimising milage on material. The company has also made a dedicated pledge to responsible production by planting one tree per light fixture that is sold. By focusing on a timeless design that is both ideal for its core customer base and adaptable and customisable for architects and interior designers – creates a product that is built to last generations rather than fleeting trends.

Twenty years on, the TR7 remains a testament to Tom Rossau’s core values – simplicity, honesty, and emotional resonance. Whether it’s a private home setting, commercial setting, or a high-end project, the light emitting sculptures prove thoughtful and great design comes through a vision to create something that can stand the test of time. www.tomrossau.com

AXEL SCHMID

The Ingo Maurer studio is one of the most renowned lighting brands in the world with a reputation as creators of luminous art, transforming functional light into extraordinary design statements. Six years after the passing of its visionary founder, the company continues to honour his legacy while forging a bold future of its own.

In this exclusive interview, darc’s Ellie Walton sits down with Axel Schmid, Head of Design, to discuss his own journey into light, Ingo Maurer, and explore the brand’s unique philosophy.

Axel Schmid’s journey with Ingo Maurer started 30 years ago when he was a student in Stuttgart, Germany. His teacher, Richard Sapper had taken a sabbatical and invited Ingo Maurer to step in and teach. After completing his studies in 1997, Schmid looked for work in the design industry, first applying at the Konstantin Grcic office in Munich where he was unfortunately turned down; however Grcic encouraged Schmid to drop by whenever he was in town. On one such visit, while en-route to a ski trip, Schmid went to see Grcic, and on a whim decided to also visit his old teacher Ingo Maurer at his studio, hoping for advice on how to get a job in design. It was in that moment Maurer offered Schmid a job – and from there his journey in design began. After his ski trip of course!

Initially Schmid viewed lighting design as temporary venture, planning to stay for six months to a year before moving onto other design fields. As a young designer, he had aspirations to explore as much of design as possible - from staircases to planes and more, however, several factors kept Schmid working at Ingo Maurer for two decades.

variety of work the company takes on as a continuous challenge. While the work is concentrated on lighting, the materials that can be experimented with and the range of designs that can be produced is remarkable.

“In an average day I can go from drawing, model making, clients presentations, to supplier negotiations, and production discussions and it extends beyond traditional design such as interacting with architects and other designers, as well as other manufacturersmaking each day different. So, suddenly I had this really colourful day job and there wasn’t a moment I thought - now I’m ready for the next thing, because I never felt like I was repeating myself and getting tired,” says Schmid.

“No matter what job you do, who you work with makes such a difference. The collaborative and passionate environment in the studio fosters a sense of belonging.”

“First and foremost, it’s the people,” says Schmid. “No matter what job you do, who you work with makes such a difference. The collaborative and passionate environment in the studio fosters a sense of belonging.”

Secondly, his inquisitive and curious hunger has never been left starved at Ingo Maurer, as he credits the

As Maurer grew older, questions about the company’s future began to arise. When Schmid joined in 1998, Maurer was already 66-years-old, an age where people commonly retire in Europe. However, Maurer never intended to step away, continuing his work and unwavering passion for lighting design. As the company evolved, he remained deeply invested and eager to see where it would go. The unique combination of a design studio with its own production – a rarity in the industry – offered a creativity and structural stability that many other workplaces lacked.

Since Ingo Maurer the company was established in 1966 it has grown into one of the most respected

“He, [Ingo Maurer] was sometimes driven by insecurity, he always wanted to be better than what he had done before and he wanted to achieve more than what some might think he was capable of. So, to achieve this he created a space where anything is possible. ”

and worshipped lighting design companies in the industry and when darc magazine was offered the chance to visit the studio in Munich earlier this year, it was an opportunity we couldn’t say no to. Upon arriving in Munich, it became clear Ingo Maurer’s presence extended far beyond the showroom walls, as everywhere one passed an Ingo Maurer novelty could be spotted - from illuminating airport shops or glowing from apartment windows. More than just a cult following in the design community, Ingo Maurer is clearly a proud part of Munich’s history. Yet, according to his colleagues the man behind the studio’s name was never quite satisfied and was defined by his relentless pursuit of innovation and uniquely openended approach to design, always striving to push boundaries and reimagine what was possible – this approach has inevitably trickled down to the rest of the team and become the studio standard when it comes to design.

“He, [Ingo Maurer] was sometimes driven by insecurity, he always wanted to be better than what he had done before and he wanted to achieve more than what some might think he was capable of,” says Schmid. “So, to achieve this he created a space where anything was

possible. Maurer didn’t want to create an idea, and we all follow his direction, he wanted everyone’s unique input and take on a completely different journey from that same starting point because people’s unique thoughts, experiences and upbringings will take on different directions and cover a wider field of possibilities.”

