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. Kotak is an international interior designer and workplace consultant who has been practicing in the workplace design industry in the US, India, and the UK for more than 20 years. Some of her notable projects include the White House and Pentagon in the US, as well as FedEx and the US Embassy in India. Alongside her design career, Kotak is also the Editorial Director of the Sustainable Design Magazine and has been a keynote speaker at various international design events. Over the years working across three continents, Kotak noticed a disparity in gender representation in architecture, and began to question why this was. “I was researching for an article that I was writing for a magazine in 2018 and found that most architecture and design schools have about 60-65% of female students, but when you look at the numbers in the professional industry this drops down to only 30-40% women. And out of that, only 5% of the top executives are women – I questioned this disparity.” Off the back of these findings, Kotak went on to establish Women in Office Design (WOD) with the aim of empowering female designers and architects and give them a platform to showcase their work. Today, WOD is a growing global community with chapters across the UK, Europe, and India. “I started WOD as a personal mission but was soon joined by other women who were looking for a community and some who had a similar vision as I did. This helped me in forming core teams and ambassador networks in different cities globally. “[The aim was] to give women the visibility and power and looking back we have been able to empower many female designers, architects, and consultants through our workshops, presentations, and events. “[Another] vision for WOD was to give young designers access to thought leaders and experts in the industry and over the last five years we have been fortunate to have support from a lot of senior leaders and experts from our industry. “When I first launched WOD as a community group on LinkedIn, I was unaware of its potential and need. But slowly as more and more women joined hands and as we started hosting knowledge sharing events, the industry took notice. At first, there was a bit of an apprehension as the industry looked at it as just another women’s group. But soon it was apparent that our vision was to empower women through knowledge sharing events and thought leadership. “Our events got a lot of visibility through design festivals like the London Design Festival, Clerkenwell Design Week, Madrid Design Festival, and Milan Design Week. We started getting invited to speak at other shows and it became a more collaborative effort. “Today WOD is a well-respected organisation in the industry and our events are open both to men and women.” As part of WOD, a series of wellreceived seminars focussed on sustainability were held, but Kotak recognised they didn’t result in longer term outcomes. This led her to establishing the Sustainable Design Collective (SDC), a “think tank group of architects and designers to promote and applaud achievements and, more importantly, to create a forum of knowledge sharing and exchange”. “I worked with my co-founder and WOD’s sustainability manager, Joanna Knight together with existing members of WOD to build SDC. Our professional relationships were formed by a shared passion to drive change. “The positive response was immediate! Many designers recognised the frustrations of lack of knowledge and understanding about greater sustainability and wanted to join. It became a collective effort as no one likes to work in silos. Slowly the community grew and INTERVIEW “I started WOD as a personal mission but was soon joined by other women who were looking for a community and some who had a similar vision as I did.”
52/53 | INTERVIEW | OFFICE LIGHTING - HARSHA KOTAK today we are a group of 35+ top A&D firms in the UK and India. “All SDC members were united to help accelerate the pace of change in developing a more sustainable approach to workplace interiors. All members were happy to endorse and accept the spirit of noncompetition. We all recognised that we are working towards the greater good – ultimately to reduce our climate impact. “The Collective meetings are practical sessions focussed on discussing key topics, which have the greatest impact on companies working in the office design field. Members are encouraged to highlight ‘best practice’ and describe hurdles and difficulties. We publish a report at the end of each meeting, which is available on an ‘open source’ basis. “We have already progressed far beyond the original ambition to host meetings and reports. We now hold regular events, panel discussions, interactive workshops, and other activities, including an online training academy and magazine, to help support knowledge sharing. Last year, we also hosted our first event in India.” The future for the initiatives includes further growth and promotion. “We will continue to develop new and innovative ways of promoting greater equity and diversity in the industry through WOD’s various initiatives. Meanwhile, SDC’s goal is to educate and grow the understanding of improvements to sustainability. In the short term, we will be expanding the offer within the training academy as well as developing our online magazine.” An upcoming event Sustainable Design Forum will be held in London on 25 of April and is an event curated “By the Designers For the Designers”. It’s a day for designers and architects to meet with suppliers and manufacturers and also to learn from experts in sustainable design. An immersive sustainable materials lab will be held as well as interactive workshops and discussions around topics like “How to include sustainable products in your projects” and “Focusing beyond carbon”. Register and attend for free by visiting www.thesustainabledesigncollective.co.uk/forum/ To become a free member of Women in Office Design, visit www.woduk.com “All SDC members were united to help accelerate the pace of change in developing a more sustainable approach to workplace interiors. All members were happy to endorse and accept the spirit of non-competition.”
