Decorative Lighting in Architecture

#37 Sep / Oct 2020

Red Herring | MD Apartment | Thurgauer Kantonalbank

Chelsom LED Eye | Spanish Design Report | The Future of Design | Workspace Lighting | Tekna Product Focus
Featured lights: io Pendant 1000, io 265 + io 420

astrolighting.com
 Image : The Fishy Project
Cover: MD Apartment, India
Welcome
Sarah Cullen • Acting Editor

Welcome to the Sep/Oct issue, my first, running solo without the watchful eye of Helen Ankers.
For those of you who don’t know me as the Assistant Editor of arc magazine, let me introduce
myself briefly. My name is Sarah and I am lucky enough to be keeping the darc boots warm
while Managing Editor Helen Ankers is on a well-deserved break looking after her newborn
– welcome to the world and [d]arc media team little Ezra Ankers! I’m sure I speak on behalf
of everyone in our lighting community in wishing Helen and her husband Sam a massive
congratulations for creating such a cute little lad!
Now back to business… With the summer coming to an end and the day’s getting shorter here
in the UK, our Autumn issue’s front cover is adorned with warm wood and brass tones from
the stunning private residence by architect Malay Doshi in India. The brief for this minimalist
residential project was simple - strip the former two-bedroom apartment into an open-plan
studio; the envy of many designer. To catch the full design process for this renovation, turn to
page 16.
As the world begins to emerge from the other side of the dark cloud that has been Covid-19,
restrictions are still in place, but some form of normality is resurfacing. With this in mind, I sat
down with a group of designers to find out more about their experiences of moving in and out of
lockdown, both on a personal and professional level. It’s an insightful read I hope you will enjoy
and find something relatable, comforting and inspiring in their words on page 32.
Adapting to the new working conditions comes part and parcel with these changes we are
having to make in our new world. As such, we take a look at some of the latest workspace
projects and the decorative lighting solutions that have been used in these design schemes.
Turn to page 44 to read more.
Holding onto the warm sunshine for that little bit longer before the colder months take hold, we
bring you our Spanish design report. Earlier in the year, we collaborated with ICEX and Interiors
from Spain to bring you some of our favourite decorative lighting products to come out of the
region through a dedicated email. Now we bring you these on paper as well as some bright
editorial pieces that look at interior design trends in the country and a profile on product design
studio, Yonoh. You can read all of this starting on page 54.
Now, I will leave you to it… please be kind - this is my first time putting a magazine together and
Helen’s shoes are very big to fill! But most of all, enjoy!
 NEW COLLECTION
LED EYE
EDITION 27
A V A I L A B L E 3 0 TH S E P T E M B E R 2 0 2 0

44825 Chelsom LED EYE_DPS DARC_472x333_AW.indd 1

Registered European Community Design 007575014-0001/0002/0003/0004/0005
US Design Patent Application US29/729,141 chelsom.co.uk

01/09/2020 10:18
 Contents
Regulars
The Magazine
008 Focal Point | Porsche Showroom | Shangahi

Managing Editor | Helen Ankers

026 Materials Focus | Chelsom | LED Eye
h.ankers@mondiale.co.uk
+44 161 476 8372
072 Calendarc | International Design Events for 2020

Acting Editor | Sarah Cullen

074 In Focus | Kreon | Oran
s.cullen@mondiale.co.uk
+44 161 476 9401

Media Sales Manager | Stephen Quiligotti

s.quiligotti@mondiale.co.uk
Projects +44 7742 019213

Media Sales Executive | Adam Syme

010 Red Herring Restaurant
Designer Marissa Zajack transforms this downtown LA restaurant into a vibrant flora and a.syme@mondiale.co.uk
fauna paradise with soft furnishings and decorative lighting from Light Cookie, Adir Yakobi +44 161 476 9118
and France and Son.

Contributing Editor
Matt Waring
016 MD Apartment Private Residence
Architect Malay Doshi renovates his own private living space into a wood-haven studio with
decorative lighting features from Flos and Crystal Palace.
006 | INSIDE ISSUE 37

Design
020 Thurgauer Kantonalbank Artwork | Dan Seaton
The Romanshorn bank branch has undergone a redesign, with lighting design by Suzanne d.seaton@mondiale.co.uk
Fritz Architekten providing a high-class, yet homely, finish.

Editorial | Mel Capper

m.capper@mondiale.co.uk

Features Finance

032 Interview | The Future of Design Finance Director | Amanda Giles

Acting Editor, Sarah Cullen, sits down with a group of design industry leaders to discuss the a.giles@mondiale.co.uk
community's reaction to the new world we find ourselves in and the adjustments they have
had to make. Credit Control | Lynette Levi
l.levi@mondiale.co.uk
044 Workplace Lighting Focus
darc covers a selection of intelligent and beautiful lighting approaches that complement new
working spaces and environments.
Corporate
052 Product Focus | Tekna | Astone
Chairman Mondiale Publishing | Damian Walsh
Tekna's latest collection, Astone, features marble for the first time in the studio's catalogue.

Managing Director [d]arc media | Paul James

054 Design Report | Spain p.james@mondiale.co.uk
Pablo Conde Diez del Corral, Director of Fashion, Habitat and Cultural Industries at ICEX and
of Interiors from Spain catches up with Acting Editor Sarah Cullen to discuss the world of
Marketing & Events | Moses Naeem
interior design in Spain and future trends emerging in the country.
m.naeem@mondiale.co.uk

[d]arc media ltd | Strawberry Studios, Watson

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

Proudly Supporting

#readinginthedarc
008 | FOCAL POINT

Focal Point
Porsche Headquarters
Shanghai, China

Located in Lu Jia Zui Financial Plaza, Porsche worked

with anySCALE interior design studio to create a
highly collaborative space, while Tokio furniture and
lighting worked on the lighting design. Incorporated in
the design is the theme of speed and passion, which
embraces the heritage of Porsche as a company.
The project was envisioned as a modern open plan
office with a minimum number of private offices. In
the main corporate conference room, the suspended
lighting fixture was envisioned by designers as a
feature item defining the space. This modular system
has been entrusted to Tokio and its flagship lighting
product Carbon Light. It can be executed in multiple
configurations, which are allowing unique creations
of any size. The lighting fixture is made entirely
out of carbon fiber, one of the strongest and most
lightweight materials on the market and widely used in
production of sports cars.
Porsche's brand new office in Shanghai is their first
property worldwide to achieve the WELL Building
Standard gold certification standard.
www.tokio.com
009
010 | PROJECT | RED HERRING
 011

Chic Dining
Located on the ground floor of the 8th & Grand luxury
apartment complex in downtown Los Angeles is the Red
Herring restaurant designed by Marissa Zajack, and featuring
decorative lighting from Light Cookie, Adir Yakobi and
France and Son.
Images: Courtesy of Jennifer Chong and Lu Tapp
012 | PROJECT | RED HERRING
Situated in a new mixed-use development on a bustling street in
Downtown Los Angeles, Red Herring restaurant and bar is timeless,
energised, and bathed in a California attitude. Downtown Los Angeles
is rich with history, which heavily inspired the new scheme for Red
Herring; using a splendor of colour, Art Deco geometry, soft curves,
and splashes of flora and fauna whimsy along with a custom focal
point mural by Mike Willcox, this space has quickly become a design
destination.
Building on an already well established working relationship, designer
Marissa Zajack was brought on board the project by restaurant owners
David Woodall and Alexis Martin-Woodall. David is a prominent chef
in LA and Alexis is the President of Ryan Murphy Television, and both
have admired the design style of Zajack and worked with her in the
past on branding projects.
“The design project was a complete build-out and took a full year,”
explains Zajack. “I wanted the restaurant to feel as though it was
grounded in the environment around us. Downtown LA is filled with
historical buildings that came to life in the early 1900s; Red Herring is
Art Deco meets California cool. There are many textures and geometry
mixed with a large fauna and flora mural, and soft curves and arches.
There is also custom lighting throughout that plays off the architecture
and design elements.”
Working on a restricted budget, Zajack explains that the main
challenge of this particular design was making the most of the money
she had to work with. “It made me think more inventively and look to
sources and artists that were lesser known to achieve an individual
and bold statement,” she says. “I really loved the idea of using up-and-
coming innovative artists. For the most part, it all worked out, but of
course there were challenges and headaches.”
For example: “The three globe pendants in the dining room, although
lovely, were a bit of an undertaking when it came to getting light
sources in and out. If I had to do it again, I probably would have
gone with a more experienced designer. This is where working with
emerging designers can sometimes get tricky. I spent many hours
getting these ready for service,” says Zajack.
Describing the lighting working as another “detail and sculptural
element within the space,” Zajack wanted to incorporate custom
lighting aspects into the scheme, for example the lighting sculpture
hung above the bar. “I’m a fan of Light Cookie’s Dora Koukidou and
had an idea for a light sculpture. I thought she would be the perfect
014 | PROJECT | RED HERRING

designer to bring the idea to life; she did and more. It is a mixed metal
sculpture with illuminated globes – it’s simply stunning and works so
well within the aesthetic,” explains Zajack.
Using decorative lighting as an “extension of the story” Zajack used
multiple decorative brands to complete her look for the restaurant
Design Details
Red Herring restaurant, Los Angeles, USA
Interior Design: Marissa Zajack Creative
Lighting Specified: Adir Yakobi; CB2; France and Son;
Light Cookie