One of the latest novelties from the Ingo Maurer studio is the Nalum, a pendant luminaire debuting at Milan Design Week, alongside the Shhh! and Dish Rack wall light. During our visit earlier in the year, darc was given exclusive coverage of Nalum, which features a transparent linear glass tube that serves as a vessel for a second ‘floating’ vertical glass piece, shaped with fluid, undulating contours. Handblown in Italy, the Nalum appears to be entirely sculpted from water and light. Emphasising its maritime connection, tiny surfer figurines ride the waves and rips in the glass, adding a whimsical touch to the piece.

The design was created by Sebastian Hepting, a member of the Ingo Maurer team, who was inspired by the movement of waves and the interplay of light. The name Nalum combines the Hawaiian word for wave Nalu – which also signifies reflection and

Photo

© paper softwall designed by

Stephanie Forsythe + Todd MacAllen for molo

contemplation - with Lum, evoking illusion of light. Hepting’s vision stemmed from a fascination with creating a transparent glass luminaire free of visible technical elements. This was achieved by seamlessly integrating the light source, which is subtly achieved by holding it in place by magnets within the outerglass tube, providing both uplight and downlight. Additionally, the suspension enhances the dynamism, using a single filigree cable running through the luminaire, to direct light precisely. The inner floating glass is also flexible, allowing the user to constantly re-stage the wave shape and the resulting lines of light. Determining when a project is truly finished remains one of the biggest challenges at Ingo Maurer. Unlike traditional production development, the studio avoids rigid design freezes, preferring to remain open to new possibilities until the very end.

Schmid says: “Often you may find an idea and initially you are very enthusiastic. I’ll stand there in front of the lamp, and my colleague Julian Auch [Designer] will come over and give a fantastic input, and then another colleague comes over to tinker with the idea and before you know it you are leaving the day thinking ‘wow this is great’ - but then the next day you find yourself completely unsatisfied and starting all over again.”

Suppliers can often introduce unexpected constraints, such as material availability, prompting the team to reconsider and refine their designs rather than completely deviating from the original concept. While this fluid approach could seem inefficient to other lighting brands, it embodies the essence of what Schmid calls the “Ingo Maurer-way”, where innovation is driven by curiosity, adaptability, and an openness to the unexpected.

The initial design process begins from a source, what that source may be ranges but typically starts with the material, whereas lights such as Dish Rack came from an untypical source, in this case an image of a turn-of-the-century kitchen. However, what’s key is that the source of inspiration tends to be something unexpected or unusual. While many would assume that material choices are predetermined, as we’re learning, the company’s approach is far more organic.

Schmid says: “I encourage and count on my colleagues to have an interesting life and experiences, and from that they should stumble upon interesting things. That’s how unusual materials and ideas enter our company because someone started riding motorbikes and was inspired by an engine leak, or took a vacation and found a unique perspective on their environment. So, this is why I emphasise to my team to have an adventurous life, so they can live, they can enjoy and be inspired to create.”

When materials aren’t sourced externally, the team takes a laboratory-approach, rigorously evaluating each option for its compatibility with electricity, transparency, heat resistance, and overall aesthetic.

Given the company’s small-scale production, they often rely on simpler materials, making use of handcrafted techniques that would be impractical for mass manufacturing. Thus, the hands-on approach allows them to create pieces that feel distinct and personal, embracing imperfections that set them apart from industrial designs.

One example of this philosophy in action is the use of eggshells in the Reality Lamp, which was kindly gifted to the visiting journalists at the Ingo Maurer event. The idea emerged from a longstanding fascination with eggshell as a material and its shape, as well as its interaction with light and its potential as a housing structure for the embryo. While collaborating with a pigment expert, the team discovered the unique qualities of eggshell as a surface treatment, its delicate texture and subtle translucency made it a fantastic material to use in various projects, including a five-metre-long egg-shaped installation with an eggshell finish for a private client in the Caribbean. The Reality Lamp takes this concept further by using an actual eggshell, challenging conventional product design. The designer behind the piece, Theo Möller, was drawn to the idea of creating a lamp both fragile and seemingly impractical. Despite the risk of breakage during production, packaging, and even customer handling, the team embarked on the challenge and named the piece Reality to reflect its daring nature and the fact that in reality this lamp is simply an eggshell. Similar to the way the studio approaches inspiration and material, the team embraces technology into their philosophy too. Rather than simply incorporating new technological advancements for the sake of modernity, the team actively seeks out innovations that redefine lighting functions. For instance, when LED technology advanced to produce high-quality, warm white light, the team questioned the traditional approach to designing lights around light bulbs. Instead, they explored ways to create fixtures that leveraged the directional nature of LEDs, leading to entirely new forms of lighting and experiences.

The studio’s collaborative atmosphere is another defining aspect of its success and has become a sought-after work environment for aspiring designers. With around 40 team members, the company maintains a close working environment. The design department, in particular, operates with a personal and informal approach, allowing fast decision making and fluid creative changes. This unique dynamic became evident when external collaborators observed the team’s process, highlighting how different Ingo Maurer’s work style is from more corporate design studios. When Italian lighting brand Foscarini acquired Ingo Maurer in 2022, the differences between the two big lighting brands were apparent and while the teams have found the dynamic “a strange but refreshing flick between the two”, it appears to be working.

