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Penna 64, walnut, brushed brass

C E L E B R AT I N G T E N Y E A R S O F D E S I G N I N G AND MANUFACTURING LIGHTING IN CALIFORNIA

W W W. C E R N O G R O U P. C O M

HELEN ANKERS • EDITOR As you flick through the pages of our latest issue you will notice there is a strong focus on Milan Design Week, with coverage taking up a good third of the magazine. The darc team had a brilliant time in Milan - it was amazing to see the magazine so well received and it was great to catch up with associates from the design community old and new. There was some strong lighting offerings on show at both Euroluce and a number of pop up events around the Brera and Tortona design districts. Both acoustic and outdoor lighting appeared to make their mark on the week, with a number of launches from various manufacturers. As such we bring you features dedicated to both. On page 44 Kim Höglund, Department Head Lighting Design at Tyréns in Sweden, discusses how exterior lighting design can be decorative yet functional and how, as a lighting designer, this should always be the main goal; while interior designers JOI-Design discuss the benefits of combining acoustic materials with lighting fixtures for commercial and hospitality projects on page 58. We also have an interview with Jason Bird of Luxxbox on page 70, where he discusses his recent work with Panzeri on acoustic lighting fixture Zig Zag, as well as this we bring you a selection of outdoor lighting projects and products to inspire your next exterior designs from page 48 onwards. If you didn't get chance to visit Euroluce this year, head straight to page 72 for our round-up of lighting launches - you might want to set some time aside, put your feet up with a coffee and grab a slice of your favourite cake to get through it all, it's a hefty one! We have mixed it up a bit with some designer interviews thrown in for good measure, so hopefully you will find it an inspiring read and a useful reference tool for your next project! The decorative lighting industry certainly came out in force in Milan and there was plenty to keep us occupied outside of the show as well - with a new lighting launch from Stellar Works, installations from Curiousa & Curiousa and Lambert & Fils, and showroom events from Kreon and Deltalight to name but a few; coverage on the pop up events can be found from page 98 onwards. We have unfortunately had to reduce the number of projects featured in this issue in order to get everything in, having said that - the projects featured will still provide you with some lighting inspiration. Such as our focus on Torno Subito from Bishop Design on page 12 and Stone Design's work on the Funicamp ski resort on page 20. Our next issue will be handed over to 3d, our annual decorative design directory. If you're a manufacturer and interested in getting featured, let me know!

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Cover: Shade by Masquespacio

Image credit: Luis Beltra

Welcome

Contents Regulars The Magazine 044 Feature | Outdoor Lighting Kim Höglund of Tyréns discusses how exterior lighting design can be decorative yet functional and how, as a lighting designer, this should always be the main goal.

Editor | Helen Ankers h.ankers@mondiale.co.uk

048 Case Studies | Outdoor Lighting As the evening's become longer, our attention turns to the great outdoors and how lighting can be used to create atmospheric garden spaces.

+44 161 476 8372 International Advertising | Stephen Quiligotti s.quiligotti@mondiale.co.uk

055 Feature | Acoustic Lighting JOI-Design discuss the use of acoustic lighting in commercial and hospitality projects. 062 Case Studies | Acoustic Lighting The acoustics of a space are just as important as the lighting, get either of them wrong and the entire space is thrown off. 072 On Show | Milan Design Week All the lighting launches from Euroluce, Tortona and Brera Design Districts.

+44 7742 019213 Editorial Team Sarah Cullen Matt Waring Maria Oberti Editorial Interns Francesca Barnes

114 Calendarc The must-attend international design shows for 2019

Oliver Leigh

Design

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Projects 012 Torno Subito Bishop Design Studio uses a playful mix of colour and lighting to bring the vision of Italian Michelin star chef, Massimo Bottura to life.

Artwork | Zoe Willcox

020 Funicamp Ski Resort Stone Designs tranforms a barren transitioning point at the Grandvalira in the Pyrenees Mountains into Funicamp, a vibrant warm hub of actvity reminscent of Everest's Basecamp.

Editorial | Chris Farrington

028 Berlin Bar Architect and Interior Designer Thilo Reich brings European design influence to Moscow with his latest restaurant bar design. 030 Private Residential Catellani & Smith shapes the light of Casa Melagrana, a house combining traditional building methods and artisanal lighting to help channel its rustic Elban heritage.

z.willcox@mondiale.co.uk

c.farrington@mondiale.co.uk

Finance Finance Director | Amanda Giles a.giles@mondiale.co.uk Credit Control | Lynette Levi

Features

l.levi@mondiale.co.uk

006 Interview | Masquespacio Belgian-Colombian design duo Christophe Penasse and Ana Milena Hernández Palacios of Valencia-based practice Masquespacio discuss the perks of working in Spain and why they believe that, when it comes to their success, more might mean less.

Corporate Chairman | Damian Walsh

022 Materials | Cerno Group At the core of Cerno’s business is a friendship that dates back to childhood with the three founders growing up in Laguna Beach. darc spoke with designer and co-founder Nick Sheridan about his passion for modernism and how that plays a role in the studio today. 032 Product Launch | Reflections Delta Light's new lighting range makes use of the brand's experience in light technology in a more decorative way.

Publishing Editor | Paul James p.james@mondiale.co.uk Marketing & Events | Moses Naeem m.naeem@mondiale.co.uk [d]arc media ltd | Strawberry Studios, Watson

032 Profile | Lorenzo Truant One of Italy's most innovative and orginal designers, Lorenzo Truant discuss his journey from inquisitve student to master lighting designer, as well as the inpisration that is embued into all of his projects.

Square, Stockport SK1 3AZ, UK | Printed by Buxton Press, Palace Road, Buxton, UK | ISSN 2052-9406

Proudly Supporting

#readinginthedarc

Set Location: Den Blå Planet, Copenhagen.

Design to Shape Light

• Size: Ø200, Ø300, Ø400 • Colours: Alu grey, white, corten • System power: 10 W, 22W, 25W • Colour temp. 2700K and 3000K • Lumen output: 400, 750, 1000 • Lm/W: 40 • CRI: >90

Flindt Wall Design by Christian Flindt louispoulsen.com

R13245_LP_DARC_236x333_FlindtWallGallery-AD8.indd 1

30-04-2019 09:25:36

Focal Point Union station food hall

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Toronto, Canada Lightemotion has reinvented the lighting at Toronto’s rail transit hub - Union Station - using indirect, adjustable mood lighting. In collaboration with Dialog Design, Partisans and GH+A Design, four years of research and hard work has resulted in an atmosphere that promotes wellbeing and relaxation. Although it is an underground space, you quickly forget the hustle and bustle of a busy transit hub where every minute counts, and commuters are in a rush to do everything, except take a break. Adorned with warm, energising, clean light in the mornings when the first commuters arrive, come the evening Lightemotion’s concept transforms the space into an inviting haven to all users and commuters. With this clever, multi-atmosphere system, Lightemotion ensured that the lighting could be adjusted according to the moment and the time of day. For Osmington, tenant and operator of the new space, the creative team conceived a lighting design that is a brilliant reflection of an ambitious mandate to make the food court a place to be, where everyone will feel good. The light sources are embedded in soothing, white PODS (pressurised ocular diffuser system) made from glass fibre reinforced gypsum, inside each of which, just like an oyster’s pearl, is a lamp that provides indirect, warm, adjustable light that changes tone according to the time of day and can be adapted based on events taking place. “We are very proud to have created an atmosphere that so effectively fosters well-being,” said Lightemotion’s President, François Roupinian. “Our approach makes light the focal point, subtly punctuating the space and thereby avoiding the uniform, uninspiring effect that is so often apparent in traditional food halls.” The Union Station Food Hall opened on November 26, 2018. The next phase of the project, in which Lightemotion is also involved, is the Fresh Market and the common areas, which are scheduled to open soon. lightemotion.ca Images: Philip Castleton

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Focal Point Folium Birmingham, UK Folium is a new fine-dining restaurant in Birmingham’s Jewellery Quarter. It’s the brainchild of renowned chef, Ben Tesh and is located in a former printworks building. With a vision for serving high-quality, contemporary cuisine in a relaxed environment, Tesh asked restaurant design agency, Faber, to create a clean, neutral restaurant concept, which would allow for culinary creative freedom and not feel over-designed. “We created a palette of soft earth tones and used natural materials to create a pared-back yet comfortable feel to the space,” explains Faber’s Creative Director, Tony Matters. “The design was deliberately restrained and focussed on simplicity of composition and material. Because of this, good lighting was of paramount importance; creating an atmosphere while also focussing on the food on the plate.” The pendant silhouette pictured here was chosen specifically because it makes subtle reference to industrial style, but in a crisp and contemporary way. “We wanted to create a space that still had the warmth and character of the building’s heritage, but with a more polished feel.” www.faber.design

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The Shape of Light Catellani & Smith shapes the light of Casa Melagrana, a house combining traditional building methods and artisanal lighting to help channel its rustic Elban heritage. Images: Adriano Bacchella

Nestled on the island's western coast, known as Costa del Sole, is the picturesque village of Seccheto, and, perched atop a hill, stands the delightful Casa Melagrana, a traditional Elban house built in a minimal style that makes ample use of natural, local materials. The rustic atmosphere, dominated by the warm tones of ocher and amber, is enhanced by Catellani & Smith through an array of lamps that are more than mere lighting devices, revealing the spirit and the importance of artisanal craftsmanship.