including three globe pendants by Adir Yakobi and Mid-Century multi-

light chandeliers by France and Son in the dining room; pendants from
CB2 and the light sculpture from Light Cookie in the bar; and the I Do
sconce by Light Cookie in the restroom. Architectural lighting was
used in recessed areas and served a purpose for these spaces that the
decorative lighting could not.
Looking back on the Red Herring restaurant, Zajack was very pleased
with the impact the decorative lighting had on the space and its use in
creating an overall atmosphere.
“The standout feature was how much of a statement the lighting in the Designer Marissa Zajack has transformed the ground
floor of a residential block into the stunning Red Herring
space makes,” says Zajack. “Honestly, that’s a lot of what people talk
restaurant that combines bold colours and classic
about in terms of design. It’s such a big part of the design story and finishes along with a flora and fauna mural. Zajack
utilised up and coming artists and designers to complete
really brings everything together. It adds shine in all the right places
the overall look of this chic dining experience for
and it’s a detail that brings everything to life and sets the mood.” residents and visitors to downtown LA.
zajack.com
016 | PROJECT | MD APARTMENT
Studio Sophistication
Acting Editor Sarah Cullen sits down with Architect Malay
Doshi to discuss the renovation of his own private residence
with decorative lighting features from Flos and Crystal Palace.
Images: The Fishy Project
Along with designers Arihant Bajaj and Tejashree Karande, Malay
Doshi, partner at Saransh Architects, based in Ahmedabad, India, has
transformed his two-bed apartment into a designer’s fantasy studio
living space.
Stripping the space back to its bare minimum, including the removal of
partition walls, bathroom facilities, the kitchen and flooring, there was
a conscious decision of creating a space that was minimal and at the
same time tactile. As such, a majority of the materials chosen were
done so based on how well they age.
Upon entering the apartment, the floorplan is completely exposed, with
the only door closing off the bathroom, which is even styled with fluted
glass to allow maximum light flow throughout.
Using colours and textures, the team demarcated the space’s use,
using grey tones in the kitchen and toilet and wood tones were used
in the den to create a more intimate atmosphere. “The kitchen and
the toilet undertake only grey tones, hence creating ‘niche-like’ spaces
inside the lighter white and grey general areas. The den is made of
wood to give a cosy vibe, and the volume of this space is reduced
drastically to give a sense of entering a different realm, which is further
exaggerated by the need to climb a couple of steps to enter it,” says
Doshi. “Finally, the sleeping area, is made much warmer with beige
walls and a more playful floor in tones of blue. This gives it a very
different aesthetic inside the house, giving it a personal touch.”
When considering the lighting for the apartment, Doshi worked

with architect Mansi Mistry to obtain her expertise on customised
prototypes, product selection and placement. He also took this
renovation as an opportunity to play with various customisations of
decorative lighting.
“Considering the tones and use of the space, the light was designed
accordingly,” he explains. “For example, the two brass lights in the
wooden backdrop were kept at two heights with one almost at floor
level, to address the floor seating on one side of them. The frosted
glass globes were chosen to create an ambient glow in the space.
Similarly for the bedroom, the two spheres: one stone and one light
on the yellow lime backdrop were chosen for a similar ambient glow.
Whereas the extra recessed kitchen counter lights inside the metal
017
cylinders, were done so consciously to create three separate spots of
light on the wooden plank.”
Referencing these custom designed fixtures by Ahmedabad-based
decorative lighting producer Cyrstal Palace, Doshi also featured Flos
pendants in the living space. “One [Flos string light] is in the corner,
which is a sphere to create an ambient glow and the other, a cone, is
above the dining table to give a down light. These were also chosen
because they could be customised with their assembly and create this
juxtaposition of black lines on a white backdrop of the ceiling,” says
Doshi.
Referencing the use of both architectural and decorative lighting in his
home, Doshi adds: “Both of them work to create two separate moods
018 | PROJECT | MD APARTMENT
in the space. The decorative lights create an overall ambient lighting
across all spaces in the apartment, which are usually the only lights
that I turn on everyday. The architectural lights create a brighter lit
space, which are used only when there are guests.”
Moving into the bedroom, Doshi explains the difficulties of installing the
customised Crystal Palace globe pendants: “There was a stubbornness
in picking solid stone globes in the bedroom above ceramic or metal,
for the want of a certain texture to their surface. This led to that specific
light becoming quite heavy, which then further led to the need of a
structural rope wire anchored to the RCC slab to hang it,” he explains.
The importance of juxtaposing textures is a theme that runs throughout
the space. As Doshi explains further, the “entire flooring is polished
concrete with different inlays, like wood, stone, cement tiles and brass.
The polished concrete is filleted onto the wall up to the sill level, to give
a sense of being inside concrete rather than being on it. Different greys
explored, to go along with the concrete, include a grey polished marble
and three types of grey fabrics used in the soft furnishings.
“The only coloured accents used in the project in shades of indigo and
turquoise, are in the ceramics, cushions or shear curtains. All the walls
have a pigmented lime plaster finish, which not only keeps the house
cool in the hot weather of Ahmedabad, but also gives a timelessness
to the space.
“The wood used is reclaimed 60-80 year old Valsad Teak from the ‘Pols’
of Ahmedabad. Not only is it more sustainable, the aged wood has an
inherent rich texture.”
He added: “Leading away from the generic chic finished urban homes,

a conscious choice was made to keep the ‘end product’ unfinished; to
make the house an oasis in the middle of the city, similar to the natural
ever-changing sense of space of a vernacular cottage.”
Reflecting on the final outcome of the renovation that took six months
to complete, Doshi concluded: “Being a very personal project, the
freedom to go into a previously unachieved customisation to achieve
the initial idea was a standout feature here. Although the same effect
could have been achieved through simpler solutions and minor
compromises, the impact left by achieving exactly what was intended
left me with a certain level of satisfaction which wasn’t felt before.”
studiosaransh.com
019
Design Details
Malay Doshi Private Residence, Ahmedabad, India
Architect & Interior Design: Studio Saransh
Lighting Specified: Flos; Crystal Palace
The decorative lighting was a key player in completing
Doshi's overall scheme for his private residence. Using
materials and textures juxtaposed throughout the
apartment to define space usage was also reflected
in the customised lighting pieces from Crystal Palace.
Doshi used this renovation as a time to play with
different pendant orientations, from fixing heights and
contrasting glass and stone globes, the overall effect is a
cohesive blend of organic textures and colours.
020 | PROJECT | THURGAUER KANTON ALBANK
 021

Bank Transfer
The Romanshorn branch of Thurgauer
Kantonalbank has undergone a redesign, with
lighting designed by Suzanne Fritz Architekten
providing a high-class, yet homely, finish.
022 | PROJECT | THURGAUER KANTON ALBANK
The recently renovated office of Thurgauer Kantonalbank (TKB)
Romanshorn is situated in the building complex of a shopping centre
in Romanshorn, Switzerland.
Moving away from the traditional banking format, with its bullet-proof
glass and strict spatial separation, the newly-designed office space
presents itself as more of a customer-oriented environment, designed
to offer advice and consultations, rather than a staid, transactional
space.
The architectural concept for the bank emphasises this attitude shift
by creating a visual openness and a balanced relationship between
transparency and discretion. Suzanne Fritz, founder of Suzanne Fritz
Architekten, tells darc more about the concept behind the new look
bank: “Although the building from the 1970s was converted in 2000, it
no longer met the spatial and visual requirements of a modern bank.
After internal bank restructuring, the management decided to launch
an architectural competition for a new prototype branch concept,
which carries the value of TKB to the outside world through a new type
of corporate architecture.”
The aim for the redesign was, according to Fritz, “to give the customer
areas and workplaces a high quality of stay, in which the customer
feels welcomed as a guest”.
To achieve this, Fritz sought to develop an architectural language
that appealed to a broad target group, while underlining the bank’s
new identity and customer proximity, reflecting the change from a
“transition bank” to an “advisor bank”. This was complemented by a
newly conceived interior design and furnishing concept, that has gone
on to become a model for further branches.
Although the bank called for a uniform lighting system, Fritz was able
to convince TKB to bring a homely character to the space with the
introduction of a number of decorative lighting elements, such as
floor lights, light objects, pendants and wall lights, alongside a modern
chandelier.
Fritz tells darc more about the lighting concept: “In the main hall, the
existing square skylights were enclosed in round domes that distribute
daylight around the room like large lampshades,” she says. “Around
these domes, we worked with a cascade of Bocci pendant lights, inside
of the domes we added LED to enhance daylight on winter days or
rainy days.
“Across the entire hall, the architectural light is provided by built
in circular ceiling lights by Durlum. In the waiting area, we curated
024 | PROJECT | THURGAUER KANTON ALBANK
different floor lights and light objects to make it look like a cosy hotel
lobby, instead of a waiting room. The branch manager’s office is
equipped with a chandelier by Isabell Hamm, a designer who works in
small editions. The circular brass ceiling lights were customised and
are also used in the meeting room with built in downlights.”
Fritz worked alongside Swiss lighting company Lichtsektor on
the project, owing to its complex nature “with a lot of electrical
installations, IT systems and a KNX system”. “To bring all the
components together and to match all the different decorative lights
technically with the system, the knowledge and the coordination of the
lighting planner with the electrical planner was of very high value,” Fritz
says.
Although the usual colour temperature for a space such as this would
be 4000K, Fritz and the client agreed on lowering this to 3000K for
both the architectural and decorative lighting, helping to effectively
curate the warm, welcoming atmosphere that was a key parameter of
the redesign.
The end result, which has become a flagship project and a “showcase
for the bank”, merges decorative and architectural elements to create
a luxurious feel that epitomises the shifting attitudes towards banking.
Fritz explains how the lighting complements the new approach of the
banking industry: “The redesign of the TKB branch in Romanshorn
makes the changes in the banking industry clearly visible,” she says.
“The newly designed branch office presents itself as a customer-
oriented advisor bank. The architectural concept emphasises this with
visible openness and a balanced relationship between transparency
and discretion. The customer is welcomed personally as a valuable
guest by TKB employees. Trust and personal contact are important for
a locally based bank. This is supported by the architecture in the client
and staff areas.
“The boundaries between the banking and client areas are fluid, and a
homely atmosphere creates proximity to the client. A balanced ratio of
daylight, architectural and decorative light has a significant influence
on the quality of the atmosphere, and thus the wellbeing of employees
and clients.”
www.suzannefritz.ch
 Skye Chandelier

SCULPTURAL, EDGY DESIGNS WITH AN ORIGINAL POINT OF VIEW

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 Innovative Chic
Chelsom gives functional bedside lighting a revamp with
its user-friendly swivel-motioned spotlight - LED Eye.
026 | M ATERI ALS | LED EYE

