#54 T H E C A N T A B R I A N M A R I T I M E M U S E U M , S PA I N S T E V E N E S H L E M A N , AV R O K O PA N T O N E P E A C H F U Z Z OFFICE LIGHTING
Built of harmony The Secto Design lighting collection is designed by the award-winning architect Seppo Koho. The diligent handwork is carried out by highly talented craftsmen in Finland from top-quality local birch wood. www.sectodesign.fi
| 2/3 COVER: CANTABRIAN MARITIME MUSEUM ZOOCO Sarah Cullen • Editor I feel like I blinked and was straight back on print deadline with this next issue of darc. Such is life when you’re the hottest publication for decorative lighting and all the international events want to distribute you...! It has been an intense month of travel so far, starting with the [d]arc media team heading to Frankfurt to attend Light + Building at the beginning of March. It was so nice to meet up with industry pals and see some lovely new product launches. When it was time to take our tired little feet home, unfortunately a group of us were stung by the German transport strikes when they cancelled our flight home mere minutes before boarding. Team arc were fortunate enough to have had prior warning and fled the country like an Italian Job in an Uber to Brussels to get a flight home. Our experience, however, unravelled into a slightly stressful period of going back and forth to Lufthansa customer service desks in between buying new wardrobes and toothbushes while our suitcases were held captive in the system of conveyor belts. We eventually, and gratefully, staggered home on our rebooked flights three days later. Please don’t mistake my tone for being anti-strikes. I am all for workers fighting for what they believe they deserve! We were just the unfortunate ones who were caught in the maximum-impact aim of the workers’ walkout. I mentioned in the last issue that we would be featuring a roundup of our time at Light + Building, however, we decided as an editorial group to let our newest member of the team, Online Content Creator Ellie have a crack at doing a digital overview of our time in Frankfurt. Keep an eye out for darc’s newsletter and online to find out more. Also in March, I had the opportunity to visit Occhio in Munich on a press trip to its showroom, experience hall, and live project at the Haus der Kunst art gallery. Along with a select number of other design journalists, I had the chance to get to know the faces behind the brand over an intimate dining experience at the very special two Michelin star restaurant, Tohru that was illuminated by Occhio’s Sento sospeso suspended luminaire. What a treat! To finish off the month, we will be donning our glad rags ready for the highly anticipated [d]arc night party celebrating the winners of this year’s [d]arc awards. At this year’s party we’re going all-out with a 1980s theme! I look forward to seeing the industry’s fancy dress efforts and awarding the best-dressed prizes on the night. WELCOME /darcmagazine | @darc_mag
04/05 | CONTENTS THE MAGAZINE Managing Editor | Helen Ankers [email protected] +44 161 464 4750 Editor | Sarah Cullen [email protected] +44 161 464 4750 Contributing Editor | Matt Waring [email protected] International Sales Manager | Tristan Blowers [email protected] +44 7392 895771 Online Content Creator | Ellie Walton [email protected] +44 161 464 4750 DESIGN Artwork | Dan Seaton [email protected] Editorial | Mel Capper [email protected] FINANCE Finance Director | Amanda Giles [email protected] Credit Control | Lynette Levi [email protected] CORPORATE Managing Director [d]arc media | Paul James [email protected] Marketing & Events [d]arc media | Moses Naeem [email protected] Chairman Mondiale Publishing | Damian Walsh [d]arc media ltd | Strawberry Studios, Watson Square, Stockport SK1 3AZ, UK | Printed by Buxton Press, Palace Road, Buxton, UK ISSN 2052-9406 CONTENTS FEATURED 034 Interview: Steven Eshleman darc chats to Steven Eshleman, Director of Industrial Design at AvroKo, to find out more about his career at the New York interior design studio, and his design approaches when it comes to creating light fixtures. 050 Feature Interview: Harsha Kotak To open our Office and Task Lighting feature, darc’s editor sat down with Founder and Director of Women in Office Design and Sustainable Design Collective, Harsha Kotak to discover more about her industry initiatives. 055 Feature Comment: Charlie Bark-Jones Workspace Design Show returned to London in February. Charlie Bark-Jones, founder of the show, shares insights and trends from the event, as well as biophilic lighting considerations. 062 Feature Products: Office Lighting darc’s selection of task lighting products that are wellsuited to a workspace environment. 074 In Focus: Lysabel Designer Lorenzo Truant discusses his latest collection for Intra Lighting, Lysabel, which was inspired by scenes from Sci-Fi classics, Star Wars and the lightsabre. PROJECTS 008 Focal Point Treehouse, Dubai 010 Focal Point Al Mamlaka Social Dining, Saudi Arabia 012 Terrazzo Aperol Terrazzo Aperol, a small Venetian bar in Italy, has undergone a renovation by architectural firm Vudafieri-Saverino Partners. 016 The Cantabrian Maritime Museum Architectural studio Zooco has transformed the hospitality venues inside the Cantabrian Maritime Museum, creating an elegantly simple destination that celebrates the building’s original architecture. 022 Enso UK-based interiors studio Ekho has entered the Purpose-built Student Accommodation scene for the first time with its project Enso, located in Colchester, UK. 056 Matrix Studio As part of our Office Lighting feature, we cover Alex Dauley’s workspace scheme for Matrix Studio. INSPIRATION 028 Materials: Lodes x Ron Arad Italian brand Lodes recently released Cono Di Luce, a sculptural piece designed with Ron Arad. Darc’s Editor Sarah Cullen finds out more about the design process. 042 Products: Pantone Peach Fuzz A selection of decorative lighting in warm peach hues. 046 Interview: Guillaume Bottazzi Visual artist Guillaume Bottazzi has been linking neurology and art in our living spaces, focusing his work on wellbeing. Here, he tells darc about his latest collection, Nutty. 060 On The Board: Align Design and Architecture Ben Pressley, Senior Designer and Laura Palmer, Designer and Furniture Specialist, talk us through their design concept for a well-known British DIY brand’s new office space in South West England. 064 Interview: Women in Lighting As part of our commitment to celebrate Women in Lighting and International Women’s Day, darc posed a series of questions to women working in decorative lighting, about their working lives.