The acquisition followed the death of Ingo Maurer, who passed ownership on to his two daughters. They decided to sell following external guidance and while multiple buyers emerged, it was Foscarini that ultimately became the right choice. There was a deep appreciation there for Maurer’s legacy and desire to preserve the team’s dynamic, one which makes the studio so special.

Rather than seeking to implement sweeping changes, Foscarini took an observational and supportive approach with its focus on understanding how the company had operated over the 50 years and how it functions on a smaller scale. This external perspective provided the Ingo Maurer team with a chance to reflect on their own processes, something they had not actively done before. The collaboration allowed them to identify what was worth preserving and where improvements could be made, ensuring that the company remained a force that challenges rigid tradition.

At the time of writing, Schmid was gearing up for

Milan Design Week with his team focusing on a strong presence at the fair with the multiple new novelties making their debut. As for projects, Schmid teased us with some exciting developments in the works, though details remain under wraps, carefully tucked away in a folder - most likely labelled ‘Top Secret’. Meanwhile the company focuses its energy on ensuring the latest innovations are as close to market ready.

“We have to be ready for Milan,” he says. “If someone sees a novelty they’re interested in, and they find out it may be a month or six-weeks until its ready we will most likely lose their interest.”

As the Ingo Maurer team gears up for Milan Design Week, balancing the pressure of debuting new novelties with the ever-evolving creative process, one thing remains constant - light itself. Beyond the logistics of production and presentation, Schmid reflects on the fundamental question that has shaped his career:

“What is light?” he asks. “You can manipulate it with the shell you put around it, but at the same time, it

IMAGES: ABOVE AND BELOW - BRAND NEW NALUM PENDANT, COURTESY OF INGO MAURER BELOW LEFT - PLAYFUL SHADOWS, BY TIM PETERSEN

also shapes us. It’s not just brightness or heat – it’s’s time, it’s speed, it’s something that always moves and always changes.”

The question ‘what is light?’ was reinforced during the press trip workshop – where Schmid, along with lighting designer Ulrike Brandi, explored the intricate interplay between the subjective and objective aspects of light, emphasising its profound influence on perception and emotion. They highlighted how light extends beyond mere functionality, shaping spatial experiences and human interactions in significant ways. The workshop provided a hands-on opportunity to experiment with light and shadow, sketching all that we could see from mere candlelight, reinforcing the idea that lighting design is both art and science, deeply connected to human perception and emotion.

While Schmid may have originally thought the world of lighting was nothing more than a stepping stone in his career, the deep rooted fascination for light, which has evolved within him, ties in with his reason for such a long career at Ingo Maurer. The ever-evolving nature of light continues to keep work fresh and engaging with its endlessness. He tells darc: “We cannot let the

sun through the door, we can only comprehend and imagine the sun as a sphere.” Reinforcing the idea that light is an expansive, boundless realm that is always offering new discoveries.

To close, Schmid offers his advice for any aspiring creatives and young product designers out there with ambitions to work the Ingo Maurer way: “Work with models from the very beginning,” he instructs.

“Focus on solving the technical aspects first - LEDs, wires, batteries - rather than the shape of the lamp, at least in the beginning. Experiment, make samples, and observe daylight and shadows. That’s one key aspect to pay attention to.

“The other is understanding whether you’re interested in production. Designing a lamp isn’t as simple as sculpting a single material into shape. It requires working with multiple components, tinkering, and collaborating with workshops or suppliers. You need to enjoy the process of constructing and assembling different elements to achieve a final result. That’s always part of it - it’s not just about shaping a single piece and calling it done.” www.ingo-maurer.com

“What is light? “You can manipulate it with the shell you put around it, but at the same time, it also shapes us. It’s not just brightness or heat –it’s time, its speed, it’s something that always moves and always changes.”

IMAGES: AXEL SCHMID PRESENTING PIECES IN THE INGO MAURER SHOWROOM, MUNICH, BY TIM PETERSEN

Hotel,

Beach Resort + Spa,

The next session:

| 6th - 9th May 2025

| 14th - 17th October 2025

Melia

Ibiza

Pelangi

Langkawi

YŪGEN

Yoko Kloeden is a London-based architecture and design studio that provides services for private and commercial clients. Central to Kloeden’s philosophy is the Japanese principle of ‘yūgen’, which roughly translates to mean a deep sense of presence and peace found in the subtle beauty of life. Drawing from this philosophy, the studio has distilled five guiding principles to foster balanced, calm environments: Hikari (Light), Nagame (View), Ma (Space), Shizen (Nature), and Taru o Shiru (Less is More), each one focused on cultivating harmony and simplicity.