Throughout the 100sqm surface of Casa Melagrana, an assortment of lighting creations combine to sketch out a sort of emotional and sensory journey, where light becomes art in the eyes of those who know how to look. The foyer features a large TurciĂš piece, with flexible brass arms that can be twisted and intertwined at will. Entering the home, we get a striking impression of spaciousness thanks to an open-plan arrangement skillfully divided between the kitchen, the cozy living area and

the quaint mezzanine created during the renovation of the roof. The living room houses the pendant Fil de Fer lamp, a mass of meandering aluminum wire anodised in gold colour and dotted with tiny light sources, while the kitchen is lit by a suspended Lucenera composition in black carbon. On the mezzanine, the warm and welcoming mood is created by a Wa Wa fixture with brass base and structure, copper sticks, and luminous glass lenses that paint fascinating light circles on the wall.

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The perfection of the circle recurs again in the other piece chosen for this space, Sorry Giotto, displayed in a table version. The hand-painted blue iron ring conceals within it small LED sources which illuminate the pure and essential shape. Continue towards the sleeping quarters, the jagged light effects of the PostKrisi collection can be encountered. A PostKrisi 49 lamp, in hand-painted white fiberglass with gold-leaf inner coating, delicately descends from the ceiling with a bewitchingly imperfect effect, as light seeps

out of the lampshade's irregular fringes. To the side of the bed, instead, stands a PostKrisi F64 made of two fiberglass hemispheres that trap light inside, only to diffuse it onto the wall through the uneven and intermittent opening. Finally, both the bedroom area and living area welcome the discreet beauty of Sweet Light, a small luminous sphere in brass-colored aluminum wire that features a convenient touch-dimming system. www.catellanismith.com

Design Details PRIVATE RESIDENTIAL, SECHETTO, ITALY LIGHTING SPECIFIED: CATELLANI & SMITH POSTKRISI F64 FLOOR LIGHT; TURCIU CEILING FIXTURE, FIL DE FER PENDANT; SORRY GIOTTO TABLE LAMP; POSTKRISI 49 PENDANT; SWEET LIGHT TABLE LAMP

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Beach Life Torno Subito is a metaphysical manifestation of beachside days, reminiscent of Rimini's coastal playground in the 1950s and 60s. Bishop Design uses a playful mix of colour and lighting to bring the vision of Italian Michelin star chef, Massimo Bottura to life. Images: Courtesy of Bishop Design

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Kollectif 7

Interior design studio Bishop Design used intricate structures of decorative lighting to bring the Torno Subito restaurant to life as the newest addition to Starwood’s W hotel on Palm Jumeirah beach in Dubai. Commencing the project in late 2016, the studio’s founder Paul Bishop and his team handed over the full interior design package within just four months. With the ongoing construction of the W Hotel, the venue made its long-awaited debut in January this year. Paul Bishop led the project to design the new eatery, linking each element to the values of the restaurant’s world famed Italian Michelin star chef, Massimo Bottura. Speaking with darc, he says: “The brief was quite simply to realise the sentiment of Massimo having fun. It was to be a metaphysical manifestation of beachside days reminiscent of Rimini’s coastal playground of the 1950s and 60s, an Italian seaside town where Bottura grew up and now hosts annual food festivals. “We wanted to capture fun-filled days enjoying amazing food, drinks and ultimate relaxation. The interiors are current, bold, avant-garde and playful, yet evocative of days passed. They are cinematic and culminate in a visual journey that was achieved through diverse materials and interior installations evoking memories and collections of objects.” Despite the long build time, the brief didn’t really change throughout the project, but rather the team’s perception of the brief developed

in terms of how they could successfully translate it into an interior concept. Bishop says: “We conjured up multiple ideas, testing varying solutions, but it was also essential that the functionality wasn’t overlooked. I think we managed to establish a perfect equilibrium between aesthetic and function.” The main challenge for Bishop and the team lay in working with such a passionate individual such as Massimo. “It was evident from the beginning that Massimo had an amazing vision and to be trusted to transform that vision into reality was beyond inspiring, yet incredibly daunting,” he admits. “As the restaurant was also to become Massimo’s first gastronomical venture outside of Italy, developing a concept for Dubai that also remained true to its cultural origins potentially posed the challenge of appearing fake and contrived.” Taking inspiration from Massimo’s vision, all decorative lighting features within the space were selected for their fun and playful characteristics. They perfectly establish the evocative narrative that Massimo desired from the very outset of the project. The lighting aims to enliven the space and animate it not only as a visual but also as an emotional journey through bygone days. “Decorative lighting was an integral part of the venue’s DNA as it stood to create playful contributions to its overall spirit, highlighting other fundamental design elements within,” says Bishop. Polaroid photos hang down suspended from the ceiling, showing

Featured lights: Portree Wall

astrolighting.com

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black and white images of Italian beaches, as well as photos of guests taken from the integrated photo booth. Lighting has been used here to cast shadows across the ceiling and wall surfaces, creating dynamic patterns that enhance the space. Bishop continues: “Within the venue are multiple spatial offerings each with their own independent, individual spirit. They each encourage a multitude of different scenarios that animate each space in a slightly different way.” Upon entering, guests encounter a playful illumination of backlit exit signs and traditional Edison lamps through to LED neon and pendant lighting reminiscent of oversized beach balls. “We have also thoughtfully integrated a bespoke structural lighting matrix adorned with Mineheart’s Gold King Edison pendant lamps to create a lighthearted Italian food market atmosphere,” says Bishop. “There are also wall-mounted Anglepoise lights in the banquette seating areas.” An intelligent use of both indirect and directional fixtures placed mindfully in the venue animate the visual features overhead, creating a refraction of light over various textural surfaces. The spacious entrance leads diners through to the dolce counter, main bar, as well as formal and casual seating areas, each with a carefully considered lighting scheme that elevates the individual zones and brings them together as a whole restaurant. Bishop explains: “This was achieved through implementing a

dimmable DALI system so the desired lighting levels within could be set throughout the course of the day’s transition from afternoon through to an evening setting. “We elaborated on this outside as well, where we were challenged to work with the existing architectural lighting of the hotel. We pushed hard to find a very carefully considered balance between our ideas for visual enhancement and what was already there to bring these external spaces together in synergy as well.” As the project progressed, the team also faced electrical constraints. “We had to be extremely conscious that the solutions we presented didn’t compromise our design vision,” continues Bishop. “We tackled these apparent disadvantages in structure by suspending layers within spaces, creating visual intrigue that worked with our goals. Restrictions also came with the electrical load, specially for the external terrace, which pushed us to rely heavily on overspill light flooding from the interior to highlight this particular area.” The lighting pieces are an integral element in the storytelling of ideas behind Torno Subito’s interior scheme. “The quirky pieces harmonise naturally with the bold melange of colour and the eclectic furniture elements, culminating in an ultimately engaging journey through Massimo’s memories.” In reflecting on his overall impression of the design, Bishop tells darc, his team really managed to capture every detail that they set out to

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achieve. “An incredibly meticulous approach was adopted throughout the entirety of the project whereby no detail, no matter how minute, was left untouched. We have successfully transformed Massimo’s vision into reality, realising his thoughts and memories through this truly current and unique venue.” Torno Subito sets an unprecedented standard of dining experiences within the region through its ultimately enchanting narrative and luxurious food offering. With an honest Italian soul and a sophisticated but laidback atmosphere, the venue offers a refreshing escape from conventional F&B venues. “Torno’s joyful spirit is unrivalled and to be able to contribute to such a revolutionary project is something I am incredibly grateful for,” says Bishop. Although the team at Bishop Design could have benefitted greater flexibility in regards to the electrical and spatial constraints in certain areas, it became evident that the direction and approach worked perfectly in the end to achieve the desired narrative. “We’ve been able to cleverly disguise the encountered restrictions to create an ultimately diverse perspective, aesthetically wonderful yet always remaining mindful of functional necessities.” As a result, Torno Subito encourages its clientele to venture in for a meal or a drink, allowing them to interact with its interior as the day transcends into night, wilfully relaxing as the sun sets and the beachfront takes centre stage.

Design Details TORNO SUBITO, DUBAI, UAE CLIENT: MASSIMO BOTTURA INTERIOR & LIGHTING DESIGN: BISHOP DESIGN LIGHTING SPECIFIED: MINEHEART; ANGLEPOISE & BESPOKE FIXTURES WERE USED THROUGHOUT

Upon entering guests are exposed to a playful illumination of backlit exit signs and traditional Edison lamps through to LED neon and pendant lighting reminiscent of oversized beach balls. Design Bishop has also thoughtfully integrated a bespoke structural matrix supporting Mineheart’s Gold King Edison pendant lamps in the creation of a lighthearted Italian food market atmosphere, as well as intelligently wall-mounted Anglepoise lighting in the banquette seating areas.