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COMMENT | OFFICE LIGHTING - CHARLIE BARK-JONES | 54/55 COMMENT CHARLIE BARK-JONES Workspace Design Show returned to London in February with a theme of ‘Bloom – Exploring the Thriving Ecosystem of Work Life’. Charlie Bark-Jones, founder of the show, shares insights and trends from the event as well as biophilic lighting considerations. This year, the Workspace Design Show showcased a diverse range of lighting exhibitors, ranging from emergency lighting from Daisalux and acoustic lighting from Luxxbox, as well as Stoane’s bespoke pieces and Synergy Creativ, which specialises in biophilic lighting. There was also unique wall lights from Reon, flexible spotlights from Erco, as well as acoustic pendants from Ricoman. In short, we’re delighted that this year’s event really runs the gamut of commercial lighting. We’ve seen a variety of lighting trends coming through this year. The emergence of sustainability as a priority in lighting will come as a surprise to no one. This year, however, it is evident there is a newfound enthusiasm for reusing products, hence the thinking behind the talk at this year’s show ‘The new aesthetic of repair and re-use in lighting design: Why we need a mindset shift’. We assembled an expert panel to discuss this, including Dan Lister, Associate Director, Lighting, Arup: Ruth Kelly Waskett, Project Director, Hoare Lea: Simon Fisher, Founder & Director with F Mark; and Kristina Allison, Senior Lighting Designer at Atkins Global. With the sector’s increased focus on reducing carbon emissions, lighting designers are and must be increasingly focused on developing sustainable methods and long-term solutions, ensuring products work to achieve energy-efficiency targets. For example, exhibitor Stoane Lighting is launching a new division called ‘ReNew’ which has been set up for just this purpose. Its products are designed so that they can easily be disassembled, have internal components replaced, upgraded and eventually parts recycled. Our theme for this year’s Workspace Design Show theme for 2024 was ‘Bloom’, reflecting the huge increase in biophilic design in the built environment. In design terms, biophilia seeks to integrate elements of the natural world indoors, fostering a deeper connection to the natural world. This trend was exemplified by our exhibitor Synergy Creativ, which specialises in design lighting fixtures such as living walls. In this way, it incorporates greenery to promote this connection with nature, promoting wellbeing and productivity by cultivating a serene atmosphere that visually connects inhabitants with flora and fauna. We expect to see more and more biophiliainspired lighting in the next few years as in other areas of interiors. Statement lighting has long been an asset in the designer’s arsenal. Unique and eye-catching lighting fixtures can take centre stage to entice workers back to the office, think dramatic atriums or areas where a big impact needs to be made such as a town hall or shared kitchens. Designers often focus on creating bespoke, statement pieces that not only provide illumination but also serve as artistic elements to elevate a space. Manchester-based brand, Ricoman Lighting, has created Flow Curved Linear Lighting, which allows for countless dramatic possibilities. This system consists of straight and curved basic modules, which can be combined in different ways to create unique lighting projects. The modules can also be configured to classic circular luminaires, rounded rectangles, continuous waves, or other abstract shapes. Providing even more possibilities, single or continuous luminaires can be suspended or mounted on ceilings and walls with the light directing downwards, inwards, outwards, and also twisting, making this product range ideal for larger spaces that desire a theatrical suspended lighting configuration. Lighting is also becoming more experiential with dynamic lighting effects, with colour gradients, motion sensors, and interactive elements able to create engaging and immersive experiences in both commercial and residential settings where the boundaries between light and art blur. Light fixtures can also serve as works of art themselves, featuring beautiful sculptural forms, and innovative use of materials to really bring out the brilliance in an interior. Lighting is also working harder than ever before with products having the ability to provide acoustic baffling or even sprinklers or M+E systems. Human-centric lighting is also set to continue its rise in popularity into 2024. This concept involves designing lighting systems that mimic natural light patterns to positively impact human health and well-being. This includes adjusting colour temperatures throughout the day to support circadian rhythm. At home, this means keeping the light out when you need to sleep and ensuring you let the light in when you need to wake up and stay energised. In commercial interiors, whether that’s a workplace or other commercial environment it could mean providing a range of lighting from brighter lights to warmer tones, depending on the time of day. This fits in nicely with the idea of personalisation in lighting, another key trend set to continue. This not only includes overhead lighting but also the use of desk lamps, allowing individuals to customise the amount of light required on their individual workstations, as well as making an attractive addition to the physical desktop. Lighting is a key product category for us here at Workspace Design Show and as we move forward with the show, we look forward to visitors exploring the thriving ecosystem of work life, including lighting up offices in a multitude of ways. www.workspacedesign.com
56/57 | PROJECT | OFFICE LIGHTING - MATRIX STUDIO
MATRIX OFFICE Alex Dauley tells darc about her workspace scheme for Matrix Studio. Combining luxurious colours and furnishings, she has created a stunning and professional environment. After two years of pandemic-induced remote work, the return to the workplace has left companies and their employees stuck at a crossroads. On one hand there is a positive attitude to the familiarity of routine and the welcome escape from home confinement, bringing back a natural rhythm to life. On the other hand, the comfort of our own abode is sorely missed when forced to work the nine to five in the same bland environment complete with squeaky swivel chairs and sterile lighting. Matrix Studios, an office, studio, and co-working space, nestled in West London, is one of many companies changing their perspective of post-pandemic workspaces. Embracing the idea of being a “home away from home” Matrix has invested in its interior landscape to make employees and clients enjoy working in the space. Interior Designer Alex Dauley of Dauley Design was tasked with the ambitious endeavour to transform the space. Dauley, already having a longstanding relationship with the client, brought a wealth of expertise to the project with her knowledge of the company and working with many commercial projects since the pandemic. “The office is