What is commonly known as the Japandi aesthetic has been at the heart of Yoko Kloeden’s work for years, not as a fleeting style but as a philosophy of space, materiality, and light. With our founder being Japanese, we craft homes that are timeless, personal, and deeply connected to the way people actually live. As we move into 2025, we’re seeing a natural evolution of this trend - where Japandi shifts beyond minimalist restraint and into a richer, more immersive sensory experience. Many of our clients come to us seeking serene, warm, and grounding interiors. They crave simplicity, but not starkness; minimalism, but not emptiness [1]. Our approach has always been about balance - between Hikari (light) and shadow, Ma (space) and structure, Nagame (view) and enclosure, Shizen (nature) and materiality, and Taru o Shiru (knowing when less is more). These principles have guided our recent projects, where we see Japandi moving into a more layered, intimate expression - one that is deeply attuned to texture, imperfection, and emotional resonance.

We’re currently working on several projects where the new Japandi aesthetic is about tactility and understated luxury. Clients are drawn to deeper, richer tones - where Shou-Sugi-Ban (the ancient Japanese art of charring timber), smoked oak, and hand-troweled plaster [2] replace the pale, soft hues of early Japandi minimalism. In one London Grade II listed townhouse renovation, we’ve integrated warm limestone, aged brass, and mohair velvet textures, creating a home that feels at once calm and quietly dramatic.

On another project, we embrace the power of imperfection. Here, we’re using individually molded Japanese tiles from Mittsu, linen curtains, and traditional rush grass mattress that ages beautifully over time. Instead of smooth, polished finishes, there’s a craving for raw edges, natural patinas, and a sense

of things evolving with use. It’s Japandi, but less about purity and more about personality.

Lighting plays an integral role in this evolution. Rather than a singular statement fixture, we layer soft, ambient lighting to create spaces that shift in tone from day to night. [3] We like hiding light sources and Spartan Shop’s Sandblasted Amber Glass Up Down Sconce would subtly diffuse light across a limewashed wall. We also love sculptural portable table lamps that you can take anywhere in the house or to gardens, and have used Audo Copenhagen’s Reverse Table Lamp [4] and &Tradition’s Setago JH27 designed by Jaime Hayon [5] in a number of our projects.

One of our studio’s values is authenticity. We have connections with Japanese traditional craft artisans whose families have been making paper lanterns using the same method for 200 years. The interplay of light and material is what makes a space feel alive and immersive. We would love to use them when the right project comes up.

People are often searching for homes that offer stillness, depth, and connection - spaces that feel more like a sanctuary than a showroom. In our work, we’ve seen a shift away from the overly curated, and towards something more instinctive and emotionally driven. Clients no longer want interiors that feel rigid or controlled; they want spaces that invite them to slow down, engage the senses, and appreciate the quiet beauty of the everyday [6].

This is where Japandi 2025 is heading - not towards a prescriptive trend, but towards an aesthetic that feels more natural, more tactile, and more attuned to life as it unfolds. Our role as designers is not just to shape spaces but to create environments that hold emotion, presence, and a quiet kind of magic - where beauty is not just seen but deeply felt.

www.yokokloeden.com

Lighting the way from concept to creation

LiGHT 25 is the UK’s only trade show dedicated to high-end lighting specification From the publishers

Featuring the… ARCHITECTURAL ZONE DECORATIVE+DESIGN ZONE and new for 2025, the… TECHNICAL ZONE

Scan the QR code for future announcements and registration

CONRAN AND PARTNERS

Authored by Chris Thornley, Associate Director at Conran and Partners, below is a run down of important factors to consider when designing a lobby space. From types of lighting to the size of the space and the people who use it, there are many influencing elements to consider.

The hotel lobby has had a bad reputation over the years. Stale and stagnant places home to hoards of weary travellers coming, going, queuing, and complaining. An endless sea of furniture that is very rarely utilised, with guests preferring to escape to the privacy of their room or the more atmospheric F+B environments. With soaring ceilings and half a quarry of marble adorning any available surface, the historical focus was on decadence and grandeur.

My first memory of a major shift in ‘lobby culture’ is the likes of ace hotel and citizenM, where the palatial gave way to the cosy.

Young twenty-somethings were desperate to spend hours in their lobby spaces, perched on their sharing tables with a coffee and a MacBook. It seems that this turn of the century shift towards a more lifestyle approach is here to stay, with the larger brands emulating this model in various iterations across their portfolios. The particular recipe is adjusted to suit location, brand and audience, but the key focus is always on the atmosphere. Lighting in the lobby is only the first chapter in the whole story of the journey through the subsequent spaces. It is the first and last impression. Catering to everyone, from the weary business person who has just stepped off a 12-hour flight and has a few short hours before a day of meetings to the excitable leisure traveller looking to use all possible facilities, and everyone in between. There is no right answer to how a lobby space should be lit, however there are some general rules that designers should always follow. Do make a statement. The designer who tries to please all will inevitably end up disappointing everyone. When we look at designing hotels, and lighting in the lobby, we are usually looking at a customer group ranging of all ages and background. Try to hone in on - and design for - the guest as a single person with specific requirements and preferences, otherwise everything becomes too watered down.