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Nexo Luce | Italy

oxenluce.com

000 | INTERVIEW | NICK SHERIDAN | CERNO

"I REMEMBER DRAWING ELEMENTS OF MY DAD’S PROJECTS AS EARLY AS MIDDLE SCHOOL. I’M NOT SURE I REALISED THEN THAT I WAS SO IN LOVE WITH DESIGN, BUT IT’S CLEAR NOW THAT THE PASSION WAS ALREADY THERE."

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000 | INTERVIEW | NICK SHERIDAN | CERNO

I remember drawing elements of my dad’s projects as early as middle school. I’m not sure I realised then that I was so in love with design, but it’s clear now that the passion was already there.

t the core of Cerno’s business is a friendship that dates back to childhood with the three founders growing up in Laguna Beach. Helen Ankers spoke with designer and co-founder Nick Sheridan about his passion for modernism and how that plays a role in the studio today. Cerno is a modern lighting design studio based in southern California. Founded in 2009 by childhood friends Bret Englander, Daniel Wacholder and Nick Sheridan, 2019 marks Cerno’s ten-year anniversary. At the forefront of LED lighting design, the Cerno team always aims to strike a balance between contemporary design and modern craftsmanship, that is forever inspired by their Californian upbringing. Holding true to their design principles of respecting the process and materials, while building a strong manufacturing team, Cerno is vertically integrated – they design and manufacture everything under one roof in Irvine, CA. Cerno’s lead designer Nick Sheridan grew up in a small town of Laguna Beach. Exposed to

woodworking from a young age by his father, who was in the construction trade, he tells darc how he still remembers the homemade ping-pong table that doubled up as their workbench. “I was always drawing when I was younger,” he says. “Doodles, sketching from observation, but also designing objects. I remember drawing elements of my dad’s projects as early as middle school. I’m not sure I realised then that I was so in love with design, but it’s clear now that the passion was already there. “One of the first projects Daniel, Bret and I worked on together was a small wooden boat we built in my yard at home, when my dad heard about our plan to build a boat from scratch, he simply said, ‘well first you need to draw it.’ I always remember that moment when I realised the relationship between designing and building. For me, the design is as much about the building of an object as it is composing drawings depicting an object.” Growing up in a craftsman style bungalow Sheridan's father had filled with Greene & Greene detailing and Stickley furniture,

000 | INTERVIEW | NICK SHERIDAN | CERNO

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instilled an understanding and appreciation of great craftsmanship in Sheridan. Studying architecture at college, a one-year stint in Florence, Italy, was to be a transformative experience. “Once I was immersed in architecture I fell in love with modernism,” he tells darc. “I loved the rationality of modern designs and quickly became consumed with the works of Mies Van Der Rohe and Le Corbusier among others. It is these great modernist architects who continue to be a primary source of inspiration for me. “While in my heart I feel I am a modernist, as it applies to our designs at Cerno, we do certainly stray into more contemporary designs as well. I strive to design clean and modern fixtures. “People say certain products in the Cerno line share aspects of Japanese design, while others have mentioned our work has more of a modern Danish aesthetic.” The latest design Penna is influenced by a number of ideas, which all culminate in its final form. For Sheridan, the Penna was a challenge to resolve.

“The leather suspension and brass hardware details are borrowed from old world vernacular and harken back to a time that we find a lot of inspiration from,” he says. “The design has a largely utilitarian composition, but through detailing and execution, the fixture exudes a sense of elegance and sophistication. It is in the reconciliation of these contrasting ideas where you find the final fixture - by working through the design process, with the whole team until it feels just right.” Sheridan tells darc that when designing Penna, he wanted to illuminate the wood body of the fixture to showcase the grain with a continuous linear light source that would deliver diffuse ample light. “The way the sloped wood body emulated the sloped leather strapping used in the fixture’s suspension creates harmony and balance in the fixture’s silhouette,” he says. Their first time using leather in a product, Cerno spent a lot of time finding the right type for the application. Along with sourcing, they also had the challenge of figuring out how the leather interfaced with the fixture

Opening spread Left to right Cerno founders Daniel Wacholder, Bret Englander and Nick Sheridan. Previous page The childhood friends' first project together was a small wooden boat built in Nick's yard at home. When his dad heard about their plan to build a boat from scratch, he pointed out they needed to draw it first. This was the first time Sheridan realised the relationship between designing and building. This page Cerno's latest design Penna is influenced by a number of ideas, which all culminate in its final form. The body of the fixture is illuminated with a continuous linear light source in order to showcase the grain of the wood. This is also the first time Cerno has used leather in a product and the team spent a lot of time finding the right type for the application.

GATSBY TABLE LAMP by Ramรณn Esteve

vondom.com

Penna 64, walnut, brushed brass

C E L E B R AT I N G T E N Y E A R S O F D E S I G N I N G AND MANUFACTURING LIGHTING IN CALIFORNIA

W W W. C E R N O G R O U P. C O M

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Resurrecting Da Vinci Karice Enterprises introduces a unique lighting collection that brings to life centuries-old design methods.

The Da Vinci lighting collection from Karice Enterprises in Canada is inspired by one question: “If Leonardo were alive today, how would he incorporate 21st Century technology into his designs?” Developed and manufactured in Surrey, BC, by father-son design duo Maurice and Jordan Dery, the Da Vinci collection demanded a reverence for history and a resurrection of centuries-old lighting methodology. Unlike anything the designers had created in the past, the collection’s theme revolves around machine gears, along with magnifiers that are used to intensify the light sources to mirrors, which then re-direct the light to the wall or floor. Karice Enterprises was born in 1993 after Maurice grew tired of working for other people and while at first he concentrated on architectural metalwork for the hospitality industry it wasn’t long before he took Karice into the world of lighting. “I was approached by Robert Clark of CLO Design in Seattle, Washington, who insisted I go into lighting,” Dery tells darc. “We had

worked together for years in architectural design and fabrication and there was a market for custom lighting in restaurant chains - such as Milestones and Earls, so I made the move and it captivated me. Working with restaurant chains, conceptual sketches were supplied to me, which I would then engineer and design to be physical manifestations of the concept, while still being a fully functional fixture.” As a child, Dery was always building and designing and had a knack for fabrication, albeit an industrial one. Born and raised in Edmonton Alberta, once Dery finished high school he followed in his father’s footsteps to become an iron-worker - advancing quickly, he was one of a few first year apprentices to climb the columns - a job usually reserved for the more experienced. While slinging iron and walking beams was a fun vocation, it was also dangerous and so he decided to switch professions to a machinist. “In my own small way I have always related to Da Vinci,” Dery says. “He wasn’t just an ideas guy. He was a creator, a builder and it’s because of this that I have always related to

him – I am both a designer and a builder. I was trained as a craftsman; I am an ironworker and a machinist. But at the same time, I have always been an inventor, with an unquenchable passion to create challenging, awe-inspiring pieces. Call it ‘functional art’ if you will. “I have a mind for innovative, efficient engineering. For decades, that’s what people have come to me for. But at heart, I am a traditionalist. I have great respect for the past and the classics. I believe this is what we see when studying the life of Da Vinci. He wasn’t only a forward-thinker, he had a firm hand on the past, which is why he was so effective in helping bridge the gap between the Medieval and industrial worlds.” Using the latest in lighting, machining and metalwork technology, the Da Vinci collection brings the Italian Renaissance back to life, in avant-garde form. “The Leonardo 1482 is like nothing ever seen,” Dery says. “It very much reflects the Renaissance era, but uses technology that wasn’t in existence even a few years ago. The Da Vinci lighting collection from Karice Enterprises in Canada is inspired by

Caption Title

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Using the latest in lighting, machining and metalwork technology, the Da Vinci collection brings the Italian Renaissance back to life, in avant-garde form. The collectionâ&#x20AC;&#x2122;s feature piece is the Leonardo 1482 - it resembles a rising sun, borrowing heavily from

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Caption Title Using the latest in lighting, machining and metalwork technology, the Da Vinci collection brings the Italian Renaissance back to life, in avant-garde form. The collection’s feature piece is the Leonardo 1482 - it resembles a rising sun, borrowing heavily from Renaissance-era mechanics, and is appropriately named after the year Leonardo began designing and developing his inventions. Complementing the 1482 with correlating expression and in honour of ‘Vitruvian Man’, the Vitruvian table lamp speaks to the geometric purity and deconstructed anatomy this series reveals. To complete the collection, the Infinity 1519 is an avant-garde luminaire symbolising a setting sun – notably 1519 was the year Da Vinci passed away. The ringed capsule has a seemingly endless horizon, so the sightline is infinite. It can be displayed as a hanging pendant or suspended within a half-moon table lamp.