THE GENEVIEVE 60cm SCONCE
Leading lighting designs. Delivered to the world. modistore.co.uk
Embarking on a journey through the Taj Hotel, Business Bay, Dubai, the recent refurbishment for Treehouse, by Prospect Design International, is a perfect example of how lighting plays a key role in design storytelling. The design team recognised lighting as a pivotal element in the narrative of the venue. In the realm of interior design, lighting creates ambiance, and immerses guests in a multi-sensory experience. Situated on Taj Hotel’s rooftop, Treehouse is a bohemian-inspired retreat blending charm with high-energy allure against the bustling city backdrop. The design ethos embraces a boho-chic aesthetic created with natural materials for a cosy and friendly atmosphere. The space is divided into two levels; on the upper deck, a central bar steals the crafted from natural concrete block façade elements adorned with a bespoke tree made of woven lights by lighting consultants Skyelume, a playful nod to the venue’s overarching story. The bar, surrounded by lush greenery and two tiers of comfortable sofas, becomes the focal point, creating an inviting arena where guests can both see and be seen, elevating the overall experience of this rooftop sanctuary. www.prospect-design.com Image: Jimmy de Paris BUSINESS BAY, DUBAI TREEHOUSE FOCAL POINT 8/9 | FOCAL POINT | TREEHOUSE
Al Mamlaka Social Dining is a new multicuisine food experience in the Saudi Arabian capital of Riyadh. Located inside the Kingdom Tower, a striking skyscraper, Al Mamlaka is the first restaurant in Riyadh where diners can experience high-quality global cuisine under one roof, around the clock. Working alongside lighting designers Lighting Design International (LDI) for the project was interior design studio TGP International. A central focal point for the designers was the coffee and cocktails station. With it being the first sight guests see on entering the restaurant, the goal was to leave a lasting impression. The team at LDI team used linear lighting around the canopy of the coffee counter, which offers a continuous ray of light. To complement LDI’s plinth-level lighting alongside lighting at the front of the counter, TGP specified Bonbon pendants by Danish furniture brand HAY in the dining area, with the decorative lights made of fabric, partnered with rattan pendants. All of the linear lighting was 2400K, which adds a warm depth. The architectural lighting is 2700K, and the Zico Lighting lamps inside the pendants are 2200K. It was important for LDI to create warmth from the pendant, coupled with the accent lighting on the tables. Arianna Ghezzi, Associate at Lighting Design International, says: “As the project entailed reworking an existing building rather than a new build, we had to work within several constraints and limitations. “We have created a multi-discipline scheme that oozes sophistication and sets Al Mamlaka apart from every day, standard food halls. As an almost 24-hour establishment, we needed to move the lighting along as the day faded and the nighttime set in. “We achieved this by programming all of the lighting across the hall, with four different scenes. These are lighter during the day, with more atmospheric, moody lighting during the night. A podium and a stage can be added to the space, so the lighting needs to support a party mood for these occasions. “The new dining experience of Al Mamlaka is certainly something unique, and the lighting is a key part of making guests know they are somewhere special.” www.lightingdesigninternational.com www.tgpinternational.com Image: Gavriil Papadiotis RIYADH, SAUDI ARABIA A L M A M L A K A SOCIAL DINING FOCAL POINT 10/11 | FOCAL POINT | AL MAMLAKA SOCIAL DINING
12/13 | PROJECT | TERRAZZO APEROL T E R R A Z Z O APEROL Terrazzo Aperol, a small Venetian bar in Italy, has undergone a renovation by architectural firm Vudafieri-Saverino Partners, which has injected a lively orange palate with matching decorative lighting accents. Terrazza Aperol, located in the heart of Venice, Italy, is characterised by the distinctive orange tones of an Aperol Spritz, a refreshingly vibrant Italian cocktail that hails from the Northeast of the country. Milan-based architectural firm Vudafieri-Saverino Partners initially designed the interiors and recently returned to transform the 70sqm space into a successful fusion of a traditional bacari - Venice’s small local bars - with the contemporary allure of a cocktail bar. Architects Tiziano Vudafieri and Claudio Saverino have given a modern makeover to traditional Venetian materials and elements in order to give an authentic experience to the Italian-style aperitivo ritual and socialising. They managed this through enhancing the bacaro and bar and creating a social room. Blue accents from the Aperol brand have been introduced throughout to add notes of personality alongside neutrals and orange details. “Inside the Bacaro, where the famous Venetian “cicchetti” appetisers reign supreme, a counter in PROJECT
14/15 | PROJECT | TERRAZZO APEROL TERRAZZO APEROL Interior Design: Vudafieri-Saverino Partners Lighting Specified: Barovier & Toso, Custom 3D printed chandelier Images: SantiCaleca Cocktail bar Terrazzo Aperol celebrates the vibrancy of an Aperol Spritz, interjecting the distinctive orange and blue colours of the Aperol branding throughout its furnishings and decorative lighting. ribbed canaletto walnut teams with tops in warm white Corian to lend a decorative touch to the interiors and, together with orange details and bright lines, it creates a warm relaxed mood reminiscent of traditional Venetian bacari.” Pendant lights above the bar are from Muranobased brand Barvoier & Toso and are a custom-made modification of its Hanami model. Their rich orange tone pair nicely with the 3D-printed recycled plastic chandelier, produced to a design by the architects that recalls classic blown glass chandeliers, situated in the social room. Elsewhere, technical lighting includes spotlights by Modular and LED ceiling strips by Immenso Luci d’Autore provide functional illumination. “Ideal at any time of day, from coffee to after dinner, the bar continues to be the beating heart of Terrazza Aperol, the ideal place to enjoy a perfect Aperol Spritz and admire the beauty of this city through the large windows overlooking Campo Santo Stefano.” www.vudafierisaverino.it
16/17 | PROJECT | CANTABRIAN MARITIME MUSEUM C A N TA B R I A N M A R I T I M E MUSEUM Architectural studio Zooco has transformed the hospitality venues inside the Cantabrian Maritime Museum, creating an elegantly simple destination that celebrates the building’s original architecture. PROJECT The Cantabrian Maritime Museum, Spain, was conceived as part of an architectural complex together with the Oceanographic Center, designed by Vicente Roig Forner and Ángel Hernández Morales and built between 1975 and 1978. The original building consists of two square bodies connected by a canopy, with a concrete structure. The interior is distributed over three floors around a central courtyard covered by a vault of paraboloid membranes. In 2003, a renovation and extension was carried out, which included the extension of the west façade and the roof of the terrace with a pyramidal aluminium structure, thus altering the initial conception of the building. Madrid-based architectural studio Zooco was brought on board initially to rectify issues of dampness in the roof and façade of the building. This later developed into the team designing and creating a new space of the museum on the second floor, which houses its restaurant and terrace. When describing their involvement in the project, Miguel Crespo Picot and Javier Guzmán Benito, two of the three founders of Zooco, explained how fortunate they were that the client granted them complete freedom when it came to shaping the design of the restaurant. “Throughout the duration of the project, the integrity of the design remained unaltered, preserving its originality and functionality without undergoing any changes.” The geometric properties of the space helped define the approach to the restaurant’s interiors. The square morphology of the restaurant’s volume is the result of four additional triangles that regularise and complete the concrete paraboloids of the original building. “The original building had a terrace on the third floor, where the concrete structure was completely outside and functioned as the roof of the museum’s central patio. In 2003 the building was renovated and within this intervention, the paraboloids were covered with a new roof and the SANTANDER, SPAIN
18/19 space between them, and the perimeter of the building was closed with glass, generating a covered space where there was previously a terrace. From the outside, the original cover can no longer be seen, and from the inside it is covered by paint or coating,” explain the two founders. “Our intervention focused on recovering the original essence of this significant construction element. To do this, the coating and paint were removed, and the inclined green glass was replaced with vertical transparent glass. In this way, the paraboloids appear in their pure state and a perimeter terrace is recovered along the entire space. “The geometry of the existing structure conditions the space, because its height in its lower part is impractical, so a large bench was arranged around the entire contour that allowed us to take advantage of that space and organise the distribution of the rest of the floor plan. “We wanted the concrete paraboloids to be the absolute protagonists of the space. To do this, we looked for a floor finish that was as neutral as possible, that adapted to the existing conditions and did not compete with the main element of the project. “To enhance the original structure, we decided to use a wooden roof that framed the perimeter of the paraboloids. The wooden slats bring warmth and friendliness to the space, while allowing us to solve all the technical needs for air conditioning, heating, and lighting, leaving them hidden. In this way we ensured
PROJECT | CANTABRIAN MARITIME MUSEUM that all these elements did not interfere with the dialogue of concrete and wood, which were presented as continuous and clean elements. “This geometry became a recovered element, a vestige of the past, and the protagonist of the restaurant’s interior. Treated as an artistic element, the triangular wooden false ceilings frame it. The museum’s location also played a key role in the design strategy for Zooco. “We could say that it influences 100%,” says Guzmán Benito. “We are at the Cantabrian Maritime Museum, a museum dedicated to the sea, which is practically on top of the water. When we are inside, the feeling is the same as when we are inside a boat, there is only water around, and that is why we used clean glass from floor to ceiling, generating a perimeter terrace as if you were on a boat.” “The use of wood and steel for all the furniture is reminiscent of the materials used in ship building,” continues Crespo Picot. “The wood is arranged in small boards just as it is used in the hulls of boats and the furniture has slight curvatures that are reminiscent of the aerodynamic shapes of boats. Likewise, the lamps are inspired by the masts for ship sails. “The dialogue between the concrete container in grey tones, on the one hand, and the glass envelope that allows a total visual connection with the outside, generates great spatial harmony. Everything is completed and harmonised with all the oak wood furniture and stainless steel accessories.” The role of decorative lighting was integral to achieving “The luminaires, in their varied forms, become not merely sources of light but protagonists in the narrative of design, illuminating not just spaces but also the nuanced interplay between permanence and flexibility, aesthetics and functionality.”