used by two music industry companies, 2 Tone Entertainment and Stellar Songs. They are publishers and artist management. Their brand is very strong and the image they needed to project to their clients and artists informed the design direction. It needed to feel opulent, sophisticated, and professional yet relaxed,” says Dauley. Previously the office was a stereotypical white box with little character, thankfully the client was open for a complete transformation, leaving Dauley with a blank canvas. Her design emerged from her observations of how the team worked and through thorough research of the client’s brief. In response to the clients wishes to have a SoHo House inspired look, the design process unfolded with a nuanced approach aiming to establish sophisticated feel to it’s hospitality. Using a layered approach to textures and tone, Dauley designed a neutral backdrop using stone and wood, which were juxtaposed against bronze mirror, brass accents, and reflective surfaces. Each element was meticulously created not only for its visual appeal but also its practicality in conjuring the kind of productivity for a PROJECT
58/59 | PROJECT | OFFICE LIGHTING - MATRIX STUDIO MATRIX OFFICE Interior Design: Dauley Designs Lighting Specified: Andrew Martin, vintage sourced from Crystal Palace Antiques. Images: Tom St Aubyn Dauley Designs has created a luxurious and opulent workspace for Matrix Studios, successfully blending home comforts with practical design. music company. The overarching aesthetic sought to strike a balance between opulence and fostering an atmosphere that will nurture creativity. Take for example, the chairs, upholstered in a vibrant blue velvet, injecting energy while blue can simultaneously bring peace and calmness. Dauley explains: “This space was about creating a vibe, a space that allowed for creativity and entertainment, alongside the day to day running of the business. It had to function on several levels. Technically we had to soundproof the entire office so music could be played without causing too much disturbance. The space needed hot desks, a group meeting area, break out spaces, a private meeting room, bar, and stage for client performances. We fitted a lot into a small space.” Alongside textured materials and warm metallics, the look is complete with ambient light such as Andrew Martin floor lamps positioned in the corners of the room, while Andrew Martin’s tubular chandelier takes centre stage from the ceiling. The wall lights are vintage and bought from Crystal Palace Antiques, washing the walls with a warm glow. Dauley adds: “I wanted the space to feel like you were at home. The lighting was residential lighting placed into a corporate space. It needed to be softer and more tactile to create that ambience.” According to Dauley, decorative lighting is one of the crucial components when achieving a dynamic look in workspace environments to add both comfort and luxury. She says: “The lighting played a huge role, again to help it move away from feeling too corporate. Layered ambient lighting, lamps, vintage wall lights and statement pieces added to the relaxed aesthetic and the mood could change depending on the lighting used.” The shift in workspace design since the pandemic has been notable to Dauley, with most of her commercial projects requesting to move away from corporate looks and instead prioritising comfort. The reason for this is crystal clear to Dauley as she explains from her experience: “I think companies want to entice people back into the office environment and have realised the importance and benefit of creating a space people want to spend time in and that promotes wellbeing and happiness.” www.alexdauley.com
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ON THE BOARD 60/61 | ON THE BOARD | OFFICE LIGHTING - ALIGN DESIGN AND ARCHITECTURE On our drawing board right now is a workplace scheme to house the digital team of a major British DIY retailer, whose HQ is located in South West England. The 500sqm space needs to combine two previouslyseparated teams and accommodate an agile working scenario. High on the agenda is sustainability and a space plan that can work for all the team’s needs and missions and will include collaboration, meeting and open-plan working spaces. Our concept separates the space into three zones, with a flexible spine down the centre and the quietest space – the open-plan desking area, and the potentially noisiest space – the collaboration area, sitting to either side of the spine. Unsurprisingly, acoustic separation will also be key to the project’s success. For the spine itself, we’re specifying the ‘Pavilion O’ modular system by Kettal [1], with our own added detailing. This offers great acoustic separation, will help define the structure of the space, and is easilydismountable. Designing for end-of-project life is increasingly a part of our role. The space features a fairly new 600mm grid square ceiling, so we’re not looking to replace it, but to improve its acoustic properties and break up its uniformity. We’re thinking of working with Turf Design [2] on a bespoke box cube solution using their rainbow-coloured range of materials to achieve this. For the walls, we’re looking to Keim for paint colour. They not only offer an extensive colour range featuring textural and matte finishes, but their paints are also ecological and low-pollutant, which improves air quality. We’re also looking into Muraspec’s brand new slow-printed wallcovering [3] for the breakout areas, which will add texture. When it comes to lighting, we’re looking at two pendant lights and one task light for desk working. The pendants are the Wire Pendant [4] by Milan Illuminacion, which has acoustic lining and is really playful and fun, and the Moon pendant [5] from Abstracta. For the desk lamps, we’re keen on the Bow Lamp [6] by Nexia, which is adjustable, dimmable and pleasingly architectural-looking. It’s also popular because of the soft and warm lighting it provides - and how good it makes people look on camera! For the architectural lighting, we’re thinking of using can lights from Stoane Lighting, which have really good sustainable credentials. 1 5 2 3 4 6
A L I G N D E S I G N A N D A R C H I T E C T U R E Ben Pressley, Senior Designer and Laura Palmer, Designer and Furniture Specialist, Align Design and Architecture, talk us through their design concept for a well-known British DIY brand’s new office space in South West England. Office flooring needs to be very robust and with the potential to be used as a form of intuitive navigation to differentiate zones. The Transition Tiles from Ege Carpets [7] are perfect for this, both for defining areas and introducing pops of colour. When it comes to adding character, there’s nothing better than something handmade, so the Folklorico handmade rug by Warli [8] will be a great addition – with each rug design both complex and unique. Flexibility is the number one requirement for furniture on the scheme, so spaces can remain fluid for every potential mission. Workagile’s ‘On the Move’ range and its ‘Nimble’ table [9] would be ideal here, along with the Xpresso Stackable Chair by Connection, which we intend to use for the collaboration space, featuring colourful upholstery in a sustainable fabric. Another great range in our eyeline is the Profim Revo office furniture system by Flokk [10], made up of benches and stools, partitions, cushions and tables in various sizes and heights, which can be assembled into 96 different configurations depending on individual requirements. The system recently won a Red Dot Award and its credentials are excellent, with the design based on recycled polypropylene instead of plywood, with no glue or staples used for assembly, which facilitates later reuse and reduces the weight by 40%. www.aligngb.com 7 7 8 10 9