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one question: “If Leonardo were alive today, how would he incorporate 21st Century technology into his designs?” Developed and manufactured in Surrey, BC, by father-son design duo Maurice and Jordan Dery, the Da Vinci collection demanded a reverence for history and a resurrection of centuries-old lighting methodology. Unlike anything the designers had created in the past, the collection’s theme revolves around machine gears, along with magnifiers that are used to intensify the light sources to mirrors, which then re-direct the light to the wall or floor. Karice Enterprises was born in 1993 after Maurice grew tired of working for other people and while at first he concentrated on architectural metalwork for the hospitality industry it wasn’t long before he took Karice into the world of lighting. “I was approached by Robert Clark of CLO Design in Seattle, Washington, who insisted I go into lighting,” Dery tells darc. “We had worked together for years in architectural design and fabrication and there was a market for custom lighting in restaurant chains - such as Milestones and Earls, so I made the move and it captivated me.

In my own small way I have always related to Da Vinci, he wasn’t just an ideas guy. He was a creator, a builder and it’s because of this that I have always related to him – I am both a designer and a builder.

Working with restaurant chains, conceptual sketches were supplied to me, which I would then engineer and design to be physical manifestations of the concept, while still being a fully functional fixture.” As a child, Dery was always building and designing and had a knack for fabrication, albeit an industrial one. Born and raised in Edmonton Alberta, once Dery finished high school he followed in his father’s footsteps to become an iron-worker - advancing quickly, he was one of a few first year apprentices to climb the columns - a job usually reserved for the more experienced. While slinging iron and walking beams was a fun vocation, it was also dangerous and so he decided to switch professions to a machinist. “In my own small way I have always related to Da Vinci,” Dery says. “He wasn’t just an ideas guy. He was a creator, a builder and it’s because of this that I have always related to him – I am both a designer and a builder. I was trained as a craftsman; I am an ironworker and a machinist. But at the same time, I have always been an inventor, with an unquenchable passion to create challenging, awe-inspiring pieces. Call it ‘functional art’ if you will.

Set Location: Den Blå Planet, Copenhagen.

Design to Shape Light

• Size: Ø200, Ø300, Ø400 • Colours: Alu grey, white, corten • System power: 10 W, 22W, 25W • Colour temp. 2700K and 3000K • Lumen output: 400, 750, 1000 • Lm/W: 40 • CRI: >90

Flindt Wall Design by Christian Flindt louispoulsen.com

R13245_LP_DARC_236x333_FlindtWallGallery-AD8.indd 1

30-04-2019 09:25:36

000 | M ATERI ALS

“I have a mind for innovative, efficient engineering. For decades, that’s what people have come to me for. But at heart, I am a traditionalist. I have great respect for the past and the classics. I believe this is what we see when studying the life of Da Vinci. He wasn’t only a forward-thinker, he had a firm hand on the past, which is why he was so effective in helping bridge the gap between the Medieval and industrial worlds.” Using the latest in lighting, machining and metalwork technology, the Da Vinci collection brings the Italian Renaissance back to life, in avant-garde form. “The Leonardo 1482 is like nothing ever seen,” Dery says. “It very much reflects the Renaissance era, but uses technology that wasn’t in existence even a few years ago. The same way Da Vinci used magnifiers and mirrors to project candlelight; we’re projecting energy-efficient LED light through a magnifier, onto a mirror, which then transfers onto a wall, ceiling or floor. The methodology is identical… the technology, 500 years apart.” Honouring the Renaissance tradition required months of historical research from Dery, which was followed by extensive prototyping and development - beginning with the design

and experimentation of the intricate gear components that form the core aesthetic of the collection’s feature piece, the Leonardo 1482. This piece poetically resembles a rising sun, borrowing heavily from Renaissanceera mechanics, and is appropriately named after the year Leonardo began designing and developing his inventions. Complementing the 1482 with correlating expression and in honour of ‘Vitruvian Man’, the Vitruvian table lamp speaks to the geometric purity and deconstructed anatomy this series reveals. To complete the collection, the Infinity 1519 is an avant-garde luminaire symbolising a setting sun – notably 1519 was the year Da Vinci passed away. The ringed capsule has a seemingly endless horizon, so the sightline is infinite. It can be displayed as a hanging pendant or suspended within a half-moon table lamp. Together, the corresponding pieces honour the story of history’s greatest designer – a mechanically minded, artisan inventor. Be it nature or his industrial background, Dery’s designs always flow from something tangible in life. The Da Vinci collection makes use of brass and aluminium – brass for its undeniable old world look and aluminium

Featured lights: Portree Wall

astrolighting.com

000 | ON SHOW

Promoting Design Relationships As one of the premier design events held in New York each May, for 2019, WantedDesign will concentrate on conscious design, while bringing the design worlds of both North and South America to the forefront of visitors' attention.

creative panorama under the premises of sustainability, cultural identity, eco-design, simplicity and style. “Alongside this, once again Medellin Design Week presents its May Day Exhibition to showcase Colombian contemporary design, unique pieces, crafts and furniture to the WantedDesign audience,” the founders continue. “This exhibition brings together different studios of product design, art, and pieces for interior design in different techniques and materials - some traditional, others experimental. “At WantedDesign Brooklyn we will have an exhibition coming from Argentina - Saber Hacer, curated by Luján Cambariere. Showing that in the south of the world, the lack of major industries or technologies can be transformed into a big tool of social inclusion, retrieving techniques and materials.” Commenting on the important role South American brands have to play in the WantedDesign format, Pijoulat and Hainaut continue: “Each country is different, and has a different design approach. But all of them offer a subtle blend of tradition and contemporary touch. You can tell they have very vivid crafts that designers know how to use to create sophisticated objects and pieces of furniture that are very far away from any local folklore. Latin countries develop a design language that is very original with high-end manufacturing, and can relate to the US market very easily. “We have a strong trend in the USA for the revival of the maker movement - designers are also manufacturers and entrepreneurs and do not rely on brands to create and distribute their products as they would in Europe for instance. This business model was developed to respond to the specific need from US interior designers and architects to source local high-end unique and custom made products. “It seems that the Latin American designers work in a pretty similar way, they're independent studios and create collections of products with lots of know how. But, with different natural resources, materials and design culture, they all have very different design languages and typologies of products.” WantedDesign may well be the only platform that has built strong relationships with these studios based in Latin America over the years. It is part of the organisation’s mission to bring together the international design community, to trigger dialogues and conversations that will benefit designers in terms of sales, but also in terms of processes and best practice. To see what the two events have to offer you can visit Brooklyn from 16-20 May and Manhattan from 18-21 May, to register, visit: www.wanteddesignnyc.com

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2019 marks the ninth edition of WantedDesign Manhattan and the sixth edition of WantedDesign Brooklyn. When on the edge of a decade you really want to make sure your event is going to have an impact on the industry and this is why WantedDesign founders Claire Pijoulat and Odile Hainaut have focused on a leading message for this year’s event, with the notion of Conscious Design. “We try as much as possible to encourage our exhibitors to present projects that could contribute to build a more sustainable environment,” they tell darc. “There will be a few at WantedDesign Manhattan - in particular the ‘Wanted Interiors Future of Bathroom 2025’, with the American Standard and Pratt Students project and there’s certainly lots of interesting projects from design schools in Brooklyn. As well as this, as show organisers we have created a strict zero waste policy, it worked well last year and we reduced our waste by 50%. We want to do even more in 2019.” Also new for 2019, is an honoree guest for the IC Design Festival - Humberto Campana. The Campana brothers are celebrating the 35th anniversary of their studio and 10th anniversary of the Instituto Campana. “We are really thrilled to have Humberto Campana involved - he will be part of a ceramic workshop with Central Saint Martins at Industry City and will participate in conversation during the event,” say Pijoulat and Hainaut. “The Campana brothers are definitely inspiring and a model for their human centric approach. “We will also be welcoming a considerable amount of design schools at WantedDesign Brooklyn, with no less than 30 schools from all over the world. China, El Salvador, Poland, France, USA, UK, Mexico and Columbia to name just a few… We have so many countries represented that it creates a unique opportunity for younger designers to start building their professional network through the design school workshop and the design school exhibition. Over at WantedDesign Manhattan we will also include a new group of exhibitors under the group title ‘Egypt’.” WantedDesign has always been a pioneer in bringing a very diverse sample of the international design scene to NYC and has found amazing partners to do so with. This year Mexico, Colombia and Argentina will return as group exhibits. “Mexico Territorio Creativo, curated by Design Week Mexico, features eleven national talents and one university project,” the show organisers tell darc. “Mexico Territorio Creativo is an organisation that brings together and promotes creative production in Mexico, under the mission of shared and empowered design.” MXTC brings to WantedDesign the most representative of contemporary design culture, which reflects the new

Downtown Design Preview November 14-17 2017, Dubai, UK

075 | DOWNTOWN DESIGN

1. Soap Bomma

2. Gira Santa & Cole

3. Mondrian Collection Serip

The varying colours, transparency and continuously changing shapes – characteristic features of a soap bubble inspired this lighting collection from Czech Republic-based Bomma. Each piece is freely handblown, no moulds are used and each is different in shape and colour. www.bomma.cz