20/21 | PROJECT | CANTABRIAN MARITIME MUSEUM CANTABRIAN MARITIME MUSEUM, SANTANDER, SPAIN Interior Design: Zooco Lighting Specified: Arkoslight, Gubi, Menu, Zooco Images: Zooco Taking inspiration from the geometric shapes of the new restaurant’s architecture, the decorative lighting throughout the space mirrors the clean lines and simple aesthetics, resulting in an elegant atmosphere. the minimalist aesthetic the team were working towards for the dining area. Along with fixtures from Arkoslight, Menu and Gubi, Zooco also created a custom piece called the MMC Lamp. “The concept behind the design of the MMC lamps stemmed from a specific necessity – the quest for a lighting solution that seamlessly emerged from the table surface, eliminating the need to suspend it from paraboloids,” explains Crespo Picot. “This innovative approach aimed to preserve the integrity of the concrete structure, ensuring a harmonious blend of functionality and aesthetics. In addressing this challenge, the lamps were meticulously crafted to not only fulfil their illuminating purpose but also to become an integral part of the architectural composition.” Discussing the various considerations for lighting placement, Guzmán Benito says: “First, in this luminous spectrum are the suspended fixtures, gracefully poised from the ceilings adorned with wooden slats. Second, the MMC Lamps that emerge from the table, and thirdly the recessed spotlights, which are strategically placed to illuminate pairs of tables, creating intimate pockets of radiance. “[Decorative lighting is] as important as any main element of the design. The luminaires, in their varied forms, become not merely sources of light but protagonists in the narrative of design, illuminating not just spaces but also the nuanced interplay between permanence and flexibility, aesthetics and functionality.” When asked how this project differed to others in Zooco’s portfolio, Guzmán Benito explains that the task of rehabilitating the existing concrete structure was a point of difference for them. “This challenge added layers of complexity to the process, requiring a meticulous approach to preserve and strengthen the structural integrity while undergoing rehabilitation. “Zooco designs everything. Our philosophy consists of approaching any type of assignment, regardless of its scale, budget, and programme, with the same attitude and creative ambition. Applying the same process searching the most appropriate and valuable solution, both from an artistic and functional point of view.” www.zooco.es
LONDON | DUBAI +44 (0)20 7351 0863 | [email protected] | | EST. 1995 ROSETTE PENDANT Featuring six large edge-lit LEDs nestled amongst unique modern brass finish metalwork designed using a forged process. Other finishes available. ATMOSPHERE COLLECTION Discover the complete collection at christopherhyde.com
22/23 | PROJECT | ENSO Ekho Studio has completed its first student accommodation project, as the interiors consultancy enters the PBSA (Purpose-built Student Accommodation) market. The project is a new-build scheme called Enso, located in the heart of Colchester, UK and just minutes from the University of Essex campus. The joint clients on the project were UK real estate fund manager Moorfield, with whom Ekho Studio Founding Partner Rachel Withey had already worked on several occasions at previous agencies, plus project developer Melberry. The Ekho Studio design team also liaised throughout with operator CRM Students. The brief for the interior was first to create a bright, airy, and light-filled student amenity space on the building’s ground floor, incorporating thoughtfully designed communal spaces aimed at encouraging social interaction. The amenities needed to promote relaxation and wellbeing and offer a sense of balance to residents, with co-working spaces for individual study and team collaboration, lounge, and seating areas, as well as a gaming area, and gym. The second part of the brief was to create the look and feel for the scheme’s 282 student rooms, devising a colour palette that would tie in harmoniously with the amenity concept. The overall design was also to be environmentally low-impact, prioritising materials with strong recycled or recyclable credentials and low-energy manufacture and use. For the project concept, Withey and her team took inspiration from a sense of place, focusing particularly on Colchester’s rich historic past. The city was known as ‘Camulodunum’ – translated as the ‘Fortress of the War God Camulos’ – during Roman times and was immortalised by Pliny the Elder as Britain’s first recorded settlement and, later, as Britain’s first city and capital. Certain forms and elements from that period remain intact, standing out as a common thread through the city’s history and architecture, from Roman arches to the town’s layered brick walls. Ekho Studio took these key visual and architectural elements and used them to formulate a consistent design language for the scheme that translates right across the interior spaces. Simple forms, particularly the ‘arch’ motif, were used horizontally and vertically to create interest, while a series of layered vistas add a sense of depth, with repeat patterns, sometimes with a woven form or fringed edge, suggesting the reveal of layers in the old city. A second design thread is nature, with Colchester and the surrounding countryside full of strong textures and dramatic forms and colours. The colour palette fuses Roman-era references with local natural colours, celebrating earthy and warm tones. “By using these tones as ‘block’ colours, we created a vibrant, bold colour palette that works well with the forms but also has a softer feel,” Withey says. “We emphasised the toasty burnt oranges and varying shades of pink that cloud and streak the traditional earthenware material of terracotta and complemented this with the natural greens/blues that reflect Colchester’s surrounding countryside.” Ekho Studio collaborated with branding agency J2 on the scheme, with the latter creating the project’s unique Enso branding, mining a direction inspired by the interior design narrative. The lower case ‘enso’ of the brand features an ‘n’ that alludes to the simple form of the arch, for example, with the ‘n’ additionally used by Ekho Studio within the scheme as a playful standalone marque/art feature, filled with planting, in both small and large iterations. As Ekho Studio was involved in the project prior to construction, the team was able to request minor alterations to the space plan from the point of view of flow, including, for example, more external doors into the courtyard. Other changes included moving the reception further away from the arrival doors and swapping the internal ply laminate doors to blue for the amenity space, while they are in light oak elsewhere. Ekho Studio also proposed locating additional gym equipment outside in the courtyard space, in addition to the ample internal gym located at the rear of the games area. “Courtyards are lovely to look at and great sources of natural light but are often under-used and passive in nature,” Withey says. “By locating part of the gym outside in the healthy fresh air, we also made it into a more active space, with the added benefit of liberating indoor space for other uses.” The amenity space features two distinct areas: a social space at the top of the plan with a games area, including a pool table, and access to the gym, with this potentially noisier area located the furthest from ground-floor student residences. At the bottom of the plan are the reception, tea point, lounges, study room, and smaller enclosed study room. The ground floor bedrooms are located beyond the study spaces to ensure the quietest possible adjacency. ENSO UK-based interiors studio Ekho has entered the Purpose-built Student Accommodation scene for the first time with its project Enso located in Colchester, UK. Managing Editor Helen Ankers discovers more about the studio’s design scheme. PROJECT COLCHESTER, UK
24/25 | PROJECT | ENSO When students and their visitors enter the ground floor amenity space, they are immediately greeted by the site-specific enso branding on the wall opposite, backlit and in lower case, with the four letters in-filled with planting to establish an immediate outsidein biophilic connection. The two dominant concept colours – blue and terracotta – are also immediately introduced in the form of a blue-painted wall with terracotta skirting at its base; complementing this are several Muuto Unfold pendants, also in terracotta. The playful take on the arch shape of Enso’s letter ‘n’ also has its first iteration here as a wall decoration, both super-sized as a large arch and as a smaller, inverted ‘n’, with the bottom of the shape aligned to the top of the wall. Both are edge-lit and either infilled or surrounded with reindeer moss. Flooring here and throughout is in Marmoleum tiling in varying patterns and colours, while the ceiling is exposed to create maximum height, with white-coloured track lighting throughout. As students or visitors approach reception, they see the space’s first structural column, treated decoratively, and clad in a pattern of terracotta and blue tiles with a feature green grout. Above the tiling is the scheme’s first artwork, incorporating both an arch and a pottery shape. The bespoke reception desk to the left features a Hanex top and a cork frontage, while two pendant lights are featured above – the Cortina – Big Pendant Lamp