62/63 | PRODUCTS | OFFICE LIGHTNG Humanscale Nova Designed to complement any work surface and enhance any workstyle, the Nova task light offers endless adaptability in a striking, sculptural form. The custom lens and LED array create a uniform pool of glare-free light that can be adjusted exactly to each user’s preference. Energy Star-certified to benefit people and the planet, Nova is a lighting solution for today and the future. www.humanscale.com WPL Stoane Lighting WPL, or “The Workplace Light” is designed as a clean looking, easy to install response to the growing body of evidence suggesting many of us spend too long in sub-optimum lighting conditions. It efficiently satisfies not only immediate ergonomic and phycological expectations of such a luminaire, it also addresses physiological requirements leading to verified improvements in mood, alertness and subsequent sleep quality. www.stoanelighting.com Original 1227 Anglepoise For over 90 years, the Anglepoise lamp has illuminated many workplaces. Its design, featuring a spring-balanced arm and tilting shade, offers exceptional flexibility and ergonomic comfort. Recently, the brand has collaborated with Sir Kenneth Grange to create more modern icons for discerning desks as well as with Paul Smith, Margaret Howell and the National Trust to develop curated collections of colourful lamps. www.anglepoise.com Halley Stilnovo Halley, created by German designer Richard Sapper in 2005, returns in a new version, maintaining its operating principles unchanged, while sporting a new modern, unmistakable look. The heirs of the designer, Cornelia and Carola Sapper, affirm that the “technologically sophisticated lamp allows unlimited movement and positioning of the light, without cluttering the workspace.” www.stilnovo.com Rest Chelsom Rest (Pictured in Satin Black with Brushed Brass) from Chelsom is one of the hero desk lamps from the new collection, Edition 28, which launched last year. Rest is a striking contemporary desk lamp whose slender arm passes through a heavy cylindrical base. The LED light source emits a warm light onto the desktop below. www.chelsom.co.uk Gioia Equilibrio Occhio Italian for “balance”, Gioia Equilibrio is like a kinetic sculpture that can be moved into several positions. The table lamp features a stem and ringshaped LED light that freely moves at 360°, with no restriction from wires or joints. Alongside Occhio’s Joy of Use technology, Gioia Equilibrio also offers the “focus light” function, which allows you to concentrate the light on a specific area - making it ideal for studying. www.occhio.com FEATURE OFFICE TASK LIGHTING
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64/65 | INTERVIEW | WOMEN IN LIGHTING How long have you been involved in the lighting industry? I have been in the industry for 17 years. Have you always been involved in the manufacturing side? I was exposed to the lighting industry when I started my first job at Lutron straight after university. Since then, I have been lucky enough to work across several business functions, including supply chain, quotations, and project management until I decided to specialise in sales. Have you noticed more diversity in sales, manufacturing, and marketing over the past two decades? Over the last few years, I have seen a positive shift within marketing where this field seems to attract more women. Whereas the sales and manufacturing side still has a way to go. This is further emphasised when I visit a trade show for example – seeing saleswomen at a stand is still uncommon. What reasons do you think there are so few women working for manufacturing companies? What obstacles do women come up against? I think the manufacturing industry has been a largely male orientated one and often perceived as needing technical ability, especially when you notice that most engineers are male. Women can be just as technical, but I think society makes us believe this is the male domain, which I believe is the barrier that needs to be broken. There have been occasions that I’ve attended meetings and I’ve asked a male engineer to join me, as I was often perceived that I don’t know what I was talking about. Women often need to prove themselves before they are taken seriously, whereas a man can walk into a meeting without reservations. How do you think more women can be encouraged into this side of the lighting industry? What can manufacturers do to encourage a diversity of applicants for roles in sales and product development for example? Absolutely more women should be encouraged. I’m fortunate to be working in a company where a majority of the UK sales team are female, which is truly empowering. But to change the mindset of this industry being a ‘man’s world’ we need to be encouraging women earlier on in their career. I do think manufacturers are diverse with having women on their teams. I moved into a sales position around nine years ago, and I don’t think I would have felt comfortable before that as I would have been too worried about feeling intimidated or spoken down to. The move for me came with age, experience, and confidence in what I was doing. What are the positives of working for a manufacturer? What are the negatives? The positives for me are being out and meeting new people every day, coupled with the excitement and energy of being involved in such an amazing project. There is a sense of pride in knowing that you have been a part of delivering some great iconic projects. I would say that a negative is that there are some real oldfashioned views out there of what women can and can’t do, which need to be washed out. There is a new wave of people, and when we embrace this, the more diverse and more creative we can be. Is there anything else you would like to add? I love what I do and if I didn’t, I wouldn’t do it, it’s that simple. It’s important to believe in yourself, show confidence in yourself and your abilities. The only way this industry will change is if we talk about it, so I thank you for bringing light to this important subject. www.astrolighting.com R A M I N D E R VIRDI P R O J E C T S A L E S M A N A G E R , ASTRO LIGHTING WOMEN IN LIGHTING W O M E N I N M A N U FA C T U R I N G 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 aim? To better understand their experiences of being in roles that have, historically been held by men.