An updated version of an award-winning classic. Gira is the result of careful consideration and synthesis and has become a benchmark both at work and in the home where a discreet, useful lamp is sought. It has a straightforward shape, easy adjustment of the angle of light and features a new brass shade. www.santacole.com

The Mondrian collection is dedicated to the determinant Dutch painter Piet Mondrian and his abstract work based on strict grids and three primary colours. The evident pattern in each Mondrian piece relates directly to the lines resulting from the wind touching the sand, a reflection present in a luminous shape. www.serip.com.pt

4. Moss VISO

5. Nostalgia Studio Italia

6. King Preciosa

Beauty meets functionality. Uplift any interior with a special fixture that is also energy efficient. Made from high-quality polycarbonate, surrounded by LED lamps, Moss is the perfect balance between nature and technology. Available in three metallic finishes and two globe options - the possibilities are endless. www.visoinc.com

The Nostalgia is a retro shape that blends with modern lines - in this way the expertise of blown glass production and the most advanced LED technology come together allowing ample and balanced compositions to light up anything from a dinner table to the luxury of a hotel atrium with breathtaking precious finishes. www.studioitaliadesign.com

King continues the tradition of the Preciosa brand via its connection with the iconic historical chandelier, ‘Maria Theresa’. In production, the glass-masters use a traditional technique of making crystal arms entirely by hand. Its construction is golden, covered in black crystal and filled with golden spheres. www.preciosa.com

deltalight.com Reflections AD.indd 1

29/04/2019 16:51

075 | DESIGN REPORT | ITALY

Made in Italy Muranoâ&#x20AC;&#x2122;s Luca Nichetto speaks candidly with Maria Elena Oberti about trends in contemporary lighting and why he thinks his native Italy is still the best place on earth to practice design.

one. It all happened somewhat by accident. I’ve always been very lucky in that way. I joined Foscarini in 1999 as an external RND consultant, and have been working on and off with them ever since. The company, which was based in Murano at the time, was just starting to experiment with lighting. Designers Carlo Urbinati and Alessandro Vecchiato had recently acquired the company and were leading it in a completely new direction. It was a very exciting time, and definitely the right one for my career. “The approach to lighting has changed dramatically over the last 20 years. The introduction of the LED caused a huge shift in the lighting industry, it gave us the opportunity to completely rethink the shape of light. There are no restrictions anymore. Before the LED, lighting looked very different. A lamp had to have a strong aesthetic purpose, it had to have a reason to exist. It wasn’t just about creating light, like it is now. Of course light was always a factor, but the product was there to evoke an emotion. Most lighting companies today focus less on the product and more on the light. It’s an approach that I find peculiar. “What I love most about lighting is the element of surprise. There are two sides to a lamp: on the one hand you have the emotional factor, the feeling or atmosphere you want to create, and on the other you have the practical aspect, which is the light itself. The first time you switch on a lamp is always a surprise. It can be a very emotional experience, the first time you see your ideas come to life with light. This is especially true when you’re playing with new materials. “A lamp has two states: light or dark. I think that is the greatest difference between lighting design and other products. A chair only has one state, one life. A lamp is a bit like Dr. Jekyll and Mr. Hyde, it has multiple personalities. It’s an interesting typology that I love to work with. No, I can’t say I have a favourite lamp, I am proud of all of them. “A trend I see right now in Italy is that lighting companies are starting to disappear. It’s not a good trend, that’s for sure, but it’s what I see happening. The difference between the A and B list companies is clearer than ever. The B pool is getting bigger and bigger. That said, I do see some interesting young brands popping up in the Italian lighting industry. They are small but they have potential, they will be the future. “Another trend I’ve noticed is the revival of the chandelier, or what we in Italian call lampadari. It’s not just trending in Italy, I think it’s a worldwide phenomena. There’s a sort of taste in the air, everyone is doing the same floating sphere with a metal rod in brass. It’s all very Michael Anastassiades-esque. I’d say that is the clearest trend — in terms of taste and materials —that I am seeing right now in lighting. “I don’t think that an Italian style exists anymore.

075 | DESIGN REPORT | ITALY

A proud Italian, Luca Nichetto isn’t afraid to say it like it is. With offices in Stockholm and Venice and over two decades of experience in the lighting sector under his belt, the industrial designer — who was born and raised in Murano, a tiny island made famous for its elaborate cristallo chandeliers - certainly knows a thing or two about what makes a product sparkle. Nichetto, in his Stockholm studio the day of our Skype interview, where he is busy putting the finishing touches on new collections to be shown at this year’s Salone del Mobile. Espresso in hand, he reflects on life and industry, both at home and abroad, and what makes Italian design shine brighter than the rest. “I grew up in Murano, on a small island north of Venice. It was an amazing experience to grow up there, completely surrounded by water. Everyday was a small adventure, something out of a Mark Twain novel. I appreciate my childhood in Murano more and more as I get older. And yet, for or a lot of young people, especially teenagers, the island can feel like a prison. Many try to escape to nearby Venice, only to find that it isn’t much different. Venice is just a bigger island, one invaded by tourists. “Everything in Murano is connected to the glass industry. As art students, my friends and I would go knocking on the doors of the different factories and try to sell them our drawings. It became something of a ritual for us. I was very young, maybe 15 or 16 years old at the time. I had no idea what a designer was back then, it wasn’t a profession that I knew existed. All I knew was that I could draw, so I tried to apply this skill for easy money. I didn’t think that it would one day turn into a job. “I was still a student when I started working with Salviati, the famous Italian glass company. I got the job during one of my rounds of the factories. Simon Moore, the art director at the time, was very generous and bought all my drawings on the spot and eventually offered me a job. I was very lucky to have met Simon, he saw my talent early on and pushed me to become a better designer. That’s also when I realised you don’t need to study design to be a designer. Design is more about mindset than education. “Growing up in a small place like Murano teaches you about the importance of community. Everyone is working with the same material, and you share the same needs and frustrations because of that. I understood very early on that in order to make an object you need to collaborate and respect all the people involved in the process. This is especially important when you have people standing in front of a 1,000 degree furnace trying to realise your ideas. Respect and understanding are essential. You need to build friendly relationships with your collaborators. This of course applies to all industries, not just glass. “The transition from glass to lighting was a natural

075 | DESIGN REPORT | ITALY

Technology has made everything universal. I really don’t see the kind of distinctive ‘Italian’ stamp that we had in past. Italy was a leader in lighting industry for many years, with companies such as Artemide, Flos, Foscarini, Luceplan, FontanaArte, and many others. That isn’t necessarily the case now. “There are companies in the industry that are only surviving because they are producing so many products each year. If you were to go and see their stands at EuroLuce, you’d be completely lost, you wouldn’t understand what’s going on anymore. Then there are the companies that are producing the same products each year, it’s hard to understand where they want to go. “And then there is Flos, a company that did everything right. They do an amazing job in my opinion, from design, to distribution, to the variation in their offer. Flos is in a class of its own, it’s like Apple but for the lighting sector. Flos is doing better not just in terms

of aesthetics, but because it’s a company that has guts. When executed properly, showing some balls can be extremely profitable. “I think Italy is a perfect place to be a designer. It’s still where a lot of international designers go to get their training. Jasper Morrison, the Bouroullecs, Konstantin Grcic, they all started their careers here. Italy is like the premier league for design, it’s where all the star players want to play. That said, there are also a lot of things that don’t work in Italy. We’re the best when it comes to manufacturing, but that’s about it. Service is a disaster, and don’t get me started on delivery times and payment. Even so, in Italy you can source absolutely anything, in the highest quality, and in just a matter of a few hours. You simply don’t get that anywhere else. “I opened my second studio in Stockholm for personal reasons, to be with my wife. My work has always been tied to my personal life. Would I have gone abroad otherwise?

1. Like a musical score where every note is played in a smooth and connected manner, Legato lighting system represents the stave where notes, in the shape of cones, are organised so to compose different melodies. Every lamp is anchored on a rigid structure in aluminium made of several tiers, individual modules that allow for different combinations. The double directionality of the light sources creates a play of reflections and shadows between the cones, emphasising the volumes. 2. Inspired by candlelight, Halo is an oil lamp in handblown Murano glass. Comprising two connecting components, the lamp echoes the form of a wine glass, subtly suggesting the act of drinking. A coloured opaque base sits under a larger transparent top, which is available in several patterns. As well as being ornamental, these patterns transform the nature of the light emitted by the lamp. 3. While its Latin name pays a tribute to the portable lamp during the Roman era, Lucerna is a lantern whose design reverberates with a contemporary flavour in style and finishes of the materials. The structure is composed of a waterproof core containing the technology and an exterior blown glass cover, that diffuses the LED light source and gives volume to the whole. A metal ring at the top serves as a carrying handle and a hook, making Lucerna be both a table and a suspension lamp. 4. Legato’s familiarity in the design and production of glassworks is married with Svenskt Tenn’s influential design history to form the Fusa lamp collection. As a personal interpretation of Josef Frank’s Terrazzo textile print, whose pattern recalls the mosaics in the old Venetian buildings, the collection translates the design from fabrics to lighting. Handcrafted in Murano, Fusa takes its name from the Italian word for fused, evoking the special technique used to produce the distinct colours and textures of the glass, all enlivened by the internal LED light that generates a play of refractions, opacity and transparencies.