from Dam-Green. “The primary intent with this light fitting was ensuring it worked for the functionality of the desk to light the solid surface evenly for 24/7 working use,” Withey tells darc. “We also wanted to balance this with sustainable material choices and ensure that such a prominently located fitting worked with the design aesthetic and language – no small feat! The main material is cork to suit the desk itself, while the long, arched form followed the design language, and the length functionally gave the user the desired lighting levels they needed without compromising on aesthetic and cost.” A reception waiting area features furniture arranged on two different rugs that tie in with the scheme’s blue/green and terracotta colour palette, with the first large-scale plants here adding drama and scale. Vibia’s Palma 3724 pendant lights with planters feature in this space – lining the internal side of the glass façade. As the space opens, a tea point follows round to the left, with laminate cladding to the front in a terracotta tone, though the focal point in this area is a bespoke joinery seating lozenge. This features at its base a zigzag brick pattern, with deceptive depth, with the same material and pattern also used on the back wall “The traditional earthenware material of terracotta links to the design language throughout Enso with the warm toned colour and linking back to the Roman history conceptual thread. The terracotta pendants sit against the blue background, which created the striking colour contrast we were aiming for.”
franklite.co.uk | [email protected] | +44 (0)1908 691 818 CLIFTON An extensive range of cream textured fabric shades nestled within aged brass finish fittings
26/27 | of the tea point and later in the scheme for the screens that lead to the games area. Above the banquette seat – and extending over the whole tea point area – are three inbuilt display shelves for planting, with a single lozenge-shaped raft at the top, featuring on its underside a geometric patterned textile in blue and terracotta. The tea point is lit by four Blush pendant lights in white from Northern; according to Withey, this fitting needed to contrast against the vibrant blue slab but also be small enough to hang between the raft elements. “We sourced something that was a block colour tone to create the contrast but also had an arch-like profile to tie in with one of our key aesthetic concept drivers,” she says. Opposite are two sets of four-person table seating arrangements that feature Rigatoni pendants in indigo from Hand and Eye Studio. “The Rigatoni fixture was utilised for above the dining/study tables and continue our theme of utilising natural materials where possible. The blue and terracotta combination emphasises the wall finish palette and complements the blue sprayed slab colour. These light fixtures were chosen to create a focal grounding to the tables below.” Then, behind these, there is a long, glazed wall announcing the large co-working and the smaller quiet study spaces. These include chairs in complementary colours and a variety of worktops and booths, with a large central table as the focal point of the co-working area. This bespoke blue table with a triple edge with a central inset layer is in the shape of the arch motif, playfully inset into a wall arch, as if it has just been leveraged out. The booth areas feature a fabric backing, while the acoustic ceiling grid in the space has been painted blue and arranged at angles in an ontheme geometric styling. Two feature pendant lamps in blue by Tom Rossau feature here and are made of bent ply. A graphic wallpaper incorporates a city wall pattern in shades of terracotta and, once again, offers a playful sense of depth. Flowerpot VPI pendants from &Tradition feature in the individual booths in a deep terracotta colour. In the gaming area of the ground floor amenity space, the use of terracotta and blue is flipped for subtle differentiation, with the walls and ceiling in terracotta rather than blue. A U-shaped, large sofa in dark terracotta is dressed in a variety of plain and patterned cushions that fit with the colour palette. The feeling of a new zone is aided by a square suspended ceiling raft in blue over the sofa area, enclosing four feature Junit pendant lights from Schneid Studio. Commenting on the use of these fixtures, Withey says: “The oversized bulbs with simple stacked timber shapes were selected to zone the TV and games area while also creating visual interest in a fun way. The simple pieces, we felt, were reminiscent of Roman architectural forms but with a quirky twist as to how they are threaded together; the selected colour tones suited the overall palette.” Behind the sofa, a large-scale, laminate-clad planter with a terracotta top edge creates a zonal screen, with a pool table located directly behind. The adjoining wall here also features the same large arch and small inverted arch as used on the entrance wall. A rectangular track light from Lightforms demarcates
PROJECT | ENSO ENSO COLCHESTER, UK Interior Design: Ekho Studio Lighting Specified: &Tradition, Dam-Green, Flos, Gubi, Hand & Eye, Muuto, Northern, Shneid Studio, Tala, Vibia, Vitamin Images: Gunner Gu Sustainability was one of the core aims of this project, with the design needing to be environmentally low-impact, prioritising materials with strong recycled or recyclable credentials and low-energy manufacture and use. Every corner of Enso has been successfully designed to celebrate and help protect its environment. the pool table area, while feature lighting directly above is provided by the Palma 3736 pendant light with planter by Vibia. “Due to the ceiling height and architectural façade grilles at high level, we wanted to specify a pendant that dropped low enough to be seen from the outside, but which also worked internally,” adds Withey. “Located above table and chair settings where users can sit, work, or socialise, we wanted to keep the tabletop clear for the students’ use but also to soften the setting. This fitting meant we could have a biophilic plant dressing element to create a softer area while maintaining the working space below.” Commenting on other lighting elements within the space, Withey tells darc, the K table lamp from Vitamin, used for the reception desk and in the TV area, “ended up being a particular favourite of the client. The fitting style is simple in form but with a clever twist in terms of how those two forms interact with each other. We were drawn to this fitting for the scheme not just for the colour and form but also because it is like a fantastical character with the ‘hood’ pushed back to reveal the light within. It had a playful feel we thought would be perfect for the games and social lounge.” Additional lighting from Hand and Eye was also used in the TV lounge area of the scheme, Withey comments: “We are huge fans of the terracotta pendant range and have used this in other schemes. The traditional earthenware material of terracotta links to the design language throughout Enso with the warm toned colour and linking back to the Roman history conceptual thread. The terracotta pendants sit against the blue background, which created the striking colour contrast we were aiming for.” From recycled and sustainably sourced materials, through to natural design features and landscaped gardens that bring the outside world in, every corner of Enso has been designed to celebrate and help protect its environment. Sustainable materials used in the scheme range from recycled wallpapers to waterbased paint finishes, the use of cork for joinery and feature walls; biophilic interiors with air-filtering plants at low levels; living walls made from moss; terracotta tiles, joinery and light fittings made from 100% natural recyclable material and manufactured with energy efficiency; durable and sustainable Marmoleum natural flooring throughout; ceiling tiles and plasterboard with ACTIVair technology to improve air quality; recycledcontent furniture with FSC timber accreditation – plus fabrics made from hemp and nettle. Heiko Figge, Head of Operational Asset Management at Moorfield Group comments on the final scheme: “We are delighted to have worked with Ekho Studio on Enso and several other projects within our portfolio. Ekho Studio was responsible for the interior design, look, and feel of the development and we are delighted with the outcome, which captures a stylish and contemporary character while respecting the heritage and architecture of the local area. Ekho Studio understands our brand standards, design brief and budget, and were always willing to go above and beyond what is expected. The team are creative, deliver inspiring concepts and designs, and pay attention to detail.” www.ekho.studio
28/29 | MATERIALS | LODES X RON ARAD