C A R L O T TA D E B E V I L A C Q U A CEO, ARTEMIDE How long have you been involved in the lighting industry? Light has always been my passion. Have you always been involved in the manufacturing side? My relationship with light has evolved over the years. I began my career as an architect, working with light as a material for the construction of spaces. Then a meeting with Ernesto Gismondi (Founder of Artemide and lifelong companion) led me to approach light in all the aspects. Designing light then transformed in the following years into doing business thanks to the teaching and daily experience I gained from Ernesto. It was a natural evolution. In my professional life and as a woman, I have always considered my duty as trying to introduce better quality and alternatives to what already exist. I have tried both as an architect and designer through the design of spaces and light as an indispensable material for life, and as an entrepreneur through vision and innovation to “distribute” “useful and beautiful” products, tools, and solutions to educate the present and contribute to the future. Have you noticed more diversity in sales, manufacturing, and marketing over the past two decades? Light has experienced and is still experiencing a great revolution with the introduction of LEDs and electronics. It is increasing in science, parametric measurement, and interaction. We no longer think about just the product but about shedding light more broadly on its management, and for a positive energy balance. Light is energy and sustainability parameters have become fundamental. Especially thinking about the current context, I have never experienced such a complex period. Just think of the war, the increase in the costs of raw materials and energy, and the environmental crisis. Resources are exhausted, we must educate the responsible use of lighting, and we must do with less - less materials, less energy... Today it is crucial to reaffirm a vision, to be able to understand the new technological and cultural frontiers, to reflect on the needs of a global world that needs to be reinterpreted and respected to offer flexible, qualitative, and accessible responses. In this, women’s sensitivity is important. Women work above all for the long term, for tomorrow. Attention to “taking care”, a predisposition that is transmitted in the use of what is designed, in the relationship that objects have with man, and in the relationships they create. What reasons do you think there are so few women working for manufacturing companies? What obstacles do women come up against? Time is a central theme for our professionalism. This reality of imbalance between the female and male presence depends, as we often know, on social and cultural conditions that link the role of women to family commitments and responsibilities, limiting and impeding freedom in managing dedicated times and spaces. Even if the gender distinction now seems outdated, the history of our society is anthropologically based on models that place limits on women’s freedom in time management, even if not openly, an element that subsequently tends to penalise their active role in the profession. How do you think more women can be encouraged into this side of the lighting industry? What can manufacturers do to encourage a diversity of applicants for roles in sales and product development for example? At Artemide we are exactly equal! As we also declare in our sustainability report, women make up 46% and their presence is distributed across all roles. Is there anything else you would like to add? I think that within an ethical, cognitive, human, and often tiring professional path, it is talent that provides solutions and skills and, when you are able, also beauty. I don’t think it just depends on gender. I have never imagined that there is a female, male or other gender approach to tackling a project, I believe in the different personalities, talents, study, and commitment to doing. Creativity is neither male nor female, because it is the ability to synthesise and realise an idea with a project, whether a small or large dream. www.artemide.com
66/67 | IMOGEN SPRY HEAD OF PROJECTS AND SALES, CAMERON DESIGN HOUSE How long have you been involved in the lighting industry? Originally, the interest in lighting design began during the final project of my Product Design degree, working with a lighting brand to design adaptable bathroom lighting. Designing and prototyping this was a fascinating blend of technical application and design freedom, which strongly influenced my search for roles within the industry. I have been working with Cameron Design House for over seven years now. Have you always been involved in the manufacturing side, or have you come from another part of the industry? I’ve always been drawn to making and designing, which strongly influenced my choice of degree. However, my experience at Cameron Design House has provided me with a significant insight into the manufacturing industry. Have you noticed more diversity in sales, manufacturing, and marketing over the past two decades? Over my time in the lighting industry, I have had the pleasure of working with a diverse group of people from many different backgrounds. This collaboration has allowed for not only a creative development of all aspects of the lighting design process, but also a hugely enjoyable work culture. What reasons do you think there are so few women working for manufacturing companies? What obstacles do women come up against? Interestingly, I have not seen a lack of women in my area of the industry. We have had three workshops over the years as we have grown, and in each location, our team has been equally divided within both the design and production team. How do you think more women can be encouraged into this side of the lighting industry? What can manufacturers do to encourage a diversity of applicants for roles in sales and product development for example? It is important to see the value in what someone can bring to the whole process and I certainly have learnt so much since starting as an intern all those years ago. Offering opportunities to learn and develop in manufacturing roles opens up the process to new ideas and perspectives, so there is equal benefit to those interested in learning and manufacturers. What are the positives of working for a manufacturer? What are the negatives? As we design and fabricate all of our own products, we see the very beginning developments of manufacturing methods. This has led to a number of new products within the Cameron Design House collection as well as the development of what is possible with the application of these designs. This certainly keeps us all on our toes, but it is really enjoyable to see a concept developed with clients result in beautiful, custom and unique chandeliers. www.camerondesignhouse.com
INTERVIEW | WOMEN IN LIGHTING ESTHER PATTERSON FOUNDER , C U R I O U S A How long have you been involved in the lighting industry? I launched my lighting business in 2010 so essentially I’ve been involved in the lighting industry for 14 years. Have you always been involved in the manufacturing side, or have you come from another part of the industry? I originally trained as a graphic designer but I also enjoyed ceramics, drawing, and printing. I progressed these interests and immersed myself in a Decorative Arts Degree in my late thirties and graduated in 2009. I’ve always loved designing too and combined this with being quite hands on - making is in my DNA. I think this helps me see a problem as a challenge, and from experience, I know solutions are always a logical journey. For me the same issues occur whether I’m constructing a clay vessel or working with an engineering company - you can work solutions through and I really enjoy that process. Have you noticed more diversity in sales, manufacturing, and marketing over the past two decades? When I got involved in the lighting industry over 14 years ago there didn’t seem to be much going on that was female led. For instance colour is my thing and most lighting was white, grey or black, probably mostly designed by men. I felt there was a real niche in the market at that time - colour needed embracing and I think instinctively women are less