Specialists in product design for the hospitality market and servicing
hotel and cruise ship projects worldwide, the family run business
Chelsom began its lighting journey back in 1947 when Reg and Kay
Chelsom opened their first small antique lighting shop in Blackpool,
UK, under the name The Golden Age. Quickly expanding to three shops,
the duo began to manufacture reproduction period lighting, distributed
across the UK to retailers and interior designers. Passing on the lighting
legacy, their son Robert took over the business in the 1970s, bringing
the company to the forefront of hospitality lighting. In succession, his
son, Will was next in line to join the family business in 2006, introducing
Chelsom products into the marine industry, doubling their clientele.
Father and son Robert and Will now work closely on the design side of
the company, creating some of its most respected lighting collections.
Talking with darc, Robert and Will discuss their latest design for
Chelsom, LED Eye; the sequel to the globally successful LED Dock.
After creating the iconic bedside reading light, LED Dock, the design
intent for LED Eye came from LED Dock’s previous years of experience
in successfully lighting hotel guestrooms. Trying to create something
inconspicuous and striking at the same time was a big design challenge
when creating LED Dock; at the time, the team didn’t know this product
would quickly become the most successful seller for enhancing hotel
room designs in more than 30 countries worldwide.
027
As part of Chelsom’s latest collection, Edition 27 that launches at the end
of September this year, Will and Robert wanted to move the aesthetics
of the bedside reading lamp onwards with LED Eye, while maintaining all
the successful features of function and light output of the LED Dock. The
starting point was to create a product that was inconspicuous, nestled
successfully into a headboard with minimum projection but still a stylish
addition to the bedroom’s scheme.
Further developments led to the concept of ‘the eye’ evolving, with a
compact and slim outer vessel of steel and aluminium; a sculptured cast
metal piece acting as an eyelid that invites users to open, revealing the
eye of the luminaire, illuminating and giving a full range of movement to
orientate the perfect light spill. Much time and engineering skill went into
the prototype development, ensuring that the cast centrepiece revolves
and rotates with the lightest of touches and can be easily opened to
operate the microswitch, and closed to extinguish the light.
“Aluminium was used for the sculptured central eye in order for it to be
manufactured with die casting,” explains the design duo. “Had it been
a flat sheet it would not have had the tactile appeal and we would not
have been able to create the sculptured eyelid. Steel has been used
for strength and durability, ensuring a long life of contract use. Both
materials can be plated to exactly the same finish.
“Detailed engineering technology was used to create the movement
028 | M ATERI ALS | LED EYE
 029

Will and Robert Chelsom were

mindful to pay attention to the
details when designing LED Eye,
ensuring it was a user-friendly
fixture that also enhanced hotel
bedroom design schemes. The
design process involved numerous
sketches and material tests to
guarantee they produced the
perfect luminaire.
030 | M ATERI ALS | LED EYE
system. The light source swivels 80° left and right and 90° forward.
High quality LED warm white chips were specified to emit light
through a high-quality focussing lens,” they continue.
After the initial design concept, the main decision was to make
absolutely certain that the movement and rotation function was
smooth and easy to use. Significant time and investment went into
the internal rotation system to ensure the central part glides into the
required position.”
The labour of love for the father and son team saw this design process
completed within an 18-month period and believe the design is best
suited to the “hotel guestroom and cruise ship cabins for bedside
use as headboard located reading lights”. It is also designed with this
audience’s budget in mind, making it an accessible addition to many
interior design schemes. They also saw this particular project as one
of their most “exciting, challenging, ever-changing and rewarding
products to work with”. The highly tactile moulded centrepiece remains
extremely slim with a subtle curve at the bottom edge. Once opened,
the warm white LED light passes through the focusing lens to create
perfect reading light. CE and UL certified, the product comes in six
different finishes; matte white, brushed brass, brushed nickel, satin
black, and combination options in brushed nickel with satin black and
brushed brass with satin black, giving a contrast between the outer
vessel and internal moulded eye.
www.chelsom.co.uk
 S toned abo ut light

ASTONE PRESENTS WALCOTT TABLE

 “DESIGNERS ARE
CREATIVE BEINGS
AND WE ARE USED
032 | INTERVIEW | THE FUTURE OF DESIGN

TO WORKING WITHIN
CONSTRAINTS
TO OVERCOME
OBSTACLES AND
INSPIRE CHANGE.”
jo littlefair, goddard littlefair
T
he world has been turned upside down this year due to the
devastating Covid-19 pandemic, which has had global impacts
both personally and professionally. with this in mind, darc
discusses the impacts on the design industry with leading figures
across lighting, interiors and architecture.
It has been six months since the UK went into full lockdown due to the
Covid-19 global pandemic. Gone are the days when we complained
about the over saturation of Brexit news in the British media, to a time
when our headlines are solely dominated by the virus and its impact
on modern society.
As we all begin to emerge from its shadow and move into what’s
commonly referred to as the “new normal”, we wanted to get an insight
from the design industry on how it has been responding to these
surreal times we find ourselves in.
We sat down with a group of interior designers, lighting designers and
architectural branders to see how their worlds were turned upside
down and what they are observing in the design community as it
begins to pick itself up again.
We spoke with Helen Ewart of M1NT Studio in Manchester, UK.
Beginning her career as an interior designer 15 years ago, Ewart
has gained experience in architectural practices both in the UK and
Spain, refining her specialism in restaurant design, along with office,
bank and residential design. At the beginning of the pandemic, Ewart
found herself out of a job due to redundancies at her architectural
practice along with her interior design colleagues. “The architect’s
practice that we all came from felt the need to reduce the interiors
team and therefore made redundancies," she tells darc. "We have seen
similarities in other architectural practices, which is hard, however,
it has pushed some people to form some fantastic companies or
find new roles better suited.” Ewart along with four of her colleagues;
Louise Grimes, Janet Steer, Ewa Sydor and Stephanie Taylor made
the decision to form M1NT Studio a mere three days after their
redundancies and mid-national lockdown.
“Call us stupid but when things this big hit, we need to react,"
continues Ewart. "We need to fully embrace the change. We may
have been made redundant, but our service is certainly not. We need
to guide, show and embrace this time and design it for the long-term
not the temporary. Everyone is working from home, not only is the
need for an ‘instagramable’ home office required but the local high
street culture is on the up, businesses started from home in the midst
of lockdown are growing and suddenly need a permanent location.
Empty retail spaces are being repurposed with work cafés and satellite
regional offices, as we can now really work anywhere. The office is
far from dead though; it will just be used differently. The need for
collaboration still thrives, flexi workspace was already a trend, but it
will be less of a ‘nice to have’ and more a necessity. Large offices need
to downsize as numbers are halved, and these spaces need clever
planning and fresh design solutions.”
Ewart continues, discussing the new working adjustments her and
her team made: “As a team we are used to being out of the office,
whether we are on-site, meeting clients, surveying, flying to Ireland,
training to London; we are used to being ships passing in the night and
have become very good at it. So, the aspect has been manageable,
using WhatsApp, Zoom, emails – we can’t escape one another even
if we tried. However, there are those crossover days in the office that
are greatly missed – the office banter, the brew rounds, the tactile
aspects of sitting around a meeting table discussing samples – this
is invaluable. Managing your own work/home-life balance has its plus
sides, accepting a million parcels a day and keeping on top of the
clothes washing between emails is handy, but when and if we can
get some normality back, I think the balance of flexi-working will be
embraced enough to take the stress out of day-to-day life; a couple of
office days a week would still be our preference.”
We also spoke with John Williams, Founder of interior design studio
Space Invader, also based in Manchester. Talking of his experience
033
of the immediate impact of Covid-19 and his day-to-day work life,
Williams says: “It was very challenging at the start on a personal level
- juggling family and work commitments from home while navigating
a changing and complex business environment, as well as being
mindful of the needs of the whole team from a remote perspective.
The really important thing to recognise was that everyone in the
team had a unique situation in terms of where and how they live,
their health, attitudes and anxiety levels. We had to be very flexible to
accommodate and work with that. "I think our biggest challenge was
the lack of real human contact. We’re very collaborative and it’s so
important for us to share knowledge and ideas, which is not that easy
to do ad-hoc over Microsoft Teams. We’re back in the studio now on
a rotating basis, it’s really good to be back in town, seeing everyone
face-to-face again.”
Jo Littlefair of interior design studio Goddard Littlefair has also
experienced a very similar situation as Williams, having to make a
quick transition to working from home. “As we saw the tsunami of
the pandemic approaching, we quickly acted to ensure that all of our
studio could work safely from home," she says. "Luckily, we didn’t
need huge investments in hardware to enable this, the change in
methodology and approach to working was, however, significant.
“We are now all familiar with video calls and whilst they are fantastic,
we still miss our team meetings and the sense of comraderie and ease
of communication that being together in one space can bring. The
huge benefit on our international work is that the need for travel for
work meetings has been reduced as people realise that much can be
achieved remotely.”
Witnessing an overall positive reaction, from the design industry to the
world’s events, Littlefair continues: “Designers are creative beings and
we are used to working within constraints to overcome obstacles and
inspire change. It’s hard-wired into us, we recognise problems and look
for solutions – we’re people pleasers at heart and we want to raise
smiles, now even more so.”
When speaking with German-based Lighting Design Consultant Nitika
THE FUTURE OF DESIGN
034 | INTERVIEW |
Clockwise from top left: Louise Grimes, Helen Ewart, Janet Steer, Ewa Sydor, Stephanie Taylor
Agrawal, formerly of AECOM, we discovered some of the challenges
that came with starting a new business venture during these difficult
times: “Before Covid-19 arrived, I had a vision to launch Light Dew and
had already started to make fundamental arrangements to support
my work remotely. Given the unknown circumstances, I found it
challenging to network with people - since all the lighting events were
cancelled - or book appointments at my clients’ offices. What I found
positive is that I did not have to travel to different countries to attend
lighting workshops or conferences, which saved a lot of my time. Due
to the internet, the world has become a small place and we can easily
connect with each other around the globe and share our knowledge
online.”
Elsewhere in the world, we discovered the outcome of the global
pandemic to have had similar impacts. Speaking with Italian
Architect Sergio Mannino, who is based in New York and specialises
in architectural branding in built environments, he comments: “We
radically changed the way we worked in a matter of a few weeks, but
not everything is remote. We go to the office only when necessary, and
everything else is done online. We had already built a communication
system a few years ago when working on a large project in Shenzhen,
China, so it wasn’t all entirely new to us. I think we transitioned
smoothly, but I still miss the human interaction in the office.”
Speaking of the reaction from the design community in the US,
Mannino recognised a rapid adaptation to the new situation
and a push for innovative design. “I can say we probably pushed
innovation to happen much faster than it would have taken in normal
circumstances. The downside is that we probably work much more
than we used to. We have fewer mental breaks and that’s not positive.
When you take the train or walk, you are allowing the brain to rest
and process the information you acquired during the day. Being in an
enclosed space for so long is not healthy for us and we all need to find
a balance.”
Williams adds to this, saying: “There’s been an overwhelming amount
of commentary on the future of the workplace, which is a real positive
because our clients do need our help navigating through tough
decisions ahead.
Clockwise from top left: Jo Littlefair, John Williams, Nitika Agrawal, Sergio Mannino

035
036 | INTERVIEW | THE FUTURE OF DESIGN

Space Invader's project for Radius Payment Solutions, Crewe.