LODES X RON ARAD CONO DI LUCE Ita l i a n b r a n d L o d e s r e c e n t ly r e l e a s e d C o n o D i L u c e, a s c u l p t u r a l p ie c e d e sig n e d w i t h R o n A r a d. D a r c’s E d i t o r S a r a h C u l l e n f i n d s o u t m o r e a b o u t t h e d e sig n p r o c e s s. MATERIALS Cono di Luce is one of the latest pieces from Italian lighting brand Lodes. A grahpic and sculptural light created in collaboration with internationally renowned British-Israeli artist, architect, and designer, Ron Arad. Arad is best known for his iconic industrial pieces that have won multiple awards and been exhibited in the world’s most prestigious institutions. Firstly, Lodes set a challenge, tasking designers to use borosilicate glass to create an iconic object. “We selected Ron Arad for his disruptive approach – as someone who blends art, architecture and design – he is able to uncover new realms in which objects break out of their typical typologies,” explains the brand. Arad’s proposed design was a slender, truncated cone shape as the archetype, with a light source placed on top, hence its name meaning “cone of light”. From concept to completion, the project took two and a half years of bringing Lodes’ technical knowledge together with Arad’s designs to produce the unique Cono di Luce design. The first design concepts submitted were not the direction the brand wanted to explore initially. It did, however, bring to light that an already existing piece of technology, PCB (printed circuit board), could be utilised for a different purpose. In this case, as a design feature of the lamp. A continuous exchange between Lodes and Arad enabled them to explore a different design path, which led them to the final piece we see today. “PCB technology is well-known in the industry, but it is usually hidden, it is rarely shown as part of the design. What was innovative and unexpected in Cono di Luce was to realise the decorative potential of this technology – exposing the PCB board by wrapping it inside the glass cone,” explains the brand. “We harnessed the material’s opaque and translucent areas to create stripes in line with Arad’s drawings - Arad played with the dark and light bands and the moiré effect given by the overlapping of the stripes. We were then able to employ this aesthetic to design an electrical circuit connecting more than 200 LED chips.” The PCB is the result of a process that includes 33 steps and several layers composed of fiberglass and copper for the LED chip electric circuits, which by nature have both translucent and opaque areas. A sheet of fiberglass, which is extremely thin, flexible, and insulating, on which a copper path is smeared, acts as a conductor of the electrical polarity, which on reaching the LED allows them to emit light. The white, rigid PCB frame performs three functions: refracting light so that the luminous effect of the lamp can be uniform, connecting electric circuits that give power to the LEDs and thirdly, acting as a mechanical suspension of the product itself to ensure the sheet remains at the right height inside the cone. “The initial proposal was very different to the final piece,” says Lodes. “We had to revisit the project multiple times to make it technologically viable – after a year of trying to redefine the initial concept, we produced Cono di Luce!” The light fixture is available in two versions - a pendant and table lamp - and three finishes, red, grey, and gold. The pendant measures 45cm and 65cm, making it well suited to sit above countertops as a group or solo.
“Lodes harnessed the material’s opaque and translucent areas to create stripes in line with Arad’s drawing - Arad played with the dark and light bands and the moiré effect given by the overlapping of the stripes. We were then able to employ this aesthetic to design an electrical circuit connecting more than 200 LED chips.” 30/31 |
MANUFACTURING PROCESSES A sheet of fiberglass, which is extremely thin, flexible, and insulating, on which a copper path is smeared, acts as a conductor of the electrical polarity, which on reaching the LED allows them to emit light. MATERIALS | LODES X RON ARAD
The table version is available at 50cm and features a black dimmer switch. Arad prioritised the red version to offer an impactful statement piece, featuring his signature on the outer flap. The grey version is more subtle, with the signature and product name positioned discreetly on the inside of the sheet, allowing the product to adapt to various settings. There is also a third version which features a grey finish on the inside and a gold finish on the outside, obtained through the deposition of gold, to give the product its preciousness. “Cono di Luce differs aesthetically from the Lodes catalogue,” explains the brand, “but it also marks a first for the industry. There is, however, a correlation in the use of Pyrex (a very flexible material used throughout our catalogue) as well as the colours selected for the frame that recall our CMF [colours, materials, finish].” Arad comments: “When you look at it (Cono di Luce), first of all, I’m very happy that it’s legible. You can you look at it and think you understand what you’re looking at. There’s a page locked in the glass cone. However, this page is providing light through the cone and becomes sort of glowing in itself. There are lines which create a moiré. “Sometimes you start with an idea and in the process of making it, you lose something. In this case, I don’t think we lost anything. If anything, we gained something. I am very happy to see this, and I am very happy that through the interesting journey that we had getting here, you can still look at the original sketches and compare it with the end product and think that it’s the same.” www.lodes.com www.ronarad.co.uk Images: Kinonauts, Mattia Balsamini, Ron Arad 32/33 |
MATERIALS | LODES X RON ARAD
34/35 | INTERVIEW | STEVEN ESHLEMAN American interiors studio AvroKO is well known for some of the most beautiful hospitality projects spanning across the world. Established in 2001 by four close friends, Kristina O’Neal, Adam Farmerie, William Harris and Greg Bradshaw, the studio prides itself on four foundational values; create as a collective, work macro-to-micro, be hospitable, and think sideways. “As we’ve grown as a firm, this idea of “connection” has extended beyond just the four of us, our studio, and even the end result of the work,” says the firm. “We orchestrate experiences that envelop patrons through a combination of design-driven programming and contextual references. “This ultimate goal of connectivity in our design is to ensure that hospitality backdrops are not simply passive reception spaces where people dine or sleep, but that they create emotionally transcendent experiences, however tiny or even subliminal, allowing the energy of the spaces to shift and evolve timelessly.” Along with delivering outstanding interior schemes for hotels, bars and restaurants, the studio also provides product design services. “A big part of the design of our spaces is focused on the magic of custom lighting and furniture pieces, elements that often define the experience of a space. We pride ourselves on our passion for developing these custom furniture, case good and lighting components inhouse and turning them from visions into production pieces.” To discover more about the product design arm of AvroKO, darc’s editor spoke with Steven Eshleman, Director of Industrial Design at the studio. “I spent my formative years in Hong Kong, and subsequently in Toronto, Canada,” he tells darc. After high school, he obtained a bachelor’s degree in environmental studies at The New School university in New York, and a Bachelor of Arts degree in industrial and product design from Parsons School of Design. Alongside his design career, Eshleman gives us a personal insight into his side line hobbies: “In recent years, I can admit that I’ve fostered an addiction to collecting and caring for unusual houseplants. At the same time, I’ve cultivated a budding interest in writing horror fiction on themes surrounding technology and climate change. Curiously, these hobbies are the functions of perceivable light and conceptual darkness.” Perhaps this self-confessed interest in the dark side explains one of his intriguing original career aspirations, to work with the dead. “I don’t think I consciously desired a career in design, life moves fast, and I just leaned in; I do remember I wanted to be a mortician or to work in advertising. Early on, I was told I had a penchant for sketching, collaging, and anything that involved crafts. That led me to an arts education, which led me to an arts-focused university. After the first year in school, a professor urged me to major in 3D design based on what he observed of my work. From there, everything seemed to point towards industrial design. “Before disbanding for higher education, I developed and capitalised on a quick-service food concept with a few schoolmates. In university, I interned for a fledgling pet product design company, and had another internship at a furniture and lighting design atelier. At one point, I had the opportunity to teach a college course by myself. Afterwards, I worked in sourcing and procurement for an eco-fashion start-up. My career could have very well ended up on any of those paths.” Eshleman joined the AvroKO team in 2019 as Senior Furniture and Lighting Designer before progressing to Director of Furniture and Lighting in 2022, and now Director of Industrial Design in 2023. INTERVIEW “I don’t think I consciously desired a career in design, life moves fast, and I just leaned in; I do remember I wanted to be a mortician or to work in advertising. Early on, I was told I had a penchant for sketching, collaging, and anything that involved crafts.” STEVEN ESHLEMAN Interior design studio AvroKO is not only well known for its stunning interior schemes, the firm also has a product design arm, which is led by Director of Industrial Design, Steven Eshleman. darc chats to the designer to find out more about his career at the New York studio, and his design approaches when it comes to creating light fixtures.