Interpret the context in an abstracted way. In a world of Pinterest where the soul of a hotel can become generic, take inspiration from the local culture, whether historical or contemporary. We often collaborate with lighting companies to create completely bespoke and one-of-a-kind installations that commit to the overall concept for the space, rather than something that is selected from a brochure and transplanted. For example, at Park Hyatt Changsha, we have collaborated with Czech lighting brand Lasvit to create a bespoke chandelier that is inspired by the iconic fireworks of Changsha.

Have an idea of budget and ceiling height before you start designing. Especially with lobby design we are usually dealing with very large and often tall spaces. If you were to ask me the generic recipe of things to go into a lobby space, amongst the reception

desk, sofa groups and floral displays, I would also add the ‘feature chandelier’. However, some spaces are just not large enough to handle the scale and it ends up making the space feel squashed and uncomfortable. Also, designing breath-taking Murano glass chandeliers, which seem to go as far as the eye can see, is all well intentioned and easily done on visuals, until you have to shrink it to a quarter of the size to fit budget. There are fantastic solutions to suit all budgets but it is harder to back-track once you have sold them the Rolls Royce.

Consider day to night, this comes back to the atmosphere. There are no hard and fast rules but, if you have a grand lobby space, you want the lighting scheme to celebrate the grandeur throughout the day and - as the evening draws in - become cosy and seductive.

One thing that we considered with Park Hyatt Changsha is the season beyond the window. With cold and grey winters, we wanted the lighting scheme to offset this with warmer tones. During the summers, which are very warm and bright, the scheme can feel slightly cooler. This seasonal approach to lighting feels like the natural evolution to the typical day to night concept. Never illuminate people from five storeys high. Drama and height are fantastic tools for us to work with as designers, but human nature sees people drawn to more human scale spaces. Lighting and its placement can play a pivotal role in combatting cavernous spaces. German Gymnasium is one of our projects that, although not a lobby space, has all the hallmarks of one volumetrically. We worked very closely with the lighting consultant to ensure that there was a great deal of low level lighting to juxtapose the scale with a feel of intimacy and warmth.

Steer away from lighting with too many light sources. This is rooted in practicality. We have all seen amazing lighting installations where a few luminaires have gone and are yet to be replaced. The impression that this gives is one of unkemptness and lack of care, which directly reflects on the brand overall. When specifying the dramatic large scale pieces we often illuminate objects rather than have the light being the focal point. Lanson Place Parliament Gardens, our latest hotel in Melbourne, is a good example. We designed a 41-metre long light installation where the decorative elements are ceramic sheets that appear to be dancing from the entrance to the guest elevators – a nod to the history of the building as a printworks. Rather than these elements being individually illuminated, they are highlighted from subtle spots placed discretely around, giving the impression of illumination. Last, but certainly not least, coloured lighting. There are some very specific instances where this can be done well but generally just no. www.conranandpartners.com

SHATTI AL QURUM MANDARIN ORIENTAL

Shati Al Qurum Mandarin Oriental Muscat, marking the brand’s debut in Oman, blends Omani cultural heritage with contemporary luxury. Located in Muscat’s prime beachfront area of Shatti Al-Qurum, this resort stands as a beacon of design excellence. Visual Energy was responsible for the lighting design throughout the hotel, including guestrooms, landscapes, pools, the spa, façade, and numerous restaurants, bars, and cafés. With over 3,525 decorative fixtures, its lighting enhances both the architecture and the hotel’s rich cultural ambiance, as envisioned by Richmond International and realised by Marwan Wakim, Interior Design Director of French design studio Xavier Cartron. The project posed unique challenges, requiring a delicate balance between Omani tradition, luxury, and modernity.

The lighting needed to support an elegant aesthetic while being flexible enough to reflect different moods throughout the day. The lighting also had to complement the architectural elements and cultural features of the space.

A standout feature is the grand chandelier in the lobby, made of colourful crystal lanterns reflecting the local spices and enhancing the Omani craftsmanship around it, including brass sculptures and Mashrabiya-inspired panels. This design shifts organically from vibrant hues during the day to warm, glowing tones at night.

Lasvit was commissioned to create the piece, while the design, function and control of the lighting was completed by Visual Energy.

www.visualenergy.org

Image: Alex Jeffries

MUSCAT, OMAN

LEDFLEX GROUP ELEMENTS, NORWAY

Aker ASA, a pioneering industrial investment company established in 1841, has a long-standing legacy of innovation and sustainability. Renowned for shaping knowledge-driven industries and driving transformative global impact, Aker stands at the forefront of the energy sector. The new Aker Tech House exemplifies this heritage, serving as a symbol of Aker’s forward-thinking vision. By merging art, technology, and sustainability, the building represents a groundbreaking architectural statement for the future of energy.

At the heart of this vision is Elements, a bespoke installation comprising six interactive sculptures seamlessly integrated into the interior façade of Aker Tech House. These sculptures embody Aker’s multifaceted approach to energy, innovation, and environmental stewardship, fostering a dialogue between art and industry that inspires curiosity and reflection.