075 | DESIGN REPORT | ITALY

Enzo Catellani Catellani & Smith Established in 1989 by Enzo Catellani and Logan Smith, Catellani & Smith’s history is steeped in craftsmanship, which has, over the last 30 years, served to establish the brand as a leading company in the lighting sector. Catellani’s personal creativity is displayed through the brand’s various collections and custom projects - each light produced with special care, marking the uniqueness of a handmade piece. With three decades in lighting under his belt, Catellani sat down with darc to discuss the recent metamorphosis of the lighting market and his studio’s position within it. “It started with the arrival of LED,” he says. “The technical update demands significant attention - specifically, its ability to create new approaches through a personal interpretation. When the use of LED was still pioneering and ‘isolated’ to a purely technical field, I’m pretty sure I was among the first to understand its importance and potential applications in the decorative area; a new era for lighting and possibilities for experimentation. “In my opinion, thanks to LED, the freedom of creative expression has become almost infinite. While in the past we had to consider the volume of the lamp, the lamp holder, and the lamp heat, LED freed us from this obligation.” While LED is shaping technical trends in lighting, for Catellani, talking more generally, one of the main trends he sees, is a demand for exclusive, high-quality product. “I think that more and more people tend to buy a light fixture with decorative qualities that personalise a modern or classic environment,” he says. “And in terms of Italy specifically, lighting companies and designers have long interpreted a style that still resides today. Just think of Castiglioni, Joe Colombo and others of the historical period from the 1950s and 60s...it is still there today.” As we move further into 2019, Catellani & Smith will remain faithful to its tried and tested traditional design techniques. With all products designed and made in-house in Italy, most pieces require various stages of craftsmanship. “It is the hand of the craftsman who builds the light fixture - the manual intervention - that creates imperfection to make an object unique,” he says. “I believe this narrative is strong throughout our product line. Often the lights are made ‘tailored’ to the needs of the customer. An important factor in our production is flexibility - this makes it possible to create custom-made fixtures for anything from a small room in a residential project to large-scale hotel lighting design projects. “Our lights differ because they have a style not influenced by market trends or fashions, but are objects born from telling my idea of light - transforming into objects of living sensations and transporting in essential forms, a concept of natural and

max tubi ï¬&#x201A;oor

Nexo Luce | Italy

oxenluce.com

075 | DESIGN REPORT | ITALY

Demi Linea Light Group Demì from Linea Light Group is a dome in PMMA that ‘takes shape’ when the lamp is turned on. If the device is off, it seems completely transparent. The source occupies a minimal space as the LED circuit is inside a central painted aluminum ring placed on top of the dome. The emitted beam is deviated from the laser micro-incisions present on the diffuser surface - this allows a diffuse emission to UGR controlled, suitable both for ambient lighting of hospitality areas, and for locations where there is intensive use of smartphones, tablets and monitors, for example creative offices. Demì is designed by Italian product designer Mirco Crosatto, who lived and stuided in Treviso, obtaining a diploma from the Technical Institute in Treviso. After gaining his qualifications, in 1997 Crosatto started working with Linea Light Group. Over the years he has developed many successful products,including O-Line, Mr.Magoo, Lama, which was awarded the Red Dot prize, and Diphy, awarded the Honourable Mention at the last ADI Compasso d’Oro. His tireless research always leads him to embark on new paths of experimentation. Speaking with darc about the new Demi fixture, which

will be on show at this year’s Euroluce, Crosatto said: “The idea was to create a suspension lamp that had a volume and a strong scenic impact. Starting from the optilight technology already used in the Diphy, we have gone further. I began to think about what could be the form that responded to these characteristics, and took inspiration from one of the most beautiful buildings in the world, the Pantheon in Rome - I came to the conclusion that it was the perfect shape. The hole that, in the Pantheon, has the function of letting in light, with our lamp has the function of cooling the ring that contains the LED light source. The light is instead emitted from the entire dome, which gives volume by turning on the thousands of ‘points’ (microincisions) on the surface in PMMA. When it is turned off it becomes transparent and therefore integrates perfectly into the surrounding environment. Unlike the Diphy, which is thermocurved, to realise this shape we created a heat-sealed dome, a process similar to that of a bubble that is formed, and hence the name that best represents it: demì-bulle or more simply Demì.” www.linealight.com

075 | DESIGN REPORT | ITALY

Lightsound Designed By Moreno De Giorgio Karboxx

With cutting-edge design, technological evolution and outstanding materials, Karboxx lighting creations stand out for their modern and functional style and are designed to complement everyday surroundings. The Lightsound system - designed by Moreno De Giorgio - has been created to meet the acoustic and visual comfort needs of the professional world, while creating a wellness space for employees. Over the years, the fusion between architecture and wellness has had an ever-increasing presence. For this, work environments must be able to transmit professionalism and harmony. The ‘human factor’ and technology are the basic components for creating contemporary workspaces. Office wellness has become one of the most important elements of design, with the world of work now merging with hospitality, perception and comfort. The office space is fluid and changes depending on those who work in it, yet at the same time it remains a constant – a space where people exchange ideas and dialogues. As such, LightSound from Karboxx intervenes the space, satisfying the need to be seen and heard. It provides two distinct antithetical modules, an LED lamp that gives light and a sound-absorbing panel - the two balanced in energy. LightSound presents itself in a clear and defined way and is intuitively tied to De Giorgio’s personal characteristics. “I feel much closer to a smart office, to a lighter office,” he says. “An office is a constantly changing landscape where there are hard and tiring days, where many things are happening and there are shared spaces. We connect, exchange ideas, and we work. The goal is to have a visually and acoustically comfortable space that is also aesthetically pleasing. An office is a system formed by two modules that create high levels of wellness. “I was asked for something more organic, more osmotic, in LightSound. It’s not just a lamp, or even an acoustic module - it is an integration of the two. We worked on the acoustic module first – designed with technology that was derived from automobiles to ensure high performance. An equilateral triangle shape has been used as it is the simplest form – it is an agile, flexible, fast, lightweight and self-supporting system. “My aim with LightSound, was to improve quality of life, to improve the working environment… it makes use of a lot of technology, hidden by a soft shape, voids, colours and fabrics. LightSound is a cable module, an aluminium extrusion with LEDs. It has dual light functionality and the high efficiency micro-prismatic glass directs the light in a precise and timely manner onto the work surface – eliminating glare and stray light.” The three LightSound modules, with their self-supporting and simple locking system, allow for infinite combinations and forms. It is able to intervene in areas with visual-acoustic needs without requiring structural changes. By making use of the same B01 fabric folder as other Quadrifoglio Group products, LightSound allows for a perfect match and

GATSBY TABLE LAMP by Ramรณn Esteve

vondom.com

Luna

Bolla

075 | DESIGN REPORT | ITALY

Sipario Strato

Oxen 2019 Collection Nexo Luce Part of Italian lighting company Nexo Luce, Oxen is a high-end decorative lighting brand that balances contemporary aesthetics and innovative solutions. Inspired by the Bauhaus school of designs, Oxen integrates art and design through the simplicity of lines and shapes, using slender frames with glass and metal combinations. The 2019 collection that will be officially launched during Salone Del Mobile in Milan this year, draws inspiration from clean geometrical forms and focuses not only on the aesthetics of the products, but also on the artistic lighting effect they produce onto the surrounding surfaces. Colour schemes of copper, satin champagne, polished nickel are nothing new to the brand, however the ambition was to express the colour palette in beautiful textures with a touch of elegance, minimalism and eclecticism - enabling the collection to easily integrate with various hospitality and residential interiors. Oxen’s Centro Stile opted for polished and satin finishes with bicolour combinations such as black/champagne, white/gold, rose/copper and more. The name chosen for each piece is derived from its shape such as Sipario, Ruota, Pergola and so on, expressed in the language where the brand’s headquarter and factory are located Italy. The Luna product series has evolved from the idea

of perfected simplicity where the light itself is the main focus of attention – as if a flame protected by an elemental glass shelter. Its half-moon inspired shape (hence, the name of the product) is realised through blown transparent glass and steel finish in polished gold. The light source positioned inside the semi-sphere is protected by a frosted glass cylinder to smoothen the lighting effect. This beautiful piece is available as a pendant light, table and floor lamps. The Bolla series has been produced as a singular desk light available in various finishes, seamlessly combining the solid tubular body with the transparent glass shade. With its gentle luminosity and directional downlight, Bolla was created to transform the everyday desk lamp into an elegant light that expresses a bold statement by itself in any interior. Another interesting fixture is the Strato sculptural table lamp that explores the combination of a steel body, perforated metal sheet diffuser and a marble base. The lamp inside emits a soft deflected light through a mesh casing, creating a fancy effect onto the surface. An unexpected use of marble in this almost industrial looking product gives it a distinctive detail. The Sipario series was created as a table or wall light expressing the geometrical properties of a square shaped crystal glass plate held by a steel base. The