An internal campus designed to enhance human experience,
while attracting, retaining and empowering employees.

“From that perspective it’s a positive, though there’s an inevitable
slowing down in the workplace market while businesses wait to
see what will happen. The design marketplace is a mixed picture,
depending on sector, from major downturns in retail, events and
experiences to some potential growth in residential rental and UK
hospitality. While decisions may be delayed, I’m pretty optimistic that
the property industry will react and adapt as it always has done, given
time.”
Ewart is also seeing a knock-on effect of the population's mass
migration back to their homes. “The world as we know it has
completely changed, the extent and size of the shift makes me believe
at least some of it will be here to stay and I for one hope so.
“That comes from someone who went into lockdown on maternity
leave, was furloughed and into redundancy with four fellow team
members. If I can celebrate this change then we can all try?
“Seeing the country blossom in colour from the lack of pollution, acts
of kindness from neighbours, family time and re-prioritising our lives
are all factors that will impact design and I would love to look at the
design forecasts currently brewing. It is like the world is teaching us all
a valuable lesson,” she says.
Ewart is also taking note of the design shifts that will become
priorities for a lot of upcoming projects: “More specifically, hygienic
and wipeable textiles will be worth the money and not just for
hospitals and care facilities. We can finally push the ergonomic chairs
that were out of the price bracket because people now care about
welfare. We can help bring the office space up to date for the directors
that presumed flexi workspace and lounge style seating reduced
productivity. Café culture finds customers getting settled for a few
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038 | INTERVIEW | THE FUTURE OF DESIGN
Furniture and lighting are used in the project to
aid in identifying space usage and as a decorative
element to enhance Space Invader's overall design.
hours of work and need that socket re-jig and restaurants need to
accept that there may not be as many tables but if you are clever with
the design you can still attract the masses. We are, in fact, working on
a residential job that wants a cinema room; people are re-evaluating
what is required in their houses,” she explains.
“More subtly, colours may mirror that of nature and stillness - calm
and fresh. Materials could be smooth to appear clean and sterile and
biophillia is needed even more as we all embrace that ‘daily exercise.’”
In consideration of future interior design approaches, Littlefair adds:
“This will be very interesting to watch. I feel this is an evolution on
high-speed. Underlying all of this, I do believe that travel will become
highly valued as we’re inexperienced at being so restricted. I feel life
experiences and memory making are the new values that people will
look for and as such, we need to design to suit those needs.”
Mannino comments: “I believe the change needs to be radical. The
entire Modernist architecture was based on building healthy buildings,
with as much sunlight as possible, clean surfaces, and so on. The
pandemics of the last century pushed cities and architects to design
and build in a new way. I think we need to have the same approach, but
I am not so optimistic. Everything is driven by capital and not by ideals.
There is no long-term plan, developers are only looking for a quick turn
around and they are building for that. The pandemic is only a small
part of the issue, climate change is a much bigger problem that is
completely ignored here in the US.”
In terms of future design and how lighting can be integrated, Agrawal
highlights numerous ways in which lighting can be used to aid social
distancing regulations: “For large open space offices, it is possible
that only a certain number of desks at a distance of six feet will be
permitted on each floor. The six feet distance can be measured from
the centre of the chair and highlighted using patterns or colours on the
floor or reflectors or anti-slip inground lights.
“Many will be encouraged to look into smart lighting by incorporating
IoT in their offices, allowing them to gather data and monitor the rate
of occupancy, provide circadian rhythm light and disinfect by using
UVC light,” she explains.
“People have definitely started to give health and wellbeing greater
importance. Greater emphasis is put on ergonomic designs, UX
Design, pretty much anything that would enhance the comfort and
wellbeing level to the maximum of an individual. I see the pandemic as
an evolutionary momentum for the design industry to be creative and
provide, with comfort maximising revolutionary solutions.”
Looking at workspace design specifically, Williams’ team has
witnessed a shift, as he explains: “There will clearly be some short-
term changes here, from one-way systems in the office and rotations
of office occupation, as we work towards a more established medium-
term ‘social distancing design guide’. These short-term phases,
however, will pass when the vaccine (hopefully!) arrives, so I think it’s
incredibly important to think of the future in several stages, from the
immediate to the medium and longer-term.”
When asked about what practices he’s had to put in place when
approaching the new way of working, he added: “We’ve been at the
forefront of encouraging collaborative, flexible and agile ways of
040 | INTERVIEW | THE FUTURE OF DESIGN
Nitika Agrawal uses renders to explain lighting solutions to
clients, identifying how task lighting and daylight are necessary
at work stations. IoT is also introduced into the workspace for
multiple reasons explained by Agrawal's annotations.
working for our clients for a long time, so in that sense I wouldn’t say
we’ve had to change our work approach radically, apart from enquiring
more deeply about the relationship of individuals to the workplace.
This is very much a bottom-up not top-down management moment
and we need to help clients to recognise this in their own organisations
and plan for flexible and organic future growth.
“The big point is that Covid-19 has accelerated the pace of the key,
positive changes that were happening anyway – agile working and
the accent on health, biophilia and wellbeing. What has been added is
an increased accent on hygiene and air quality, both to be welcomed,
and a ramped-up attitude to flexibility. We see flexibility as the way by
which individuals can be empowered with the choice of carrying out
their activities at safe distances and the ability for business teams to
grow and contract effortlessly in a space as government guidance and
business and personal needs change,” he adds.
“We are seeing organisations more willing to empower individuals to
work in the way they choose. This change resonates with us as we
have always worked with far-sighted businesses that listen to their
people, which involves letting them balance their home and work
deadlines to achieve an equilibrium that benefits both them and their
employer.
“The major advantages of a physical workspace are for relationship-
building and for people to come together for the more collaborative
parts of their work, before dispersing either into smaller pockets of
space that respect social distancing or else returning to their homes to
carry out specific tasks.”
Mannino expands on his predictions for workspace design: “I think
there will be a return to the cubicles, compared to the open space
model - there are interesting approaches that make it totally flexible
and lighting can now be focused on these individual workstations
rather than illuminating the entire room evenly.
“I see this as an opportunity to try something different. You can never
go back to the old world, the new normal will be something different
and people will adapt. I think we will learn something from this, and we
will go back to the things we miss the most. In a way it will be a way to
evaluate what’s really important and what’s not.”
042 | INTERVIEW | THE FUTURE OF DESIGN
Goddard Littlefair's interior scheme for Villa Copenhagen offers
floor plan flexibility and the use of overhead decorative lighting
to create a cohesive design.
When asked about what emerging trends might occur in response to
the new world, Littlefair says: “Individually, we like a sense of personal
space and time and hate being crammed into venues. We also
welcome environments that put us at ease while delivering interesting
spaces. This speaks to the trend for wellness, which is high on our
agendas at the moment. I see people re-evaluating our online lives,
we’ve been overwhelmed with emails and video calls for so long, and
focussing and balancing the positives and the negatives of what we do
digitally and trying to live more in the present and personal time with
those people for whom we feel a true connection.
“Ultimately, I think we all have to be kinder to ourselves and one-
another. Ironically, Coronavirus combined with the death of George
Floyd have given us a lot to reflect on as a global community and I
hope that can unite us in a positive response.”
In terms of designing spaces with this flexibility and adding elements
that create this atmosphere of wellbeing and comfort, decorative
lighting plays a key role. For Littlefair: “Decorative lighting ultimately
is much easier to install and manipulate to enable flexibility of social
distancing. We’ve seen the festooning of lights using flex and hooks
across ceilings in more industrial and urban settings for some time.
Pools of light over tables can be used to keep people together around
a table and create an intimate atmosphere, great for hotels and
restaurants.”
Reiterating this idea of flexible design, Williams adds: “Right now,
lighting needs to work harder to adapt to flexible usage of groups or as
individual task lights.
“Lighting will play a major role in helping designate areas and identify
occupation and usage. It also plays an important part in our wellbeing
and circadian rhythms,” he explains.
“In addition, presence sensors in lighting that measure occupancy
around the workplace are proving a really useful tool in social
distancing.”
Ewart elaborates: “Working from home means everyone has become
used to the adaptable, personal, soft home lighting and it will be
hard not to feel the effects and strain as they work under the bright
consistent tones [in an office]. If management want to persuade staff
to re-enter the 9-5 office world after so long doing it solo, they need to
strongly consider lighting design. Task lighting, diverse and adjustable
will be key.”
Looking to the future and the evolution of design in response, Littlefair
concludes: “There will be a lot of changes, we’ve all been forced
through some extreme conditions that will have reverberations. It’s
shown many of us that the future is not as predictable as we thought
it was. However, people also love being with other people, there’s no
substitution for a real conversation and we’ve all recognised the value
of personal relationships. Creativity feeds from a team of people
working together for the greater good, so there is a real vitality in that
process, and we need to create environments which foster that.”
www.goddardlittlefair.com
light-dew.com
m1ntstudio.com
www.sergiomannino.com
www.spaceinvaderdesign.co.uk
NEW Collection Reed Table Light - Large
sales@tomkirk.com +44 (0)20 8766 6715 tomkirk.com
 Working
Comfort