36/37 | INTERVIEW | STEVEN ESHLEMAN “My current role is pretty novel at AvroKO in that it demands a multidisciplinary approach to the work, the mentorship of younger designers, and the conceptual pollination of future projects. The work is micro in scale but has macro impacts if not executed thoughtfully; the princess will feel the pea. On a typical day, I’m still involved in ideation, sketching, and 3D modelling just like any member of our furniture and lighting team. We take Hospitable Thinking very seriously for our clients as well as our staff; I emphasise a place of empathy and collaboration for my team so that they can be empowered to succeed in every project they tackle. Outside of client-based projects, we also wear various hats in product development for our own lines of furniture and lighting with collaborators and partners like Visual Comfort and Stellarworks.” The concept of Hospitable Thinking referenced by Eshleman is a phrase coined by AvroKO that describes its philosophy to approaching projects. The studio describes it further: “AvroKO believes that hospitality transcends languages, industries, and borders, it’s a collection of small moments that can have a powerful, positive impact on how people feel. Human needs are universal. They transcend geography, race, religion, culture. They are wired into our very DNA, informing our decision-making and shaping our reactions to the world around us. They are few, finite, and classifiable, and have remained constant throughout history and human culture. By understanding and fulfilling these fundamental human needs, brands and businesses can resonate with consumers on a deeper, more profound level, resulting in a strategic approach that maintains relevance and longevity. It’s an approach we call Hospitable Thinking. We bring the philosophy of Hospitable Thinking to all of our projects in order to foster remarkable experiences and ultimately form more meaningful connections between people. This process integrates timeless core truths, behavioural sciences, and environmental psychology to maximise hospitality experiences.” Looking more closely at Eshleman’s product design journey, he reflects on his design style over the years and how his various experiences and education have influenced this. “In my early career, I gravitated towards the mid-century modern, as many of us are guilty of. But in an effort to diversify, I’ve focused on the perennial aspects of design rather than a specific period or place. What makes a product or design alluring to a person apart from its period or place? This question allows us to focus more on form and design rather than a point in time that might fall out of fashion. Perenniality in creativity is identifying inspiration from the past just as well as works from today; it does not discriminate between Eastern or Western styles. This certainly has an influence on AvroKO interiors because our work cannot be defined by a particular era — let alone be replicable by others. What is old becomes new again can describe others’ “My current role is pretty novel at AvroKO in that it demands a multidisciplinary approach to the work, the mentorship of younger designers, and the conceptual pollination of future projects.”
CHELSOM.CO.UK
38/39 | “Good designers employ a blend of critical, conceptual, and technical thinking. It answers the “what,” “why,” and “how” through tangible designs and use cases. There is really no prescribed “good” product design, only if it solves a need; the need can be met with experiential and practical products.”
INTERVIEW | STEVEN ESHLEMAN works, while our designs live in the nostalgic tension between the old and the new. “In product design, the light we work with is promethean and basic, but that doesn’t mean it’s easy or elemental. The conjuring of new light is heavily influenced by memories of past experiences. A new design for a sconce, for example, only emulates all the light that has ever been. When we describe our work, we often propose that a light fixture evokes a place, a time, or a snapshot. We ask questions like, “should the light be diffused and spray like shattered crystals up a column? Or should it peak and dance through reveals in an opaque shade?” Light itself is fickle and intangible in the most romantic way. It reminds us there is a past, and plants us squarely in the illuminating present. “I have always been drawn to the works of H.R Giger, Carl Auböck and Eero Saarinen. All of their works remain steadfast and unflinching through grace and brutality; timeless in execution, skewering passing fads. Today, I’d say my inspirations can come from a concept or idea derived from tangible thematic research. I often find delivery of thousands of chairs in as many homes. We can elevate the product through diligent material selections and design engineering, thus ensuring a longer product life; many of our works can be refinished or refurbished for a new life after the original project.” In Eshleman’s experience, good lighting should above all be functional. “No one wants to be blinded by a phone camera in a restaurant with medieval light levels and miniscule menu fonts. Light imagines and maps memories onto space, whether the memories are filled with contentment or melancholy is entirely up to the guest and user. Through materiality and geometry, a simple point of light through tinted glass panes can be manipulated to evoke the green flash at the ocean’s horizon, for example. At its core, lighting reflects one’s histories, and those illuminating histories bring nostalgia.” In order to balance aesthetic appeal with functionality, Eshleman and his team work through iterative sketching. “Yes, we can make it beautiful, but we can be thoughtful in the way it can be manufactured, myself in decrepit flea markets flipping through books or trawling the recesses of strange Tumblr pages trying to draw connections from one idea to another.” With reference to his first degree, he continues: “Environmental studies is a broad topic that encompasses everything from urban landscape design to cartography in the service of disaster research. At AvroKO, it has helped me to understand the macrolevel impacts of the furniture and lighting industry. We promote a workflow where we encourage our clients and vendors to think globally but act locally. Not everything we design must be manufactured and sourced from oceans away, it’s up to our team to resource that homegrown industry given the renewed need for a repatriated supply chain. With that, I have always seen hospitality environments as the most eco-friendly way of experiencing good design; in the lifetime of a hotel, for example, thousands of people can experience a chair rather than the creation and assembled, and serviced too,” he explains. “If we see that the aesthetics or function of a product is eclipsing the other, then that is when we reorient. Many times, it’s a simple stroke of the pen or just omitting a detail to bring those aspects to a harmonious design. “Good designers employ a blend of critical, conceptual, and technical thinking. It answers the “what,” “why,” and “how” through tangible designs and use cases. There is really no prescribed “good” product design, only if it solves a need; the need can be met with experiential and practical products.” With regards to technological developments, he believes that technology is “simply a tool in our primitive hands”. “Tools can be helpful, or they can be abused. We designers have been using tools long before generative AI, and we will be creating long after our current arsenal of software becomes obsolete. I’d instead reframe the question to, “how do we empower designers to create their works without stripping them IMAGES: PREVIOUS PAGE & LEFT: ZOU ZOU’S, NYC, USA. IMAGE CREDIT: GARRETT ROWLAND ABOVE: BESPOKE WALL SCONCE DESIGNED BY ESHLEMAN