scared of colour. I think slowly there are a smattering of women getting more involved but not enough. What reasons do you think there are so few women working for manufacturing companies? What obstacles do women come up against? I think women are really inspired to design for the lighting industry but when it comes to manufacturing there’s quite a hill to climb. When I wanted to make my first slightly ambitious chandelier, I went to a steel engineering and fabricating company to help with the suspension part of the piece. The owner rather condescendingly referred to my plans as pretty pictures! As a woman you have to be quite tough to overcome preconceived ideas about what you can achieve. Fortunately I’ve not allowed this negativity to get in the way and there are plenty of good people and companies out there that want to help. Over time I’ve managed to build around me a small team of seven people. Including myself, there’s six women and just two men. Four women actually get their hands dirty and make the lights in our workshop, the other two are in sales and dispatch. All the roles in our company are seen as open game for men or women or gender non-specific. How do you think more women can be encouraged into this side of the lighting industry? What can manufacturers do to encourage a diversity of applicants for roles in sales and product development for example? When we advertise for some roles we will typically only get men applicants and that’s not great. I’d say to the owners of any business - when a job becomes available, look around at your female staff. You know the bright sparks you already have, maybe they can be challenged to train up and fill those gaps in your business. Do this before you even think about putting a job advert out. Sometimes women can be conditioned to think they can’t achieve in certain men-dominated areas, but believe in them and they can achieve so much and more! We’ve done this at Curiousa and I’ve been astounded at their commitment and determination to train on the job and make it work for themselves and the business. What are the positives of working for a manufacturer? What are the negatives? The positives are that it’s very satisfying designing and also making the final product. We make very bespoke lighting and you can get very attached to the piece you are part of making. We nurture them at each stage - the careful grinding, polishing and constructing, the precise packing and sending them off into the world. There’s a great deal of satisfaction in a job well done. The down side can be if you have a person down through illness and you’re a small manufacturer it’s hard to juggle. We now have a policy of two people within the team need to train up on each major task whether that’s making a large stacked sculptural light piece, packing or sales. Having backup feels pretty essential. www.curiousa.co.uk
68/69 | MÓNICA LAFUENTE F O U N D E R A N D G E N E R A L M A N A G E R , L E T ’ S PA U S E H E I D I L E O N E L A D I R E C T O R O F S A L E S N O R T H A M E R I C A & FRANCE, SECTO DESIGN How long have you been involved in the lighting industry? I started working in the lighting industry in 2017 so I still consider myself as relatively new in the field. Have you always been involved in the manufacturing side, or have you come from another part of the industry? My experience in the lighting industry is purely from the manufacturer side. Have you noticed more diversity in sales, manufacturing, and marketing over the past two decades? Unfortunately I can only speak for the years that I have been in the industry. Working for a Finnish company obviously has an impact on my opinion when it comes to the question of diversity. At Secto Design we have both women and men working in the manufacturing, administration, and sales. Secto Design is a design brand concentrating on decorative lighting, which surely also influences the big portion of women working in the company. Let’s not forget that the company’s founder and owner is a woman called Tuula How long have you been involved in the lighting industry? In 2013, I established Let’s Pause in Barcelona with a clear vision of bringing natural contemporary design to life. Our initial product range included furniture, decor accessories, and lighting. Over the years, our focus has evolved, honing in on the crafting of lighting pieces using organic materials and sustainable artisan techniques. We’ve even embraced the practice of upcycling natural elements that Mother Nature discards. Prior to founding Let’s Pause, my involvement in the design and lighting industry dates back to 1999 when I founded SmartDeco, a press agency specialising in design. Since then, I’ve been immersed in communicating design and lighting themes, actively participating in events within this creative realm. Have you noticed more diversity in sales, manufacturing, and marketing over the past two decades? Absolutely, over the last two decades, I have witnessed a significant expansion of diversity in sales, manufacturing, and marketing within the design and lighting industry. As for sales, there’s a heightened appreciation for unique, handcrafted pieces, and consumers are increasingly drawn to sustainable and organic options. On the manufacturing front, there has been a notable shift towards embracing traditional artisanal techniques and a greater emphasis on using organic materials, reflecting a broader commitment to eco-friendly practices. In terms of marketing, the landscape has evolved with a more nuanced approach, acknowledging and celebrating the diversity of design styles, materials, and crafting methods. What reasons do you think there are so few women working for manufacturing companies? What obstacles do women come up against? In the design and lighting industry, the representation of women in manufacturing roles has historically been limited, but there has been a noticeable shift in recent years. One reason for the underrepresentation could be attributed to traditional perceptions of certain manufacturing roles as male-dominated. Overcoming these preconceptions and fostering an inclusive environment are crucial steps toward encouraging more women to pursue careers in manufacturing. Obstacles that women may encounter include stereotypes and biases that associate certain tasks with gender, making it challenging for them to break into traditionally male-dominated fields. Additionally, there may be limited access to mentorship and networking opportunities for women in manufacturing, hindering their professional growth. Addressing these challenges requires a concerted effort to challenge stereotypes, promote inclusivity, and provide mentorship and support programmes to encourage and empower women to thrive in manufacturing roles.
INTERVIEW | WOMEN IN LIGHTING Jusèlius and also the CEO position is held by a woman. What reasons do you think there are so few women working for manufacturing companies? What obstacles do women come up against? I am sure that historically the lighting industry has always been more male-dominant. Often, when we talk about lighting in general I believe it is seen as something more technical, which surely impacts the male/female ratio within the industry. This is not to say because women were not capable, but maybe technical fields are not as appealing to women as they are to men. In Finland, when you look at the portion of women versus men studying in the electrical engineer programmes, the female students count for only about 10% university level and even this number varies depending on year. However, I am always delighted to see at the trade shows around the world that there are a number of women representing lighting manufacturers, especially in the decorative lighting. How do you think more women can be encouraged into this side of the lighting industry? What can manufacturers do to encourage a diversity of applicants for roles in sales and product development for example? I strongly encourage all women having the passion to work in the lighting industry to pursue their dreams despite the fact that the industry is dominated by men. I am a strong believer in diversity within the employees and that it is an asset to any company. The manufacturers should definitely be encouraged