Penna 64, walnut, brushed brass

C E L E B R AT I N G T E N Y E A R S O F D E S I G N I N G AND MANUFACTURING LIGHTING IN CALIFORNIA

W W W. C E R N O G R O U P. C O M

075 | DESIGN REPORT | ITALY

Armilla & Olympic Designed By Lorenzo Truant Fabbian Fabbian was established in 1961, manufacturing lighting appliances for residential and commercial purposes. This culture, along with tradition and quality, has always inspired its products, allowing the company to achieve international recognition and stature. The UK is a market of particular interest to Fabbian, where they regularly work with architects and design studios on projects, most recently Foster + Partners and Marco Piva. In May 2018, Fabbian was acquired by entrepreneur Luca Pellegrino, who brought along a new corporate vision packed full of new projects. Thanks to collaborations with many international designers, the company reinterprets modern design through a number of different styles and cutting-edge production technology. Two of its most recent decorative lighting designs - Armilla and Olympic - come from a collaboration with product designer Lorenzo Truant. Armilla is inspired by the very first Renaissance depictions of the motions of stars and planets. At that time, it was customary for people to construct marvellous models called armillary spheres comprising a framework of rings. To begin with, they were centred on Earth, but as time went by and the theories of Copernicus entered the picture, it was replaced with the Sun, an infinite source of light and the new centre of the universe. The rings of Armilla recall this custom, supporting the sphere and complementing the abundance of opal glass that diffuses light from the source at the centre of the composition - just like the armillary spheres dreamt up by the Copernican cosmographers, with their heliocentric view of the world. Olympic is a self-contained light ring with an aerial shape, inspired by the Olympic rings. A single ring

can illuminate the environment by projecting its light as if moved by centrifugal force. When one or more light rings are connected to one another, the luminous sources interconnect creating a hierarchy of lights that clarifies the space. This light structure comprising circular blocks creates Olympic constructions in large contemporary spaces. Commenting on the projects, Truant tells darc: “In every concept there should always been an idea that supports it. The more an idea or a reference is recalled coherently in the project, the more it takes on increasing value and remains ingrained in the user’s mind. The object designed must always perform well for the function for which it was designed, however, the pure functionality is weak if you don’t start the project in an original, fun and exciting way. I feel Fabbian liked this attitude of presenting the projects. “Olympic took me a lot of time to develop because I had designed a wide range of typologies and had forseen an enchainment system that would make the collection innovative. It was the remarkable possibilities of the collection and the apparent simplicity of Olympic that convinced Fabbian to adopt it. “As for Armilla, this was developed very quickly. As well as the illustrative drawings, I produced a test sample that demonstrated the feasibility of a new way of blowing the glass with the rings already inside the mould. “Both Armilla and Olympic are suitable for residential and public spaces... Armilla I feel, also works well in shops, boutiques, bars and restaurants, while Olympic also suites wider open public spaces.” www.fabbian.com

Set Location: Den Blå Planet, Copenhagen.

Design to Shape Light

• Size: Ø200, Ø300, Ø400 • Colours: Alu grey, white, corten • System power: 10 W, 22W, 25W • Colour temp. 2700K and 3000K • Lumen output: 400, 750, 1000 • Lm/W: 40 • CRI: >90

Flindt Wall Design by Christian Flindt louispoulsen.com

R13245_LP_DARC_236x333_FlindtWallGallery-AD8.indd 1

30-04-2019 09:25:36

075 | DESIGN REPORT | ITALY

Lineavolo By Giuseppe Maurizio Scutella Formalighting formalighting brings over 50 years and two generations dedicated to the design, manufacture and application of functional, innovative, solutionorientated, high-quality architectural lighting. Through one of its latest products LineaVolo, the brand takes its first steps into the world of decorative lighting, blurring the lines between the two sectors and offering the best of both worlds, in a minimalist and elegant fixture that imprints a very specific and memorable design. First established in London, UK, in the late 60s and directed by Lorenzo Maghnagi, formalighting’s passion for Italian design and lighting are embedded in its DNA. This Italian family-run business still conveys the importance of integrity, personal service and an inviting business culture - winning formalighting its unique relationship with designers, architects, distributors, project managers and suppliers. LineaVolo, presented in various versions, from floor to pendant to table lamp and covering all requirements and applications in refined and prestigious environments, is offered in a select series of precious finishes (gold, silver, graphite and white) and stands out from other illuminotecnic design projects. A two year long project, produced in collaboration with Giuseppe Maurizio Scutellà, the designer explained the inspiration behind the product to darc: “formalighting asked me to develop a line dedicated to the world of jewellery - so a product with technical content but at the same time not just functional. With this in mind I proposed the idea of something precious and glamorous, the body of the lamp shaped

like a gold ingot was the natural result. The project turned out to be so versatile and as such we decided to extend the range, adding precious finishes and materials such as marble for the base.” Scutellà was born in Alcamo, Sicily and grew up in Lumezzane, an active industrial centre of Lombardia, where he completed his scholastic formation, gratuating as an industrial expert mastering in mechanics and widening his technical knowledge. His creative way of thinking is as such: “A technological lighting appliance has a soul, suggests a story, is often a poem without written verses, with a syntax of shades and lights. Light is an enrapturing luminous sound, is beautifully alive, dynamic, as well as intimate and gentle; respecting its nature, embracing its language, trying to provide multiple keys for interpretation wherever I can in the projects I address, is my own way to approach its magic nature.” LineaVolo makes use of extruded and die-cast aluminium, known for its transference of light and heat dissipation properties, alongside an LED lighting strip with dedicated optics and useful features including touch switch and USB charging. “What makes this product different is that it combines the versatility of a professional, technical product with the elegance and personality of a decorative and non-homologated solution. A versatile solution for modern lighting requirements. Without rhetoric, I hope to have illustrated the characteristics of this, my first formalighting system!” www.formalighting.com

Featured lights: Portree Wall

astrolighting.com

075 | DESIGN REPORT | ITALY

BIBENDUM DESIGNED BY PAOLA NAVONE KARMAN Established in 2005, Karman is a young and innovative lighting brand hailing from the idyllic town of Fossombrone in the heart of Marche region of Italy. Known for its international outlook and desire to experience new, unconventional materials and ideas, Karman introduces the Bibendum pendant fixture new for this year’s Euroluce. Italian designer and architect Paola Navone, is the pioneer behind the Bibendum pendant. Graduating in 1973 with a degree in architecture from Turin Politecnico, Navone began her career in design working alongside Allesandro Mendini, Ettore Sottsass Jr and Andrea Branzi, in the progressive Studio Alchimia. Developing a truly orginal aesthetic and approach to design, she was the first recipient of the Osaka International Design Award in 1983 and ever since, her straightforward approach to design and visionary style has continued to impress the industry. Having partnered with numerous furniture design brands during her career, for this latest project with Karman, Navone exaggerates one of the fundamental materials within lighting’s history, glass.

Bibendum is best described as unexpected, delicate and imperfect. Made in white and transparent glass, its shape is soft and rounded and immediately inspires a feeling of fondness; like a playful cartoon character. Navone describes the pendant as having “a classic soul and a pop spirit.” It is a poetic and humourus object, suitable for many different spaces. When lit, it appears delicate and shows off the perfectly imperfect varying thickness of the glass. As one of the materials she most loves to work with, for Navone, the transparency and lightness of glass mixed with the magic of seeing the ‘hands’ of the master glassmaker blowing and shaping a glass object, is fascinating to her. “We liked the idea of making a contemporary object using a traditional technique,” she tells darc. “A simple yet extraordinary object at the same time, able to make everyday life a little bit special with the imperfect charm of a handmade object. Having developed the product over a twelve month period, a great amount of time was spent experimenting with the creative potential of the

deltalight.com Reflections AD.indd 1

29/04/2019 16:51

075 | DESIGN REPORT | ITALY

Sister Light Zafferano - Ailati For Federico de Majo, founder of Zafferano, artistic glassmaking and lighting is a family affair. Having first experienced the craft using his father’s glass furnace on the island of Murano, de Majo took on the role of in-house designer at his family’s lighting factory before setting up on his own in the 1980’s under the brand Meltemi. With a passion for both glass and wine, in 2001 de Majo made the move towards creating a line of wine-tasting glasses, offering his products to high-end restaurants and prestigious hotels through his new brand Zafferano. As the designer’s confidence grew so did his product line – revolutionising traditional tableware designs; this in turn led to ZafferanoBespoke Glass Lighting and AiLati being established four years later. Zafferano-Bespoke Glass Lighting focuses on customised glass lighting projects and installations designed to be perfectly included in hotels and large spaces. The brand’s lighting range gives designers the opportunity to create unique interiors that stir emotions with their eye-catching decorative effects of light and colour. “Light is an essential element of my Venetian origins,” de Majo tells darc. “With its long-standing tradition of glassmaking, the island of Murano is still my benchmark for inspiration, as well as nature. I have always worked within lighting and for me, a successful product includes simplicity and functionality – these elements ensure the long life of a product.” Launched in time for this year’s Euroluce, Sister Light is de Majo’s most recent portable and rechargeable lamp. Following the great success of AiLati’s Poldina lamp, this