40/41 | INTERVIEW | STEVEN ESHLEMAN of their nuanced experiences and cultural context?” Perhaps the worst outcome is that we would fail to see the subtleties of organic design or the sophistication of the beholder. The best outcome? We keep designing.” Walking us through the design process of creating a new decorative lighting product, Eshleman describes how he and his team are immersed into “three distinct conceptual pillars” from which they ideate. He continues: “The conceptual triumvirate informs us of the site, its relative history, as well as any associated muses as a contextual backdrop. From there, we research and unearth unexpected themes that we can incorporate into the larger story. We fold those findings into our hand sketches and ideations. For example, we reimagined the form of a proto-handloom from premodern Korea as details in a series of lighting for a new hotel in Chicago. When the schedule permits, we frequently prototype our designs for our clients and internally for quality control. All of this culminates into the delivery of an original product that is truly oneof-a-kind, with notes of the past and a foot into the future; AvroKO’s designs today are tomorrow’s coveted vintage finds.” When it comes to the relationship between technical architectural lighting and decorative lighting in the world of interior design, Eshleman refers to the topic as somewhat controversial. “There seems to be two schools of thought, the architectural design perspective is prescribed to run in opposition to the visions of interior designers. Architectural lighting can create a sleek and modernist tableaux, but a liberal use of which creates a sense of coldness and frigidity. It’s up to interior and lighting designers, engineers included, to negotiate and identify the utility of the space in question. While we can all agree that programming for lighting is straightforward for boutique hotels or the healthcare space, it is the transitional and transformative spaces that need careful consideration. These require us to be cognizant of what the space is used for at different times of the day or night, and in changing social contexts. In short, it’s finding the optimal balance because nothing is as jarring as ghastly lighting temperatures in otherwise thoughtfully designed welcome spaces.” Reflecting on one of the most significant moments in his career, Eshleman describes the moment he “professionally stepped into the Idlewild at JFK airport”, which has since been recast as a public space for the TWA hotel. “It remains the most reverent project that I have been a part of since I have family who are of Finnish descent. At parties, the topic is a tried-andtrue icebreaker because chances are, someone had a layover or made the pilgrimage to the iconic site.” Looking at design trends across products and interiors, Eshleman has seen a shift to “loose, relaxed, soft, and comforting” due to the “current atmosphere of stress reckoning”. “Design trends reflect the attitudes of the entire creative ecosystem, which encompasses the industries with the most cultural influence, such as fashion and film. As a generalisation, the next generation of designers are inclined to foster a sense of protectiveness and soothing in their works, as opposed to the brash or restrictive. What this translates to is plush and enveloping furniture and lighting that is blushed and elemental, at its core, approachability, and a sense of tranquillity. I’m not sure where design is going next, but I think you need to look out a restaurant window, feel the sentiment of passersby, and eavesdrop on current issues.” As for the future of AvroKO and the direction the studio is moving, Eshleman concludes: “There is much to be done in the realm of mindful hospitality and all the industries that it touches. Nothing is off the table because everything is some function or experience of conscious design. With that, do stay tuned for AvroKO’s forays into the product world with many collaborations ahead…” www.avroko.com IMAGES LEFT & BOTTOM RIGHT: EL PRESIDENTE, WASHINGTON DC, USA. IMAGE CREDIT: CHRISTIAN HARDER IMAGE TOP RIGHT: ANDIRON, HOUSTON, USA. IMAGE CREDIT: JULIE SOEFER
Merchants of Light since 1969 INTERIOR & EXTERIOR LIGHTING | CEILING FANS [email protected] | elsteadlighting.com SKYE Pendant Quintiesse Collection
PANTONE PEACH FUZZ FEATURE Pantone has selected Peach Fuzz as its colour of 2024 and we are here for it! So much so, that darc’s Editor Sarah Cullen has been inspired to source a selection of decorative lighting products that are channeling warm, peachy hues. Pantone 13-1023 Peach Fuzz marks the 25th anniversary of the Pantone Colour of the Year programme. Described by the colour experts, the new tone is “subtly sensual”. It is a “compassionate and nurturing soft peach shade conveying a heartfelt kindness. “At a time of turmoil in many aspects of our lives, our need for nurturing, empathy and compassion grows ever stronger as does our imaginings of a more peaceful future. A warm and cosy shade highlighting our desire for togetherness with others and the feeling of sanctuary this creates, Pantone 13-1023 Peach Fuzz is a heartfelt peach hue bringing a feeling of tenderness and communicating a message of caring and sharing, community and collaboration.” Leatrice Eiseman, Executive Director at Pantone Color Institute says: “A cosy peach hue softly nestled between pink and orange, Pantone 13-1023 Peach Fuzz brings belonging, inspires recalibration, and an opportunity for nurturing, conjuring up an air of calm, offering us a space to be, feel, and heal and to flourish from whether spending time with others or taking the time to enjoy a moment by ourselves. “Drawing comfort from the tone, we can find peace from within, impacting our wellbeing. An idea as much as a feeling, Pantone 13-1023 Peach Fuzz awakens our senses to the comforting presence of tactility and cocooned warmth.” According to Pantone, introducing the hue into home interiors creates a welcoming ambiance. Promoting feelings of gentle warmth whether appearing on a painted wall, in home décor, or acting as an accent within a pattern, Pantone 13-1023 Peach Fuzz infuses our most personalised worlds with a comforting presence. www.pantone.com Images Left: Courtesy of Pantone 42/43 | PRODUCTS | PANTONE PEACH FUZZ
Globe Curiousa The Globe table lamp from British lighting studio Curiousa provides a striking addition to any desk or side table. The lamp features a semiopaque coloured glass orb and visible customisable fittings, providing a contemporary look and a warm and sumptuous glow. Each lamp is bespoke and free-blown, without the use of moulds, using just the skill of hand and eye to guide each shape using recycled glass. Available in over 22 glass colours in sizes small, medium and large. www.curiousa.co.uk Zona d’ombra Knikerboker An irregular, hand-beaten sheet of steel illuminated by a beam produced by a spotlight creates alternating flashes and shadows that chase each other capturing the onlooker’s gaze. Zona d’ombra is now available in a brand new colour: antique pink, which was successfully presented by Knikerboker at the Lighting + Building 2024 exhibition in Frankfurt. www.knikerboker.it madco Ambientec In collaboration with designer Elisa Ossino, Ambientec introduces madco, a contemporary lantern that combines warm, emotional, and minimalist elements. The spherical luminous body sits atop a visually slender, 360° rotatable structure, allowing for varied light configurations. The lower cover, concealing technological components and the driver, comes in five shades: Oliva (olive), Pesca (peach), Cacao (cacao), Mostarda (mustard), and Ciliegia (cherry). With USB type-C recharging and IP66 rating, madco is ideal for various settings. www.ambientec.co.jp Array Vibia Array, a collaboration between Vibia and Umut Yamac, explores the potential of threads to form lightweight, dynamic light sculptures. Yamac manipulates technically-processed threads into three-dimensional volumes, balanced by aluminium rings for a delicate yet solid form. The concealed light source within the lower ring produces a captivating gradient effect, combining soft downlighting with an enchanting upwards glow. www.vibia.com