to promote equal opportunities to both men and women and also find ways to attract more women to enter the lighting industry. How this can be done, however, is a much more complex question. What are the positives of working for a manufacturer? What are the negatives? I would say there are only positive factors when working directly for the manufacturer. The transparency of the company’s functions at all levels contributes to the motivation. In my sales role I find it extremely beneficial to be able to work closely with all functions within the company. I have a better understanding of our brand and products as a whole, which contributes to sales directly. Acting as the face of the company when meeting customers, working with different partners, and exhibiting at trade shows not only require me to communicate the message of the manufacturer but also provides me with valuable feedback from the customers. Working directly for the manufacturer ensures that my message to the outside is in line with the brand but also that the message from the customers actually reaches the manufacturer. www.sectodesign.fi How do you think more women can be encouraged into this side of the lighting industry? What can manufacturers do to encourage a diversity of applicants for roles in sales and product development for example? At Let’s Pause, we actively promote women’s participation, with the majority of our team across various departments being composed of talented women. Encouraging greater female involvement in the lighting industry requires proactive measures from manufacturers. Cultivating an inclusive and diverse company culture is paramount, as well as prioritising mentorship programmes and networking initiatives tailored for women, offering crucial support for navigating careers in our industry. Engaging in educational initiatives is another avenue to inspire young women towards lighting careers, emphasising both creative and technical aspects. Collaborating with educational institutions and industry organisations facilitates the creation of talent pipelines, providing exposure to diverse career opportunities. Transparent and unbiased recruitment processes are essential. Actively seeking out diverse candidates ensures job descriptions are inclusive. Additionally, training and development programmes help empower women with the skills and confidence to excel in their roles within our company. What are the positives of working for a manufacturer? What are the negatives? In the case of Let’s Pause I would say the positives are: Artistic Fulfillment: Working for a manufacturer in our niche allows employees to actively contribute to the creation of sustainable, aesthetically pleasing, and unique lighting products. The use of natural materials and handmade techniques often provides a deep sense of artistic fulfillment. Hands-On Craftsmanship: Employees have the opportunity to engage in hands-on craftsmanship, working closely with skilled artisans and incorporating traditional techniques. This not only enhances their skill set but also fosters a connection to the heritage and authenticity of the products. Sustainable Practices: Many individuals find it rewarding to be part of a company that prioritises sustainability. The use of natural materials and a commitment to handmade techniques often align with eco-friendly practices, contributing to a positive environmental impact. Innovation and Creativity: Team members are often involved in problem-solving, experimenting with new materials, and pushing the boundaries of design possibilities. And as for the negatives: Time-Intensive Processes: Handmade techniques and the use of natural materials can be time-consuming. Meeting production deadlines may become a challenge, and there might be a need for careful planning and coordination to balance creativity with efficiency. Limited Scalability: Depending on the intricacy of handmade techniques, scaling up production may be challenging. This can impact the company’s ability to meet high demand, potentially leading to longer lead times for customers. Skill Dependency: The craftsmanship involved may require specialised skills, and finding qualified artisans can be a challenge. The business may be vulnerable if there’s a shortage of skilled personnel or difficulties in passing on the techniques to new generations. Market Perception and Pricing: Handmade and natural materials often contribute to premium pricing. This might limit the market to a specific demographic, and some consumers may perceive these products as expensive compared to mass-produced alternatives. www.letspause.es
70/71 | MONICA POLONIO F O U N D I N G D I R E C T O R , R O C K & S O A R How long have you been involved in the lighting industry? Monica: six years ; Alison: 10 years Have you always been involved in the manufacturing side, or have you come from another part of the industry? Monica: I come from a sales background, and when I joined the lighting industry, I had little knowledge of the complexity of lighting. It was through the process of being part of a small team that specialised in bespoke lighting that I learned more about its beauty and the design process. Both Alison and I are now heavily involved in the design and manufacturing process of decorative lighting. We have also become experienced and knowledgeable in areas such as architectural lighting, which allows us to design decorative lighting that is also functional and works with other lighting in interior spaces. Alison: Yes! My background stems from sculpture and craft, so I’ve always been in the realm of making. My research is always based on materials and their reaction with light, so I’ve spent a lot of time with manufacturers and makers to understand techniques and processes. Have you noticed more diversity in sales, manufacturing, and marketing over the past two decades? Monica: Prior to joining the lighting industry, I came from the textiles and furniture industry where I represented luxury brands in the UK, Europe, and Russia. My sales background in the luxury industry spans over 10 years. In my experience, when working with beautiful luxury products, the salesperson is typically female, whereas when dealing with architectural or technical products, the salesperson is usually male. So, no, I don’t think it’s changed much. I have represented more architectural-based products, and personally, I disliked it as it lacked creativity and I found it very boring. But I believe that companies and managers, when recruiting, seem to think that men are more suited for one style or product and women for another. ALISON SMITH F O U N D I N G D I R E C T O R , R O C K & S O A R
INTERVIEW | WOMEN IN LIGHTING Alison: There’s still the lingering cultural conditioning of ‘men being better at handy work, engineering, and technical design’ and ‘women are suited to cleaning, cooking, and aesthetics.’ So manufacturing and product engineering fall under the ‘male’ remit. While there is progression, it still feels that stepping out from gender roles in society is seen as going against the status quo when, really, it should just be the norm. What reasons do you think there are so few women working for manufacturing companies? What obstacles do women come up against? Monica: Is it that women are choosing not to work in these sectors, or is it that they want to but are not chosen when applying for jobs? Could it be that they are afraid to say they would like to work in a sector such as manufacturing and therefore do not even pursue it as an option, which therefore roots back to our society, schools, and what is seen at home? I believe manufacturing companies and managers might see women as too fragile or too weak to manage certain machinery. Alison: I agree that it begins with educational and societal development. If you choose to progress in education as a female in a male-dominated sector, it can be daunting; you can be judged, and it can fill you with self-doubt. If you take a CV of a female compared to a male, for example, a male is likely to have pursued an education in construction, engineering or product design due to feeling comfortable in that sector. As an employer, regardless of knowing the gender of the CV, you are more likely to pick this person because of