latest incarnation takes the portable lamp one step further. “The technical features of AiLati’s Sister Light are far superior to other lamps available on the market,” says de Majo. “It has a four-step dimmer to provide the optimum and most appropriate light in a room; a long battery life of 58 hours when adjusted to the low power setting; and the light warmth can be varied as required, ranging from 2700 – 4000K. “We aimed to create a product that stands out from the many solutions currently available on the market,” he says. “We put a lot of research into a product with functional characteristics that are in high demand and particularly ideal for restaurants. As such, the fixture also includes special functions largely designed for restaurants, such as a blue light for calling table service.” Other technological features include a prismatic diffuser to increase the power of the LEDs and the light itself is made from hot-forged recyclable aluminium for a semi-gloss surface, this is then treated with galvanised coatings rather than paint. As well as this, a magnet has been included, providing the dual function of securing the top part of the lamp to its stem by means of a pin, while creating an ergonomic shape for an easy grip. “In lighting, we have made the transition from incandescent to fluorescent and then from halogen to LED lighting,” de Majo concludes. “Design is able to extend to areas that would seem impossible previously. The power of LED lighting allows designers to create amazing projects, always. In working with light, we live to be illuminated.” www.ailatilights.it

075 | DESIGN REPORT | ITALY

Abacus Designed By Draw Terzani

Terzani continues to redefine the way luxury lighting is designed and produced. Through experimentation with new production methods and forward-thinking ideas, it has become known for designs that use sculpture, light, shadow and motion to reshape spaces. In time for this year’s Milan Design Week, Terzani introduces its new range - Abacus. Designed by Luca Martorano and Mattia Albicini of Draw and inspired by the centuries old tool to teach mathematics, this new flexible collection of modular pendant lamps allows for complex and beautiful configurations. Each module, or strand, of Abacus contains a custom set of round, handblown opal glass, which emit a soft and uniform light. The concept behind Abacus started in 2016 and it has since been a long three-year process of prototypes and researching light quality, before perfecting the manufacturing process. For Martorano and Albicini, one of the most important goals was to offer a versatile concept. They approached this in two ways, as they explained to darc: “We needed to create a clean and essential form, which works in many different environments, from residential to contract environments such as restaurants, offices and public spaces. As well as this, the architect or client can choose anything from five short pendants to longer pendants in clusters of ten to fifteen spheres. This project is not a single product, but a system in which the client is actively involved in the creation of the composition and in which, Terzani offers a range of infinite bespoke solutions.” Explaining the design process, they continued: “It is always surprising how simple results require so much more work. The key words we had in our mind at all times were ‘reduction and balance’. Just the right amount of glass is necessary to make the spheres resistent and homogenous without increasing the weight and to guarantee a well-diffused and soft light effect from each sphere, we worked on using just the right amount of LED sources, in the right position, with the proper power and temperature - resulting in a complete custom-designed LED system. “We started with a clear concept - a linear sequence of luminous spheres arranged along a vertical axis and sustained by a single, thin suspension cable. First of all, sketches of a single element were prepared and then a rough polystyrene model was created in order to achieve the right proportions before using 3D models to simulate small and large groups of pendants. “The apparent simplicity of the Abacus actually hides a complex product development that sought productive excellence - the finely worked blown glass, the turned details in natural brass, and a sophisticated system of LED sources developed in order to produce a homogenous and calibrated light diffusion...” For the design duo, Abacus is best described as ‘iconic’, ‘versatile’ and ‘evokes memories’, telling darc: “The simple and pure form of a row of spheres, placed together along a vertical axis, recalls an intuitive and memorable ‘iconic’ silhouette. The idea of Abacus is to address a wide range of client concepts, meaning it can work in many different environments consumer market, contract, business and public spaces. As well as this, thanks to its pure geometric forms and the use of warm, traditional materials such as handturned brass and opal glass, a nod to the the 1950s is achieved.”

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Nexo Luce | Italy

oxenluce.com

On Show A look ahead to forthcoming design shows with a strong lighting element.

WANTED DESIGN

• NEW YORK, USA

16-21 May 2019 (www.wanteddesignnyc.com)

ICFF

• NEW YORK, USA

19-22 May 2019 (www.icff.com)

CLERKENWELL DESIGN WEEK •

LONDON, UK

21-23 May 2019 (www.clerkenwelldesignweek.com)

MAISON & OBJET

• PARIS, FR ANCE

075 | CALENDARC

6-10 September 2019 (www.maison-objet.com)

INDEX

17-19 September 2019 (www.indexexhibition.com)

• LONDON, UK

18-21 September 2019 (www.100percentdesign.co.uk)

LONDON DESIGN FAIR

• LONDON, UK

19-22 September 2019 (www.londondesignfair.co.uk)

DARC ROOM @ LDF

• LONDON, UK

19-22 September 2019 (www.darcroom.com)

• LONDON, UK

6-9 October 2019 (www.decorex.com)

• DUBAI, UAE

100% DESIGN

DECOREX

BDNY

• NEW YORK, USA

10-11 November 2019 (www.bdny.com)

DOWNTOWN DESIGN

• DUBAI, UAE

12-15 November 2019 (www.downtowndesign.com)

SLEEP + EAT

• LONDON, UK

19-20 November 2019 (www.sleepandeatevent.com)

DARC AWARDS

• LONDON, UK

9 December 2019 (www.darcawards.com)

AD INDEX AIPI................................................................................ 87

Delta Light................................................................... 15

Linea Light Group...................................................... 65

ANDlight.. ..................................................................... 67

designheure................................................................. 51

Louis Poulsen................................................................. 5

Archilume..................................................................... 69

Duncan Meerding Studio......................................... 83

Oxen Luce.. ................................................................... 19

Arpel Lighting. . ............................................................ 89

ICFF............................................................................... 60

Tangyao Wires.. ......................................................... 115

Artemide. . ..................................................................... 63

Fabbian......................................................................... 43

VISO.. ......................................................................... OBC

Astro Lighting............................................................. 11

Faro Barcelona........................................................... 91

Vondom. . ....................................................................... 27

BuzziSpace................................................................... 57

Hind Rabii . . ................................................................... 95

Wanted Design........................................................... 54

Catellani & Smith....................................................... 17

Innermost. . ................................................................... 35

WEPLIGHT.................................................................. 75

Cerno Group............................................................. IFC

Karboxx. . ....................................................................... 25

Willowlamp................................................................ 101

Clerkenwell Design Week . . .................................... 105

Karman . . ........................................................................ 79

David Trubridge . . ...................................................... 113

Light-Point................................................................... 47

In Focus The name of the products Question sentence blah blah blah blah blah? As you flick through the pages of our latest issue you will notice there is a strong focus on Milan Design Week, with coverage taking up a good third of the magazine. The darc team had a brilliant time in Milan - it was amazing to see Question sentence blah blah blah blah blah? the magazine so well received and it was great to catch up with associates from the design community old and new. There was some strong lighting offerings on show at both Euroluce and a number of pop up events around the Brera and Tortona design districts. Both acoustic and outdoor lighting appeared to make their mark on the week, with a number of launches from Question sentence blah blah blah blah blah? various manufacturers. As such we bring you features dedicated to both. On page 44 Kim HĂśglund, Department Head Lighting Design Question sentence blah blah blah blah blah? at TyrĂŠns in Sweden, discusses how exterior lighting design can be decorative yet functional and how, as a lighting designer, this should always be the main goal; while interior designers JOI-Design discuss the benefits of combining acoustic materials with lighting fixtures for commercial and

175 | IN FOCUS

Question sentence blah blah blah blah blah? hospitality projects on page 58. We also have an interview with Jason Bird of Luxxbox on page 70, where he discusses his recent work with Panzeri on acoustic lighting fixture Zig Zag, as well as this we bring you a selection of outdoor lighting projects and products to inspire your next exterior designs from page 48 onwards. If you didn't get chance to visit Euroluce this year, head straight to page 72 for our round-up of lighting launches - you might want to set some time aside, put your feet up with a coffee and grab a slice of your favourite cake to get through it all, it's a hefty one! We have mixed it up a bit with some designer interviews thrown in www.website.com

Penna 64, walnut, brushed brass

C E L E B R AT I N G T E N Y E A R S O F D E S I G N I N G AND MANUFACTURING LIGHTING IN CALIFORNIA

W W W. C E R N O G R O U P. C O M

GATSBY TABLE LAMP by Ramรณn Esteve

vondom.com