The Assemblage Park

Avenue House
New York, USA
044 | WORKSPACE LIGHTING FOCUS

The latest addition to The Assemblage’s portfolio of boutique

coworking spaces is Park Avenue South, with interior design
completed by Mancini Duffy.
Working simultaneously with The Shorewood Real Estate
Group and Prodigy Network, the architects transformed the
existing 1920s structure, located at 331 Park Avenue South,
into a vertical multi-use working environment.
The building was designed as a vertical campus of four social
floors, which members use for connecting and gathering, and
seven coworking floors that offer a variety of space options,
from individual desks to dedicated suites. Juniper lighting was
used in these spaces, both for space-use identification and
task lighting.
Each coworking floor holds a small lounge area, hot desks,
private and team office suites as well as an agile conference
room, a pantry and phone booths. Mancini designed each
space to capitalise on access to natural light. Strategic lighting
is used throughout so that each space is bright and inviting for
members.
Featuring fixtures from Juniper’s THIN system, the THIN
Task Lamp was used across long work desks, while the THIN
Chandelier was used as an attractive focal point in the private
meeting rooms. The THIN Task Lamp redefines minimal
lighting as a precision-engineered adjustable lamp with a
fully articulating hinge and ball joint that connects to a cast
iron base. Featuring a dimming knob at its tip, the LED lamp
illuminates through a clear lens for functional task lighting.
The THIN Chandelier is a complex modular LED fixture that
appears to suspend weightlessly. Available in two sizes,
the chandelier is made up of 24 minimal hinges connecting
precision-machined half-inch diameter brass tubes.
www.juniper-design.com
Images: Interiors by Mancini Duffy, Photography by
Garrett Rowland
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046 | WORKSPACE LIGHTING FOCUS
Remote Workspaces
Global
With most people working or studying from
home these days, it’s often difficult to find a
suitable setup for productivity. From home-
schooling bored or boisterous children to
significant others trying to maintain their daily
schedules, the challenges abound.
To help create the right kind of environment for
a range of work-at-home situations, Vibia has
come up with three inspired design ideas. In
each, lighting plays a central role, helping you
remain efficient, focused, and relaxed.
A desk can provide the most seamless
transition from an office or classroom
environment, easily accommodating a laptop,
lighting, and accessories.
The Pin table lamp by Ichiro Iwasaki pairs a
bold, circular base and diminutive dome shade
with lean lines, a distilled design that lends itself
to a variety of desk styles and size. Ideal for a
home office, the streamlined, LED-powered light
has an adjustable head to direct light where
needed on a work surface.
Another option is the Mayfair table lamp by
Diego Fortunato. A modern reimagining of the
18th Century French bouillotte light, Mayfair
Images: Studio Moost
Images: Florian Pelleat
is elegant and cutting-edge. Its classic form
and sleek steel structure lend a polished
presence to a desktop, while an optical sensor
conveniently activates dimming of the LED-
powered lamp.
Designed by Stefan Diez, the Guise pendant is
an elegant choice to illuminate a table.
The horizontal hanging lamp is crafted of
precision-cut crystal and embedded with a row
of recessed LEDs. The light source appears
invisible within the glass while the engraved
surface radiates an intense glow that brightens
the work space below. Deploying a pair of
Guise pendants enhances the radiant effect and
casts a broader swath of light if several
people are sharing the table space.
Evoking the mood of Zen minimalism, Rhythm
by Arik Levy features slender light modules
of varying lengths, each fitted with an LED
module. Its unique rotation system allows the
light sticks to move along the axis and be
positioned in any direction, providing ambient
downward illumination and precision lighting
along the span of a table.
www.vibia.com
AR

S
OR
CH

IT
RI

EC TE
TURE & IN
 Sedus Showroom
Cadorago, Italy

Products from the Linea Light Group were chosen by

Light+Arch Consultancy firm to light up the Cadorago
showroom and to emphasise the innovation, technology and
aesthetics of the office of the future.
Sedus Stoll AG is a leading full-service supplier of office
048 | WORKSPACE LIGHTING FOCUS

equipment and workplace concepts. A well-established brand

all over the world, synonymous with innovation, technology
and aesthetics, particularly in the field of ergonomics, design
and environmental sustainability.
To light up the Cadorago showroom, near Como, the
Light+Arch Consultancy firm in Milan, specialised in
architectural design, industrial design and lighting design,
chose Linea Light Group solutions.
The lighting project was created with the aim of integrating
and improving the quality of light previously installed. In this
way, the different environments were emphasised and the
accent was placed on the chromatic palette of the products
as well as the integrated natural green environmental
features. Flows, optics, and the colour of the light are the
result of design choices proposed and packaged thanks to a
painstaking job of natural light and artificial lighting design.
There are no home automation or dimming controls managed
with brightness sensors.
The final result is a large, multi-purpose space, equipped with
just as many technical lighting solutions, such as the large
dimension Tour suspensions (up to 250cm), which create a
first layer on two levels, which highlights the work stations and
the company products. In the informal areas, Poe suspensions
were dropped over the tables with special drivers to reduce
glare. Optus, a high chromatic yield projector, best describes
the nuances of the materials used on the large, textured
wall that becomes the curtain in contrast with the entire
showroom.
The meeting room integrates double-emission general
lighting, obtained with the hanging Oxygen units, with black
finish. To balance it out, a perimeter light gives the entire area
personality thanks to the micro recessed 6W Warp units.
www.linealight.com
050 | WORKSPACE LIGHTING FOCUS
Raiffeisen Bank
Zug, Switzerland
Swiss architectural practice Studio Aglo was
tasked by Raiffeisen Switzerland to come up
with an innovative space concept for its new
bank branch, situated at a busy main railway
station in Zug, a town just a stone’s throw
away from Zürich.
As today most traditional bank services have
moved online and the main demand from
clients comes from their need for financial
advice on investments, loans, and pension
analysis, the architects decided to design
a spacious open office with a focus on
two elliptical conference rooms for client
meetings. The larger conference room has
been designed to be easily transformed into
two separate smaller conference rooms.
One of the main design features chosen
by designers was to have a smooth wave
ceiling that runs across the entire space,
taking inspiration from the nearby Lake Zug.
When the architects were looking to accent
the space with a feature lighting piece, they
turned to Tokio Lighting and its Carbon Light
modular lighting system. Tokio created three
unique custom-configuration pendant lamps
that were used in each conference room.
The flexible lighting system enabled the
architects to precisely control the illumination
inside the larger conference room. The two
custom carbon fiber chandeliers can properly
illuminate the conference tables in both
settings, as a single large conference room or
once divided in two smaller rooms with light
points divided in several segments, which can
be controlled separately.
Together, with other design elements, they
emit a special calm and defy the stereotype
of what a bank branch should look like.
Carbon Light is a high-performing modular
suspension light made using the latest LED
technology. A feather-light carbon fiber body
links highly efficient power LED spots. With
an adaptable design and multiple LED spot
options, Carbon Light allows you to create
the optimum levels of illumination for any
surface. As a modular fixture, Carbon Light
can be configured to illuminate a surface of
any dimension.
www.tokio.com
Images: Christoffer Joergensen
 biid.org.uk

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052 | PRODUCT FOCUS | ASTONE
Sustainable Solutions
Tekna's newest addition, the Astone collection, introduces marble
for the first time to the studio's catalogue.
The latest collection from Tekna focuses on a sustainable material;
natural stone. The Astone collection was an original concept by
the studio’s CEO Maxim Blijweert as a solution for a product that
was originally designed for brass but ended up being too difficult to
produce in that material. In-house designer Kevin De Koning explains
the product's evolution from brass to stone: “He [Blijweert] thought
a solid marble fixture would be something fresh and different. After
the first prototype came in, we were all blown away by the result. We
looked at some other products we already had that would accompany
this product nicely and had those made in marble as well."
Blijweert describes the products as “The harmony of art,
craftsmanship, advanced technology and lighting… This is what the
Astone Collection strives for.
“In addition to the well-known materials including bronze, brass and
glass, we are now adding a fourth sustainable material: natural stone.
This noble material makes every product unique; no two are the same.
"Each product starts as a solid block of stone, which is chiselled, ground

053
and milled into a beautiful shape and is incomparable. Every block tells
its own story, the veins, the colours, the textures… All orchestrated by
the forces of nature millions of years ago,” he says. “In close cooperation
with our in-house designer and one of the world’s leading natural stone
companies, we transform these treasures of raw materials into unique
and high-quality designed lighting. The Astone Collection allows us to be
creative with colours, textures and shapes.”
Working with stone came as a new challenge for the Tekna team, as De
Koning explains: “To make fixtures in marble takes a different mindset
entirely. For instance, when you need to bolt something together you
can’t just thread the hole like you can in bronze. We were discovering the
limits of the material as well as the uniqueness of it.
“We want to put the focus on the marble as much as we can,” he adds.
“However, brass is what we are known for, so we couldn’t resist using
this in combination with the marble. The design process was about
learning as much as it was about designing. There are limits of what you
can do with both marble and brass, so it was very unique in that way.
You can do things in marble that are just (economically) impossible to
do in brass, and vice versa.”
Admiring the product as an investment piece designed to last decades,
the team decided to keep the concept as simple as possible, and not
overload it with various new technology that runs the risk of becoming
outdated. “For these first products we have been fairly conservative - the
emphasis is on the materials and the design,” says Blijweert. De Koning
adds: “A Rembrandt doesn’t glow in the dark, a Michelangelo doesn’t use
Bluetooth. We want to avoid making our products too gadget-like."
Best suited to modern interiors, the marble bases come in a selection of
neutral and brighter colours for added choice. “The materials and details
are near and dear to our heart,” concludes De Koning. “Whereas some
other companies go to aluminium and stainless steel, we stick with brass
and bronze. Our products aren’t made by robots but by craftsmen who
eat, breathe and live for brass. The detail and care we put in our products
when designing and producing them is what sets us apart.”
www.tekna.be
 REPORT | | SPAIN
DESIGNREPORT
000 | | DESIGN
054 XXX