Drawing inspiration from Aker’s core business themes, each sculpture narrates a unique aspect of the company’s activities: the harnessing of renewable energy, technological advancement, global interconnectedness, and environmental care. Through a seamless fusion of artistic expression and scientific innovation, the sculptures encapsulate Aker’s transformative role in the energy landscape while celebrating its enduring commitment to sustainability. The sculptures serve as dynamic visual landmarks, evolving with the

passage of time. Thoughtfully designed to interplay with light and form, they transform throughout the day, turning the façade into a living canvas. This interplay reflects the constant motion and adaptability of energy itself. By encouraging public interaction, Elements sparks a sense of wonder, inviting visitors to explore and engage with the values it represents.

The success of Elements lies in the innovative lighting solution developed by LEDFlex Group in collaboration with Void. Faced with the challenge of creating a high-resolution, flexible lighting solution for the sculptures’ intricate forms, LEDFlex engineered a bespoke product: Custom Pixel Flex Single RGBW 3D. This ultra-high-resolution LED tape features 48 pixels per metre and is capable of bending across both axes. Its precision and dual-axis flexibility allowed for seamless integration into the sculptures’ complex designs, with over 1-kilometer of this custom solution illuminating all six sculptures.

The advanced lighting system imbues the sculptures with life, enabling them to shift effortlessly between subtle, diffused glows and vibrant, high-definition displays. These dynamic effects enhance interactivity and visually reinforce Aker’s narrative of transformation, innovation, and energy.

www.ledflexgroup.com

STOANE LIGHTING

ONE PADDINGTON SQUARE, UK

For the award-winning commercial lighting design of One Paddington Square, DesignPlusLight designed a bespoke chandelier for the top floor of the building in collaboration with lighting manufacturer Stoane Lighting. The client’s requirements and style influenced the brief, alongside the interior design, the overall palette, the physical restrictions of the space and the working requirements.

Throughout the design process DesignPlusLight carefully balanced the functional requirements of the product and the application area, with the aesthetics, combining each criteria to create something that not only performs well, but also exudes elegance. The design harmonises technicality and creativity to create a unique lighting solution.

The client did not want to limit the panoramic view across London, which is a key feature of the space, and therefore the fitting couldn’t drop too low. The lighting also needed to connect different areas of the space, without overwhelming the design and functionality. The aim was for the bespoke fitting to feel delicate, but not to look too decorative, feeling robust and solid amongst minimal construction and the 360° glass frontage.

The bespoke metallic chandelier, created with Stoane Lighting, spans the bar and hospitality area. The chandelier consisted of varying lengths of steel tubes, anodised

in a metallic gold finish, with a distribution of lit and solid detailed end pieces. DesignPlusLight was exceptionally precise and deliberate with the lengths and proportion of lit to solid end pieces, paring back the lighting effect and using the unlit elements of shadow as a feature.

The chandelier was intended to evoke the impression of floating clouds or a murmuration. Some rods had lit end points that were programmed to create a collective movement and enhance the undulations. The feature was further modelled with lights positioned internally to express the finish of the rods and provide dappled lighting below.

The team further integrated LED downlights within the base plates to shine down between the cylinders which, together with the coffer lighting, reflected and modelled the metal tubes.

This solidified the chandelier as a showcase feature which doesn’t take away from the architecture or the view, but still acts as a striking statement piece within the space.

www.designpluslight.com www.stoanelighting.com

ON SHOW

MILAN DESIGN WEEK 2025

This year sees the return of world renowned lighting show Euroluce held within Salone del Mobile in Milan, Italy. darc magazine is returning to the show and will be bringing you extensive coverage, pre and post the event, on all things lighting! Make sure to pick up your free copy of darc magazine on the [d]arc media stand inside Euroluce Hall 10, S01.

A-N-D

Euroluce | Hall 10 |C10 & Via San Vittore al Teatro 1/3

A-N-D returns to Milan Design Week 2025 with a double presence: participation in Euroluce and, in collaboration with Boon Editions, an exhibition in a former bank building. Of the new collections, pictured is the Tier Series, designed by Lukas Peet. A synthesis of minimalism and functionality, where light diffuses evenly through a refined anodised aluminium structure. www.a-n-d.com

Artemide

Euroluce | Hall 10 | C15/D10

Initially launched in 2024, Alambicco returns this year in a new floor version, further enriching Artemide’s collection. Designed by Neil Poulton, this modular lamp enhances the beauty of blown glass, playing with transparencies and textures to deliver refined control over light diffusion. Available in horizontal and vertical suspension versions, Alambicco is a testament to Artemide’s glass making expertise. www.artemide.com

Image: Neil Poulton

Articolo

Euroluce | Hall 04 | D03

In 2025, Articolo Studios marks a decade of the business. This April, the brand will unveil three collections that embody 10 years of maturity and dedication to refinement and artistry. From technologically driven task lights to textured cast glass pendants and hand-crafted leather lounge seats, Articolo’s Euroluce exhibition punctuates the studio’s growth from decorative interior lighting to furniture design, and now adjustable performance decorative lighting. www.articolostudios.com

Barovier & Toso

Euroluce | Hall 06 | A23/B18

The Agave suspension lamp, designed by García Cumini for Barovier&Toso, pays homage to the beauty and symbolism of the plant from which it takes its name. With its distinctive shape and modular structure, Agave reinterprets the elegance and resilience of the Mediterranean plant, renowned for its rare and precious flowering. www.barovier.com

Davide

Groppi Euroluce | Hall 02 | B14

Davide Groppi has created a versatile and combinable lighting system, inspired by photography equipment.