I-MODEL Cordless Pendant Anour Pearl Curtain Precosia The I-Model by Anour is a testament to refined craftsmanship, featuring a sleek copper surface. Each lamp is individually handcrafted, ensuring a unique patina that grows richer over time. Designed with a minimalist aesthetic in mind, the lamp harmonises with both contemporary and classic interiors, casting a warm, inviting glow. It is a statement piece that celebrates the enduring beauty of copper. www.anour.dk In case you’re in need of a spark of warmth, Preciosa is excited to share some lighting inspiration featuring Pantone’s Peach Fuzz. Its internal designers experimented with Peach Fuzz on a few of its Signature Designs (of which there are nine: Raw Crystal, Crystal Grid, Crystal Spin, Diamond Cloud, Inspiral, Pearl Drop, Breath of Light, Pearl Wave, and Pearl Curtain) and were very pleased with the purity and sophistication the designs showed. www.preciosalighting.com Pierrot Meljac Lumiere Nuances Foscarini Foscarini’s Lumiere Nuances designed by Rodolfo Dordoni was one of the brand’s first pieces. A contemporary restyling of the classic bedside lamp, Lumiere has become a design icon throughout the years. Distinguished by its blown glass diffuser and tripod base, the lateset addition to the collection, Lumiere Nuances, highlights the classic design in new colourways. www.foscarini.com Over and above their functional role, the electrical fittings of Meljac’s luxury switches and sockets provide the perfect finishing touch for beautifully designed interiors. The peach fuzz copper-finish brass and tinted glass models create a sense of well-being in a peaceful, cosy space, with poetic notes that blend perfectly into a contemporary atmosphere. www.meljac.com Lampshade Fermoie Fermoie lampshades are available with suitable fittings and shade carriers for UK, EU, and US standards. “Our lampshades are both elegant and beautiful and offer tremendous possibilities. Handmade using specially produced Fermoie fabrics and our intricate pleating and finishing techniques, they’re a wonderful demonstration of our inhouse design, craft expertise and attention to detail,” says Jamie Shawcross, Director. www.fermoie.com Perla Nulty Bespoke The elegant Perla wall sconce can be produced in peach and has a unique mosaic effect. The feature luminaire can be affixed to the wall to emit a soft glow and works as a standalone piece or can be arranged in a larger bespoke configuration resulting in soft, graceful illumination that enhances surrounding interiors. www.nultybespoke.co.uk 44/45 | PRODUCTS | PANTONE PEACH FUZZ
WWW.DESIGNHEURE.COM [email protected] +33 (0)467 539 963 LUSTRE TRIO 5x2 MOZAIK Designer: Davide Oppizzi Credits: Jared Chulski Photography
46/47 | INTERVIEW | GUILLAUME BOTTAZZI
G U I L L A U M E B O T TA Z Z I For more than a decade, visual artist Guillaume Bottazzi has been linking neurology and art in our living spaces, focusing his work on wellbeing. His works aim to modify our brains and help us to live happier lives. Here, he tells darc about his latest collection, Nutty. Guillaume Bottazzi is a French visual artist, born in 1971, who has had a permanent studio in Brussels since 2012. For the last 30 years, he has worked predominantly in Europe, Asia, and the United States. Recognised as a pioneer of the neuroaesthetics movement, he has signed more than a hundred artworks for public spaces. His most recent installation is a permanent collection designed for a Beaux-Arts-style building listed as a heritage site by the city of Brussels. The new pieces are described by some as having “the power to enhance our ability to live better and feel good. These luminous works of art in situ reduce our heart rate, stress, and anxiety, and help us to put our thoughts in order. They have the power to soothe and strengthen us, to put us in a good mood by activating neurotransmitters such as dopamine, which send us rewards commonly known as the ‘happy hormone’. They help to make the viewer happier, more elegant, and stronger”. In 2019, WHO (World Health Organisation) confirmed that art can improve mental health. Ten years of research into art and the brain by neuroscientists Helmut Leder and Marcos Nadal from the University of Vienna in Austria, has shown that the works realised by Bottazzi help us to feel better and be happier. His works modify our organism, and the involvement of these sensory experiences has a powerful effect that impacts our biology, the way we live, feel, and hear the world around us. darc asked Bottazzi to tell us more about his research and latest creations, including the technical design details behind the new lamps, which support his findings on the connection between mental health and art. He states: “According to the ‘Assises de la santé mentale et de la psychiatrie’ (conferences on mental health and psychiatry), one in five people are affected by a mental disorder every year; a total of 13 million people in France. The OECD (Organisation for Economic Co-operation and Development) warns that mental health problems among employees could increase further as a result of stress and pressure at work. “We make many mistakes with regard to our surroundings, and we do not use the full scope of our knowledge to compensate for this. Among other things, the lights we use in our daily lives are harmful to our mental health and our eyesight. “They were designed to be as close as possible to daylight, but the white of the lights used are aligned with the blue spectrum, with short waves, whereas we need long waves to give the eyes’ pupils a rest. The risk is that this light can damage our eyesight and, what’s more, it produces anxiety and a dependency that prevents us from sleeping. “Neuroscience professor Glen Jeffery from the Institute of Ophthalmology, Faculty of Brain Sciences at the University of London, has shown that, using a simple torch to which he has attached a piece of plastic tubing INTERVIEW “Among other things, the lights we use in our daily lives are harmful to our mental health and our eyesight.”
48/49 | INTERVIEW | GUILLAUME BOTTAZZI “According to Nobel prize winner for medicine Eric Kandel, these luminous creations immerse the viewer in an unreal universe that encourages us to distance ourselves more from the things that surround us and encourages our creativity. ” and a red filter, he can boost retinal function by four to five days just by shining the light on the eyelid for three minutes. This device regenerates the mitochondria responsible for transforming light waves into electrical signals. “I’ve been an artist for over 30 years, and I’ve been dreaming of painting with light for 15 years. My dreamlike aspiration sees the magic in this material. “For more than a decade, these lighting systems have been providing complete, integrated solutions. These in-situ creations adapt not only to the spaces in which they are installed, but also to the needs of the users. This unifying approach reconciles art, design and architecture, an alliance lost since the beginning of the last century. “My new Nutty collection is limited to 150 pieces. The dreamlike, organically inspired light creations invite us to travel to an unreal world and recreate what we see. They are located in a Beaux-Arts-style building, in a room with a view overlooking a garden, a place of exchange, conviviality and reflection, where employees meet for lunch and coffee. “Green makes it easier to concentrate and helps us to put our thoughts in order. Yellow is an optimistic colour that makes us feel good, which is why it is used in tranquillisers. Blue is used for sleeping pills, reduces heart rate, and encourages creativity. White is a constant for artists, allowing architecture to breathe and enhancing the viewer’s creativity through its evanescent quality. “These lights are made using enamel, a natural material composed of powdered minerals fired with glass. The bases are made of wood or metal, and the low-energy LEDs comply with the standards used for public spaces. The low-energy LEDs are tuned to be close to long-wave. “According to Nobel prize winner for medicine Eric Kandel, these luminous creations immerse the viewer in an unreal universe that encourages us to distance ourselves more from the things that surround us and encourages our creativity. And, according to Leder, they reduce our anxiety and strengthen our capacity to live. “These creations are suitable for residential, office and hotel buildings, but also for health centres, museums, towns and cities in Japan, China, and Europe.” www. guillaume.bottazzi.org
A captivating exhibition merging artistry, craftsmanship, and sustainability, showcasing international brands embodying contemporary design culture. Voliere by Bodo Sperlein Script Series by Bodo Sperlein @menu.milan Convento Sant’Angelo. Piazza Sant’Angelo 2, 20121, Milano 15th - 21st April. 10am to 7pm
50/51 | INTERVIEW | OFFICE LIGHTING - HARSHA KOTAK