Inside Scoop
Pablo Conde Diez del Corral, Director of Fashion,
Habitat and Cultural Industries at ICEX and of Interiors
from Spain catches up with Acting Editor Sarah Cullen to
discuss the world of interior design in Spain and future
trends emerging in the country.
Interiors from Spain is an initiative of ICEX
Spain Trade and Investment, The Spanish
foreign trade body aimed at promoting design
from Spain, including lighting and furniture
to the international architectural and design
community. The platform offers interior
designers a showcase of the latest ideas, trends
and product launches coming from the country.
darc got the chance to speak with Pablo Conde
Diez del Corral, Director of Fashion, Habitat and
Cultural Industries at ICEX and of Interiors from
Spain, to discuss how the evolution of interior
design has looked in Spain.
“Many design studios have adopted a
multidisciplinary approach to encompass all
aspects of design including ephemeral spaces,
branding, interior and product design,” he says.
“The new generation of Spanish interior designers
are as likely to be as interested in graphics,
industrial design or even event organising as
they are in interior design. Another feature that
characterises the Spanish design industry are the
close ties between design and manufacturing.
Spain has a rich manufacturing tradition that
includes furniture, lighting and textiles, and there
is real interest both from interior designers and
clients on products with authentic provenance
that have their roots in the artisanal tradition of
our industry.”
When looking at the relationship between light
within interior design, Conde claims that it is
a “fundamental element in any interior design
project in Spain”.
“A key characteristic of lighting design in Spain is
connected to the weather,” he goes on to explain.
“The sunnier climate in Spain, with more daylight
hours than any other country in Europe, means
that designing with natural light is commonplace.
Designers often need to incorporate daylight into
their designs, taking into account energy and
climate factors.
“There is a strong tradition of industrial
development and traditional craft workshops,
with materials such as metal and wood, in certain
areas of the country, which means that there is
a plethora of lighting manufacturers capable of
supplying luminaries in all sorts of styles: from
the traditional brass chandeliers to understated,
sleek designs in metal, wood and recyclable
materials,” he says.
Looking at trends appearing in the country at the
moment, it appears Spain continues to be on par
with global attitudes towards design, with Conde
explaining that sustainability is at the heart of
current influences.
“In recent years, the Spanish interior design
industry has been increasingly working towards
sustainability with more and more clients
demanding eco-friendly materials and low-energy
solutions.
“Also, due to the recent Covid-19 crisis, some
of Spain’s most international interior designers
are looking at the possibilities of incorporating
cross-sectional design, that integrates versatility
with health and wellbeing. In the lighting industry,
this means luminaires that provide good, restful
lighting, which are as functional as they are
beautiful and well-proportioned.”
For the purpose of this article, Conde caught
up with some Spanish interior designers to get
a flavour of how the design industry is reacting
to current changes. Ramón Esteve, of Ramón
Esteve Éstudio, explains that space versatility is
key: “Home design is going to have to respond
to the needs for privacy and intimacy, taking into
account all its inhabitants, especially with regard
to teleworking, and terraces and balconies are
going to be revalued.”
Designer Héctor Ruiz Velázquez stresses that,
“on top of functional and aesthetic aspects,
055
special attention should be paid to ergonomics
implemented in our homes”.
Francesc Rifé explains that this crisis
“encourages us to rethink the relationship
between society and space. From now on, we
believe that we will need to design interiors
giving them a much more functional, optimal and
healthy approach”.
Conde adds: “His studio has always designed
around spatial order, but he thinks it will be
crucial to reinforce this aspect to improve
personal relationships; “Get the mess in order”.”
Héctor Ruiz Velázquez told Conde that
“regulating the spaces we share after a health
episode of such dimensions will require a
multidisciplinary consensus by many experts
from different areas, obviously, including
essential health professionals as well.”
Conde adds: “Equipo Creativo told me that
the design industry will emerge strengthened
from the current situation since it provides
products and services that can make people
comfortable, protected and delighted. They hope
that post-Covid-19, design will generate healthier
socialising habits, “confinement has encouraged
the idea that our homes can house disparate
uses such as high-end restaurants, offices,
nightclubs, or gyms. It is not unreasonable
to think that home interior design should
incorporate something of the design of such
places, allowing inhabitants to transform their
spaces according to how they want to use them.
A very attractive challenge”.”
www.interiorsfromspain.com
 designer profile
yonoh studio
056 | DESIGN REPORT | SPAIN
Design studio Yonoh was founded in 2006 by Clara del
Portillo and Alex Selma in Valencia, Spain. The studio boasts
a full portfolio of product, furniture and lighting design,
working with a number of lighting icons including Vibia,
Bover, Flos, Foscarini, Zero and Louis Poulsen.
During its short career, product design studio Yonoh has
aquired multiple industry awards such as Red Dot, IF design
award and the Wallpaper* Design Award to name a few.
Selma and del Portillo both had backgrounds as industrial
designers and established solo careers before meeting in
2004 at a young designer’s exhibition. Fast forward to 2006
and their first collection was released as the collaborative
Yonoh brand. Since, the pair have created numerous design
collections across disciplines, while working as Associate
Teachers at the Cardenal Herrera CEU University in Valencia,
delivering workshops and lectures around the world
promoting their work.
Acting Editor, Sarah Cullen, sits down with del Portillo to find
out more about her background as a designer and her work
as a Partner at Yonoh.
“I’m from Valencia in Spain and studied Design Technical
Engineering at the Cardenal Herrera CEU University. I was
then an Erasmus student in Paris at the Strate College.
That was a very enriching experience that made me grow
as a person,” she says. “University made me fall in love with
design. The ambience was great, and we had professional
designers as teachers that made us love the profession.
“After finishing my studies and returning from Paris, I started
working on different design jobs while I was preparing to
present at a young designer’s exhibition in Valencia called
NUDE. This is where Alex and I met and the Yonoh seed was
planted. After that, we started collaborating on projects and
then in 2006 we started our own studio.”
del Portillo’s career and interests have never strayed from
the design world, with her first official job in Paris at a
company that worked on shop windows and ephemeral
furniture design for perfume and luxury cosmetic brands.
“After I came back to Spain where I was working on furniture
design, although I didn’t stay in that job for long. Even if the
brand was great and I was loving the furniture, it wasn’t
really my thing to be working in a shop,” she says. “I started
to work with furniture manufacturing here in Valencia,
where I have learned a lot about the technical side of
manufacturing. It was an enriching job where I based myself
for nearly four years, up to the point of starting Yonoh with
Alex.”
When asked about where inspiration strikes and what her
influences are in her design work, del Portillo explained how
it typically comes from day to day life but that traveling
sparks it the most. “Knowing different cultures and

understanding that not all people live like you makes you look at things
differently,” she says.
Yonoh is a multidisciplinary studio that produces a varied portfolio
of designs stretching across different industries from furniture to
products. They have worked with numerous big lighting brands in the
industry, including Vibia and Bover in Spain, Flos and Foscarini in Italy,
Zero in Sweden and Louis Poulsen in Denmark.
When asked about lighting, it is clear the design process for creating
luminaires plays a fundamental role in del Portillo’s repertoire. “We
have had the chance of working with some great lighting companies
across the world. Working with light is different than working on any
other product because they are objects that are sometimes on and
sometimes not,” she says. “We have to think about it and make the
lamp work well in both conditions.” When referencing what lighting
should bring to a space, del Portillo adds that “the most important
aspect is to create an ambience with light. It really depends on which
space you’re illuminating but creating a comfortable ambience for us is
the most important part.
“Architectural and decorative lighting are complementary, and both
are necessary for a perfect ambiance. Decorative is more important
in interiors with its main goal to create a relaxing and restful space.
Architectural is more for hospitality and contact use, but we always
find a mix of them in every project.”
As a young studio, the pair approach each project with fresh eyes and
deliver an end result that both features a subtle design style as well as
a solution for their client. “I think we have a subtle design style that we
057
try to adapt for each client. When they call us, it is usually because they
like what we do. But, at the same time they want something that fits
with what they already have. All our projects are influenced by all of our
other projects we are doing or have done, as well as the collection of
companies that we have worked for. Everything is mixed.”
Further to the mixed approach to each product and client project,
del Portillo has also observed in interior design, both in Spain and
internationally, the growing idea of not subscribing to one particular
trend. “Nowadays, everything is fine – every style, every mix. We have
minimalism and maximalism and then industrial and brutalism, and
they all fit together.”
Next in the pipeline for the design duo is a collection of furniture and
lighting for both indoor and outdoor applications. A key element that
they believe a design process needs to factor in at an early stage is
what’s more important – function or shape? “Shape is nothing without
function. Design wouldn’t be design without function, that’s the
most important. We always say that a lamp must be beautiful when
switched off, but even more beautiful when switched on.”
del Portillo and Selma may well be young designers with a young
studio, but both bring a well established history of design knowledge
that has set them in good stead to tackle all projects that cross their
paths. “The most rewarding part about working in design is to see that
people like what you have done, they buy it and use it. Walking around
and seeing your products in a shop window or used in a bar or hotel…
That’s really exciting!” concludes del Portillo.
www.yonoh.es
 Spanish Highlights
In collaboration with Interiors from Spain, we bring you a selection of our favourite
lighting products from Spain

1 2 3

4 5 6
058 | SPAIN DESIGN REPORT

1. Domita Collection 2. Clara 3. Dalt Collection

Bover a by arturo alvarez Aromas

In 2019, the Dome pendants were reimagined
with the Domita collection by Benedetta
Tagliabue and Joana Bover. The expanded
collection of smaller lamps now features the
Domita table lamp and Domita pendant. Both
present a smaller, wooden dome-shape to
that of its predecessor.
www.bover.es
www.mirallestagliabue.com
The Clara collection is a tribute to Clara
Campoamor, lawyer, writer, politician and
defender of the rights of Spanish women
at the end of the 19th and 20th centuries.
This collection of floor and table lamps is
equipped with LED technology to illuminate
the interior spaces. The combination of two
types of stainless steel mesh allows the
organic shape that characterises it.
www.a-emotionallight.com
The Dalt collection is designed by Pepe
Fornas, a member of the design team at
Aromas, and was inspired by geometric
shapes such as the sphere and triangle.
Working with materials like marble and blown
glass, this set of elements and materials
gives the Dalt collection the perfect elegant/
retro-chic touch.
www.aromasdelcampo.com