A base, a modular stem, and a moving and adjustable projector that adapts to every need. To direct the light with a gesture and define perspectives and volumes with precision. Diffusers, reflectors, filters, dark light, optical snoots: accessories that allow to sculpt and shape light. www.davidegroppi.com

Broot - Dialogues from Within Brera | via Borgonuovo 5

From April 7-13, the “Dialogues” Collection continues its journey to present the Broot project. From Saudi Arabia to Paris to Milan, Broot - Dialogues from Within aims to enhance traditional materials and their origins, with Portuguese natural stone as the central element. More than a project promoting a dialogue between different materials, it is the latest project led by Assimagra, Portuguese Association of the Mineral Resources Industry. www.broot.pt/en

Elstead Euroluce | Hall 04 | C33

Riverwood is designed by Hinkley for outdoor living and is IP44 rated. Transitional in style, Riverwood has a rich bronze frame with warm ash accents to complete the rustic look. This is one of over 300 models introduced by the Elstead Lighting Group at Euroluce. The new 2025 Quintiesse catalogue is available to download online, presenting beautiful products from five new partner brands. www.quintiesse.com

Contardi Euroluce | Hall 06 | A24 & via Manzoni 38

Contardi announces its first collaboration with Controvento, the design studio and multidisciplinary collective co-founded by Gabriele Chiave: Alma. The collection Alma combines two timeless classics: the fabric shade and the blown glass bubble in which it is immersed, creating a floating, contemporary effect. The lampshade integrates LEDs directly into the structure, completely concealing the light source.

www.contardi-italia.com

Giopato & Coombes Via San Maurilio 19

During Milan Design Week 2025, the design studio Giopato & Coombes unveils Scarabei, an unprecedented project that explores the metamorphosis of matter through light. The site-specific installation will be hosted at the Gallery in Via San Maurilio 19, from April 7 to 13. Inspired by the natural world and its organic forms, Scarabei is a profound investigation into the invisible golden rules that guide the spontaneous growth of living organisms. www.giopatocoombes.com

Hempla Sanctuary

Via

Bernina 7, 20158

Hempla Sanctuary is an interactive installation, which blends mindfulness with advanced design, ancient craft, sound, and light at Zumtobel Lighting’s new Milan headquarters 7-11 April. The sanctuary consists of a curation of Hemplas - a collection of 3D printed hemp and sugar seats - and handmade organic hemp and wool rugs by Sofia Hagen and Studio Marmi. Visitors can relax while immersing themselves in healing soundscapes, ephemeral lighting, and a guided meditation session. www.hempla.co / www.zumtobel.com

Lodes

Euroluce | Hall 10 | C21-23/D18-20

Lodes will launch the Tidal suspension lamp, complementing the ceiling version to create a new family of lamps distinguished by exceptional luminous efficiency. The suspension lamp retains the fluid design that characterises the collection by Needs Studio while incorporating key innovations to optimise lighting performance. www.lodes.com

Il Fanale

Euroluce | Hall 10 | D23

Italian studio Pierattelli Architetture will preview the outdoor Pantarhei collection, designed for Il Fanale Group. This project takes an innovative approach to lighting design, using natural materials that change with the seasons. Interpreting the interaction between light, material, and time, Pierattelli Architetture designed lamps that merge with the surrounding landscape, enhancing the raw beauty of the materials.

www.ilfanale.com

Linea Light Group

Euroluce | Hall 02 | B19

Linea Light Group presents the Linealight Collection, a new proposal of technical and decorative lighting fixtures. The collection stands out for its customer focus, both in design and distribution. The range includes some of the company’s bestsellers and introduces important new features. These include the premiere of the Delfi family, an innovative lamp designed to illuminate surfaces without causing glare.

www.linealight.com

Lasvit

Euroluce | Hall 06 | C39 D38

This year, Lasvit presents Soaked in Light, an exhibition exploring the connection between water, light, and human well-being. At the heart of the exhibition is Splash, an installation by Martin Gallo that explores the emotional resonance of water and its fluid, ever-changing forms. Also debuting is a new design concept by Patrick Jouin, alongside two new collections designed by the brand’s Art Director Maxim Velčovský, and designer Jan Plecháč. www.lasvit.com