their background. You then get a male-orientated industry. If 90% of applicants for a job are male, the probability of a male being employed is far greater. You also have the prospect of gender motivations of the employer, but I do think this is becoming more neutral. We need to recognise the importance of equity here - where women are allocated the exact resources and opportunities needed to reach an equal outcome in our industry and feel comfortable taking on the routes of design technology, engineering, and construction. You have to push for women to have a voice in the industry. How do you think more women can be encouraged into this side of the lighting industry? What can manufacturers do to encourage a diversity of applicants for roles in sales and product development for example? Monica: I believe the work needs to be done at an early stage in a young female’s life. Design and manufacturing companies should be visiting colleges and universities and encouraging diversity. Alison: This is something Mon and I are really keen to promote. I recently went to Nottingham Trent University to give a panel talk on ‘Finding Your First Role and Early Career Progression’ to share insight into the manufacturing industry and product design as a female. It is our hope that we can encourage others to pursue their careers and know that other women are out there too. An interesting observation I came across when working as a DT & Art Technician for a secondary school in 2014 is that when teaching the students in Year 7 (ages 11-12) how to use the machinery, all boys were confident using these for the first time, whereas many of the girls lacked confidence and were extremely reluctant to participate. If young adults witness other women in this industry who are comfortable and passionate, we can fast-track gender diversity. What are the positives of working for a manufacturer? What are the negatives? Monica: Being able to explore a wide scope of materials and techniques as well as working with tangible objects. There is obviously the laborious side of doing repetitive tasks, but that’s the case in most industries. Alison: We love the collaborative approach to our work. You meet so many craftspeople, engineers, and designers, giving you the opportunity to discover so many new and wonderful ways of making. A negative aspect is having to deal with sexist remarks from time to time, but it’s a chance to challenge and educate others in this area. Is there anything else you would like to add? Monica: Many of the men I have met in the construction and manufacturing industry have ended up in these roles from an early age, dropping out of the educational system and feeling like these sorts of roles were the only option for them. Do we have an influx of males in these roles because there simply isn’t enough resources to support young boys and young girls who struggle to adapt to a traditional education system? Alison: It’s a slow burner, but we’re getting there! I also encourage everyone to read ‘Invisible Women: Exposing Data Bias in a World Designed for Men’ by Caroline Criado Perez as it is eye-opening at just how insanely apparent it is of the lack of data on women, leading to a male-oriented society. We’ve also recently become a member of The Women’s Chapter, a platform to provide professional women with the means to come together to create meaningful connections, find solutions to business challenges, be inspired, and build a work life aligned with their purpose. www.rockandsoar.com *This article is a continued conversation from our sister magazine arc, issue 137 in collaboration with Women in Lighting.
20 & 21 November 2024 • Business Design Centre • Islington • London www.lightexpo.london STEP INTO THE… The UK’s only dedicated trade show for designers working with light Interested in Exhibiting? Contact: John-Paul Etchells on [email protected] archiproducts 53 Atelier Anaka 5 chelsom 37 Christopher Hyde 21 clerkenwell Design Week 59 Designheure 45 Elstead 41 Franklite 25 HD Expo 54 ICFF 63 Intra Lighting 75 LiGHT 24 72 LZF 49 Modi Store 6/7 Secto Design 2 Sleeper Media 73 Zafferano 76 Zico Lighting 15 AD INDEX PORTFOLIO PROUDLY SUPPORTING
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What is the design concept behind Lysabel? Lysabel was born as a straight line, hypothetically infinite, radiating its light 360°. The primal idea of Lysabel originated from the beautiful images of laser sabre battles in well-known science fiction movies. The whole project was illustrated through compelling images, reminiscent of the epic saga, with numerous characters wielding the lamp attached to the power cord. For example, the robotic multi-armed Grievous from Star Wars (who wielded four lasers) lent itself to being associated with the adjustable multi-armed Lysabel chandelier or the “en guard” position of one of the knights approaching the floor lamp. The collection grew with the thought of light like a gash in the darkness, like a weapon to be wielded in a dark space to illuminate it, like a battle between opposing entities such as light and darkness. How long have you been working on the collection? The Lysabel collection was born in 2019 and developed over a few months with increasingly elaborate concept sketches and an initial 3D-engineered design equipped with all the essential components. In 2020, it was sent to Intra lighting, with the first prototypes unveiled in 2022. What was the most challenging aspect of this project? Managing the uniformity of light along the light rod. In my initial drawings, I identified both a 360° spread and a predominance of light on one side, without compensating for the opposite side. The hypothesis could only be checked in the prototyping phase, thanks to the photogoniometer provided by Intra. This device allowed us to assess optimal light diffusion with precise data, without bothering the view. Another challenge involved designing the connection between the light rod and the power cord. The detail borrowed from the particulars of irons has been simplified and embellished. This detail personalises the lamp and makes it ready to become a horizontal, vertical or tilted element as desired. What materials and design processes are used? The basic materials are aluminium and acrylic glass (PMMA), both of which are 100% recyclable. The profile of the acrylic glass is obtained by an extrusion process that easily allows for varying lamp lengths and improves production by optimising it in terms of assembly time and production adjustment. High-quality LED strips can be cut to size, allowing for high production flexibility. The light sources have high-quality parameters: Hi flux LED strip, CRI>90, MacAdam<2, and with a wide range of colour temperatures: 2700K, 3000K, 3500K, 4000K. The design process begins with imaginative assumptions. These ideas converge into thoughtful formal choices that undergo verification in the engineering and prototyping phase. Subsequently, they are further examined in the photometric results, utilising tools such as the photogoniometer. This meticulous approach aims to achieve optimal functionality and manageability. What technologies are used? The frosted opalescent acrylic glass tubes are extruded by calculating the exact coverage of the opalescent compound so that the light is diffused evenly without the bright dots of the LEDs being visible, but without the diffuser finish being able to cover too much of the light emission. The aluminum body, including the ball joint and all visible metal details, is offered with a choice of finishes: gold, onyx, and bronze in coated or brushed variants. The components are of high quality, and the ballast operates at 24V, maintaining a constant voltage. The light source consists of long flexible webbing that can be cut at will, carrying on board numerous LEDs juxtaposed one to the other and electrically connected. Despite its slender appearance suggesting fragility, the collection is surprisingly resilient and manageable. www.intra-lighting.com Lysabel Lorenzo Truant intra lighting IN FOCUS 74/75 | IN FOCUS | INTRA LIGHTING
It’s main feature is the possibility of rotation. For a pleasant indirect light you simply rotate it with one move. intra-lighting.com/Gramm Gramm The lightest light