4. Bora 5. Mei Collection 6. Alfi Collection

Beneito Faure Carpyen Estiluz

From suspended to recessed, surface and
magnetic rail, the Bora luminaire was born
from the idea of creating
​​ a minimalist and
versatile product that can be arranged in
multiple configurations. It is made up of
two different powers and sizes and comes
in white, matte black, chrome and rose gold
finishes, colour temperatures of 2700K and
3000K and CRI> 93.
www.beito-faure.com
Mei table lamp, Mei suspension and Mei
Movil pendants are soft and magical,
taking us on a dreamy journey to oriental
landscapes. A genuine companion to a
muted atmosphere, the table lamp offers a
comforting and soothing light. The natural
material of the porcelain endows Mei with a
sensitive and gentle soul.
www.carpyen.com
Designed by José Manuel Ferrero from
Estudi {H}ac Atelier and developed by
Estiluz’s design team, Alfi luminaires have an
open frame, designed to effortlessly create
different configurations and to seamlessly
integrate geometry and disorder, achieving
the visual and functional balance required by
any environment.
www.estiluz.com
 7 8
10
7. Le Vita Collection
Faro Barcelona
Le Vita is a collection of luminaires designed
by Daniel Vila and Esther Pujol from Nahtrang
Studio for Faro Barcelona. The weight of light
shapes the metal structure, transforming it
into a soft material that accompanies the
sphere of light. A memory of the reflection of
the moon on the horizon and the gravity that
surrounds us.
faro.es
10. Aura
Luzfin
The Aura lamp is an aluminium extruded
suspension lamp designed by Gauzak design
studio and is available in customised colours.
As a light source it exclusively uses LEDs,
located in strip format along the perimeter
of the hood. A contrast is created between
the materiality of its body and the lightness
transmitted by its indirect lighting.
www.luzfin.com
11
8. Shoemaker
LEDS C4
Shoemaker, designed by Joel Karlsson,
redefines classic lighting, providing powerful
technical features. The felt shade brings
warmth and reduces noise in a space. The
smart lighting LED technology enables
temperature and light intensity control,
offering high visual comfort. Shoemaker is
available in two finishes and comes in round
or oval shapes.
leds-c4.com
11. Tomo
LZF
In a design that is reminiscent of books
placed side by side, Tomo is an intelligent
and thoughtful lamp, created by design
studio MUT. Presented as a series of wood
veneer oblongs, Tomo is both graphic
and geometrical in form. Available as a
suspension lamp and as a table lamp, Tomo’s
arrangement is evocative of book spines.
ww.lzf-lamps.com
9
12
059
9. Parrot Party Collection
Lladró
The Parrot Party collection is now enhanced
by the arrival of tabletop and wall lamps.
The refined forms of the supports contrast
with the minute plumage of the birds. The
decorative potential of lovebirds, cockatoos,
parakeets and parrots, their bright colouring
and the carefully studied proportion all add to
the realism of a scene.
www.lladro.com
12. Dipping Light
Marset
The new suspension Dipping Light, designed
by Jordi Canudas, is now offered as a
portable, suspension, wall and a new 20cm
table lamp to bridge the gap between small
and large sizes. With the Cluster accessory,
it is possible to connect several suspension
lamps into a single point of light, offering the
absolute freedom to build with light.
www.marset.com
 1 2
3 4
060 | SPAIN DESIGN REPORT
1. Tosca
Novolux
The Tosca family, based on a new industrial
concept, stands out for its functional and
vintage design. It is protected by a grid that
reflects its character, adding a decorative
value as well. The original and unprecedented
collection supports any combination of
customised colours and is available as a wall
mount or in two pendant sizes.
www.novoluxlighting.com
4. Halo Jewel
Vibia
Designed by Martín Azúa, Halo Jewel is a
shimmering and pure light, treated in such a
way as to avoid glare, drawing the eye with
its precious linking element that supports it.
Made from a steel structure with a matte gold
finish, and the various angles of inclination,
even the supporting piece appears to give off
a luminance when touched by the light.
www.vibia.com
2. Bimba
Ole! Lighting
Ole! Lighting launched the Bimba collection
in 2020; a family of decorative fixtures with
an original design that includes suspensions,
ceilings and wall lights. These black metal
structures are wrapped with hand-braided
cord. For these designs, the cord is widely
separated, allowing much more light to pass
through, creating a unique light scattering.
olebyfm.com
5. The Gatsby Collection
Vondom
Designed by Ramón Esteve for Vondom,
this lamp is based on the idea of creating
a surrounding atmosphere through a play
of lights from the lamp’s surfaces, where
the material reproduces the shapes and
sensations of engraved glass. Its autonomy,
adjustable light intensity and customised
colour projection at any moment makes
Gatsby a perfect technological solution.
www.vondom.com
17—19 NOVEMBER 2020 | VIRTUAL EVENT
 sylvestrina
santa & cole

Inspired by the oil lamps of old, Sylvestrina is a new table lamp

from Santa & Cole, designed by Enric Sòria and Jordi Garcés.
Powered by an efficient rechargeable battery, the initial concept for
Sylvestrina originated in the early 1970s, when Sòria and Garcés
sought to design a lamp suitable for illuminating liquor bottles so
that they could easily be seen in different spaces. Based on this
idea, they took one of these bottles as a reference, and applied the
same height for a cylindrical lampshade. Taking this idea further,
the illuminated part of the lamp corresponds to the half-full portion
of a bottle.
Although based on an idea dating back more than 40 years,
Santa & Cole has been working on the Sylvestrina for the last 18
062 | DESIGN REPORT | SPAIN

months, dedicating a year to the development, and the rest to the

industrialisation process.
Santa & Cole explains the design process for the fixture: “Three
different phases divide the design process: briefing, prototyping
and development. In this case, since it is a re-imaging of a 1974
design, the focus was on adapting the product today’s processes,
technologies and functions.
“Once the conceptualisation was clear, the development started by
modelling the luminaire and prototyping it. After this, all the effort
was centred on iterating until we achieved the desired result. The
final step consisted of conceiving the technical information and
producing several tests according to the regulations.”
On a technical level, the source for Sylvestrina was entirely
customised in order to achieve Santa & Cole’s aim of simulating
the light of an oil lamp. However, one of the main innovations, the
manufacturer believes, is the system used for charging the lamp.
Powered by a rechargeable lithium-ion battery, the lamp charges
simply by contact with its charging base.
Regarding the production processes, each piece has different
finishes, such as painting, sandblasting or zinc, in order to get the
best quality. The lamp’s tube is produced by local glassmakers,
enhancing the beauty of the artisanal processes behind it.
In creating such an intricate lamp, inspired by the classic oil lamps
of the past, getting the perfect replication of these classic lamps
proved to be one of the main challenges for Santa & Cole. “Since
Sylvestrina’s designers were inspired by conventional oil lamps, we
had to achieve a similar light with LED technology, maintaining the
aesthetic of the original design.”
Thanks to its replication of the oil lamps of old, the original intent
for Sylvestrina was for the piece to illuminate intimate spaces.
However, through the re-design and the shift to creating a portable
fixture, it has become a lamp suitable for multiple scenarios –
bringing a touch of warmth to any environment.
“The treatment of light is what distinguishes Sylvestrina from other
products,” Santa & Cole tells darc. “It is a very warm and elegant
light that perfectly illuminates the table or surface on which it is
placed.”
santacole.com
Lámina | Antoni Arola | 2018
 Inviting
faro

We are experiencing a profound reconfiguration of the

work models, and therefore the spaces where we work. The
workplace is no longer just an office. It can also be a part of
our home, a co-working space and even a place in our most
visited hotel.
How to adapt working environments to new health and social
conditions, combine teleworking with the traditional office, or
ensure health and safety in coworking and leisure spaces are
064 | DESIGN REPORT | SPAIN

some of the issues that most concern when talking about the
‘the new normal’.
In this transformation of workspaces, the lighting has a lot
to contribute. Good lighting in our workspace will help us
improve our concentration, performance and well-being during
working hours.
For this reason, it is the lighting that must be adapted to
the requirements that we may have in each situation of our
working day, being some moments more relevant a more
intense lighting because we are carrying out tasks of greater
precision or moments in which we must be more creative and
relaxed and the lighting can be more relaxed and warm.
Known as Human Centric Lighting, the purpose is to bring
artificial light as close as possible to natural light in order
to improve the quality of life and well-being of people,
considering the different phases and needs of the day.
Light functions as the most important regulator of the human
body and directly influences its life cycle in such relevant
aspects as concentration, efficiency and sleep.
Furthermore, aspects such as the level of flicker, glare, or
blindness caused by the lighting, or its ability to provide good
colour representations, with low reflection and uniform light
distribution, are factors that will determine the environmental
quality of a space. The contrast between task-specific
and ambient lighting is also a very important factor to be
considered, along with the user’s ability to control it.
Inviting has been designed to meet this need. Inviting
allows us to regulate both the intensity of the light and its
temperature by simply sliding the wheel located in its head.
Our work zone is typically the place where we are the most
productive. For some, it’s in a collaborative environment
surrounded by people; for others, it’s alone at home on the
desk or even on the sofa. Inviting invites you to change the
light depending on what you need. A workplace can easily be
created at the kitchen table or in a reading corner, by moving
it. From now on, our workspace is simply where we are.
Creativity is now free to go.
www.faro.es
 A D JUS TA B LE C OLOR A ND I NTENSI TY