Luceplan

Euroluce

| Hall 02 | B02

Limetry, designed by Alessandro Zambelli, represents a novel interpretation of a system for various configurations with a decorative approach, combining ambient lighting with functional spotlights that generate a harmonious, delicate effect in the surrounding spaces.

www.luceplan.com

Platek

Euroluce | Hall 06 | C29-31

Platek’s products on show at Euroluce are the result of partnerships with international designers, such as with Jan Van Lierde from Belgium and Christian Flindt from Denmark. These include Astral Trellis by Jan Van Lierde, a ‘silk-screen’ lighting effect projected onto walls and surfaces. The play of shadows produces a fascinating, constantly changing geometric pattern, reminiscent of a contemporary girih. www.platek.eu

Image: Ottavio Tomasini

Slamp

Euroluce | Hall 04 | D13

Slamp, after its recent debut in the world of outdoor lighting, brings to the prestigious stage of Euroluce the Nuvem Outdoor Modular System, designed by Miguel Arruda: an innovative modular system for outdoor spaces that embodies the brand’s signature originality, elegance, and poetic vision. An emotional luminous installation that fully represents Slamp’s vision,innovation, and unique ability to experiment and evolve. www.slamp.com

Preciosa Euroluce | Hall 04 | D02

Preciosa invites visitors into a world where tradition meets experimentation, showcasing four signature lighting concepts: Raw Crystal, Crystal Grid, Crystal Pixels, and the launch of Crystal Links. Bridging the gap between artistry and technology, Preciosa is also unveiling The Generator - an intuitive digital tool that empowers architects and designers to visualise, customise, and specify their own bespoke crystal installations. www.preciosa.com

Stilnovo Via Boccaccio 15A

Stilnovo unveils ‘Come Archeologi’ (‘Like Archaeologists’), a project curated by new Art Director, Russo Sgarbossa, in its showroom. A tribute to the history and evolution of design, a novel layout explores the link between past and present, by recovering and reinterpreting historical elements to offer new visions of contemporary living. Missori, the new collection designed by Park Associati, consists of a complete range of fixtures: pendants, modular layouts and floor lamps.

www.stilnovo.com

Euroluce | Hall 04 | D21

In a stunning fusion of heritage and innovation, acclaimed Australian designers Studio Truly Truly have partnered with luxury lighting brand Rakumba to launch Big Glow, a revolutionary take on the classic glowing sphere lighting archetype. Big Glow represents a paradigm shift in sustainable lighting design, utilising a blend of Australian wool and plant-derived compostable fibre. www.rakumba.com.au

Istanbul-based Studio Lugo, founded by designer Doruk Kubilay, will debut the “Anachron Series”. The collection bridges rich Anatolian traditions with contemporary design sensibilities. Stainless steel elements aim to evoke today’s contemporary industrial era, injecting modern elements into craft-forward design. Warm Roupala Tree veneer adds depth to lighting and furniture pieces through its intricate, lacewood grain patterns. www.studiolugo.com

Studio Lugo Alcova

Rakumba

What is the concept behind Pedregal?

IN FOCUS

The Pedregal series is inspired by the distinct modernism and materials explored by Mexican architect Luis Barragan’s work at the Pedregal Gardens, a dense lava field outside Mexico City that formed thousands of years ago.

How long have you been working on Pedregal for?

Prototyping for the Pedregal began in 2023 with local vendors in Los Angeles; our first sample debuted at NYCxDesign in May of 2023. We unveiled the full series extension, including sconces and table lamps during Salone in 2024 at Villa Borsani, later travelling to Copenhagen for 3 Days of Design. Our studio is known for its customisation, and we have been developing bespoke versions of this fixture for our interiors clients since.

What was the most challenging aspect of producing this piece?

Producing the shade required tremendous R&D efforts, the original concept was an overscaled 36inch diameter drum. It was challenging keeping the frame lightweight, with a lantern-like levity while maintaining scale and proportion. We worked closely between our metal shop, lampshade producer, and our design team to optimise how to include hardware, and lamping that integrate seamlessly without stressing the parchment body.

What materials have been used, and can you describe the design process?

The Pedregal series is fabricated using parchment lampshades, hand stitched with leather lacing

and set against a hand finished brass base. The palette came from thinking outside of the industrial framework of the glass and metal we typically design with. We wanted to explore warmer, natural materials like parchments, parchment hides, and leather that felt true to Barragan’s lighting at Casa Pedregal.

What technologies does Pedregal use?

This is a low-tech fixture that reimagines the scale of traditional lampshades while utilising modern energy efficient LED sources. These lamps come with a traditional medium-base socket that is still familiar to our clientele and easy to replace.

What makes Pedregal different to other products in your portfolio and other lighting products available on the market?

The generous scale of the parchment lampshade and soft wash of the lighting emitted mark a departure for our studio, which often explores different glass working techniques and materiality in its launches.

Please describe the product in three words. Architectural, primitive, handmade.

www.atelierdetroupe.com

Images: Jason Muhlberger | Giulio Girardi

Pedregal

Gabriel Abraham

Atelier de Troupe

Tynk