DESIGNED FOR NEW

WORKINGSPACES
Get your Inviting on eshop.faro.es/inviting

Ad Darc Magazine.indd 1 14/09/2020 17:26:29

066 | DESIGN REPORT | SPAIN

dew
grok

One of the latest products to be launched in 2020 from the lighting firm
Grok by LEDS C4 is Dew, a totally architectural proposal created by the
multidisciplinary Yonoh Studio that stands out for the visual image it projects,
the interaction with the user, its connectivity possibilities and light control.
Dew is also a reflection of the work philosophy followed by designers Clara
del Portillo and Álex Selma, where terms such as simplicity, innovation,
attention, versatility, and timelessness become pillars of their designs.
Yonoh Studio explains: “Dew is inspired by dew - the drops of water resting
on the leaves. We had the intention of making a technical lamp, but with a
very organic appearance. With this idea we began to work on a luminaire
that lost its spherical shape to become a more imperfect shape, all
assembled with aluminium pieces that follow this idea of working in the more
‘humanised’ shape.”
In turn, Dew allows multiple light sculpture configurations, starting from a
longitudinal element formed from a line of oval LED light points, joined by
aluminium pieces at different distances. The lighting system has horizontal
and vertical versions, allowing all possible combinations and inclinations.
Its subtlety and versatility allow it to fit into many types of spaces such as
hallways, stairwells, hallways.
groklighting.com
 NOWAY
new decorative collection

LEDS C4
 Sticks
Vibia

Sticks is the latest piece to come from the partnership

between product designer Arik Levy and Vibia. “Sticks is the
result of a long-term collaboration with Arik Levy, during which
we shared visual and conceptual connections,” says Pere
Llonch, CEO of Vibia. “With Sticks, we wanted to explore the
use of the linear LED, which in the industry is usually used in
a commodity way. Our goal was to find a different, innovative,
creative way to use linear LED. Arik Levy has the ability to
create very architectural and, at the same time, sculptural
designs. He helped us to think out of the box, shaking all the
ideas we had in mind for this collection and came out with a
strong graphic and material, yet emotional, appearance at the
same time.”
Image: Daniele de Carolis Taking inspiration from the 1980s film, Dune, both Levy and
Llonch created Sticks through a process of experimentation
in the studio. “The moment I like the most in my work with
066 | DESIGN REPORT | SPAIN

Vibia and Pere is that when we meet, we don’t really know

what to do,” says Levy. “We get into the design studio, we
start experimenting - we have tools, we have parts, we have
pending elements and so on, and we literally experiment in the
space.
“Sticks is the first ever system that connects wall-to-wall
and wall-to-ceiling-to-space. It is an attempt to reach a place
where nobody has ever been before and create something
truly innovative; it is a toolkit for lighting designers and interior
designers. Its beauty is that you can start somewhere and
end somewhere completely different. Even if the power is in
one place, you can build a lighting installation that reaches
far from the power source in an elegant, beautiful and
contemporary way,” explains Levy.
“We live in a world of opposite, of antithesis and with
this product we wanted to create a solution that you can
customise. Furthermore, the Sticks are pivoting, which means
you can choose if you want to direct them to the ceiling for
indirect lighting or turn them towards a table for direct light.
Sticks permits us to bring light to places it has never been
before, like the connecting of two corners, for example.”
Llonch adds: “Sticks is a great tool in the hands of the
professional to explore their creativity. As a manufacturer,
we always feel limited when we think in terms of floor lamps,
ceiling lamps, etc., which are traditional categories that do not
always respond to the real needs of spaces and people. We
designed Sticks so that there would be floor pieces, wall-to-
wall, wall-to-ceiling, pendants, etc.”
Levy concludes: “Considering that people change their home
decoration every seven to 15 years, Sticks is a great product
that can change its use, position and final result without
buying a new product. In today’s world, we need to distil to
the minimum of what we are consuming so that every Euro
we spend absolutely perpetuates in time, and companies and
designers have the responsibility to build long-time solutions
that last. Creating intelligent and creative solutions that
improve everyday life is the real task of the designer.”
www.vibia.com
 Sticks
Design by Arik Levy

BOUNDLESS SPACES

Sticks, a creative toolkit for integrating lighting elements in an interior.

Pure and graphic, the minimalist aluminium rods transform linear
light into floating sculpture, creating Boundless Spaces.
068 | DESIGN REPORT | SPAIN

erto
aromas

aromas began its journey into design with dried flowers and
glass bowls before transitioning into the lighting world. The
mix of glass and lighting originated with a concept of table
lamp that also acts as a decorative piece and air freshener -
hence the company name, aromas del campo – starting with
potpuris to decorative lighting.
aromas’ new collection, Erto, is designed around the concept
of a constellation drawings of stars that children would create.
Taking a year and a half to come to fruition, the Erto collection
underwent numerous re-designs before the team settled on
its final version. Each time the collection produced a sample,
the designers re-tweaked details in order to find the perfect
balance of simplicity seen in the final product.
The pendant lamp principal materials include steel and brass
with customisable disc accessories available in alabaster,
coloured glass and concrete.
The Erto collection is suitable for any environment with the
customisable discs allowing it to be flexible for clients to
adapt to their chosen applications.
www.aromasdelcampo.com
New Collection
AW 2020 www.aromasdelcampo.com
070 | DESIGN REPORT | SPAIN
Halo
ACB Illuminacion
Designed by Nacho Timón, a Valencian
designer born in 1978 who is a restless
creative with a curious and observant
character. From a very young age, he has
wondered why some things were like this
and others like that. This is what marked
him and conditioned his career and defined
his vocation. A great defender of ‘less is
more’ and an unconditional fan of McGyver
and the architect Zaha Hadid, he studied
Product Design at ESDI - CEU Valencia.
He is currently the creative director of his
own multidisciplinary studio made up of
young talents that is focused on industrial
product design and development and offers
its engineering services, such as external,
technical and creative support to companies
from a multitude of sectors.
His latest creation for ACB Illuminacion, Halo,
conveys lightness. It is a visual metaphor; its
design is inspired by a group of balloons that
escape from your hand - that first moment
that transmits freedom and lightness.
Taking three months to design, Halo is a
shaped iron ring with an opal mouth blown
glass sphere and LED luminaire.
Its minimalist design allows it to adapt to
almost any environment. Its ideal habitat
would be stairwells or large spaces such as
hotel halls.
One of the challenges the team came across
was finding a cable that matches the lamp’s
characteristics (that looks like a bow, not a
spring), and it was also important to find a
cable outlet from a single point that meets
all safety requirements and conforms to the
design.
Its light character, Halo is very minimalist and
creates a unique atmosphere.
www.acbiluminacion.com
export@acbiluminacion.com,
ACB ILUMINACION, camino de Valencia 104, CP. 46190, Ribarroja del Turia, Valencia, España.
www.acbiluminacion.com
 ct
r re g
co in
a re rint
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Al t tim
a

On Show
A look ahead to forthcoming design shows
during 2020/21 with a strong lighting
element.

INDEX • DOHA, QATAR MAISON & OBJET • PARIS, FRANCE

13 - 15 October 2020 (www.index-qatar.com) 22 - 26 January 2021 (www.maison-objet.com)

DOWNTOWN DESIGN • DUBAI, UAE ARCHITECT @ WORK • LONDON, UK

9 - 14 November 2020 (www.downtowndesign.com) 27 - 28 January 2021 (www.architect-at-work.co.uk)

DECOREX • LONDON, UK SURFACE DESIGN SHOW • LONDON, UK

17 - 19 November 2020 (www.decorex.com) 9 - 11 February 2021 (www.surfacedesignshow.com)

SLEEP & EAT • LONDON, UK STOCKHOLM FURNITURE FAIR • STOCKHOLM, SWEDEN

17 - 19 November 2020 (www.sleepandeatevent.com) 9 - 13 February 2021 (www.stockholmfurniturefair.se)

DESIGN SHANGHAI • SHANGHAI, CHINA HOSPITALITY DESIGN FAIR • SYDNEY, AUSTRALIA

26 - 29 November 2020 (www.designshanghai.com) 23 - 24 March 2021 (hospitalitydesignfair.com.au)
072 | CALENDARC

HONG KONG LIGHTING FAIR • HONG KONG HONG KONG LIGHTING FAIR • HONG KONG
27 - 30 October 2020 (event.hktdc.com) 6 - 9 April 2021 (event.hktdc.com)

[D]ARC AWARDS • LONDON, UK EUROLUCE • MILAN, ITALY

3 December 2020 (www.darcawards.com) 13 - 18 April 2021 (www.salonemilano.it)

LIGHTOVATION • DALLAS, USA ICFF • NEW YORK, USA

7 - 10 January 2021 (dallasmarketcenter.com) 15 - 18 May 2021 (www.icff.com)

AD INDEX

ACB Iluminacion S.L.................................................................................... 73 Faro.. ................................................................................................................ 65

Archilume.......................................................................................................... 7 Juniper............................................................................................................ 23

Archiproducts............................................................................................... 75 Karboxx. . ......................................................................................................... 15

Aromas del Campo. . ..................................................................................... 71 LEDS C4......................................................................................................... 67

Artemide. . ................................................................................................... OBC Original BTC. . ................................................................................................ 37

Astro Lighting............................................................................................. IFC Rlon. . ................................................................................................................ 39

BIID.. ................................................................................................................ 51 Santa & Cole.................................................................................................. 63

Catellani & Smith......................................................................................... 13 Sleep+Eat....................................................................................................... 61

Chelsom. . .................................................................................................. 4 / 5 Tekna............................................................................................................... 31

Decorex.. ......................................................................................................... 45 Tokio................................................................................................................ 41

Design Shanghia......................................................................................... IBC Tom Kirk Lighting......................................................................................... 43

Downtown Design....................................................................................... 49 Weplight......................................................................................................... 39

Elite Exhibitions Cruise Ship.. ................................................................... 47 Vibia . . .............................................................................................................. 69

Elstead Lighting. . .......................................................................................... 25

 oran by Kristof Pycke
kreon

Can you tell us a bit about oran, kreon's new decorative fixture? The
new oran is a first for kreon. The lighting manufacturer is known for its
sleek designs and geometrical projects. This time, though, the designers
chose to switch gears. Without losing sight of their basic principles of
‘Unity in design, simplicity in techniques, and precision in detail’, kreon
launches its first ornamental line.

The ornamental kreon oran line consists of pendant and ceiling

luminaires. The luminaires are available in black and white, or in pure
materials such as bronze. The mouth-blown bulbs come in two shapes,
round or cone-shaped, or in alabaster. The pendant is optionally covered
074 | IN FOCUS

by a lampshade.

Where did the inspiration for oran come from? kreon oran’s design is
based on the architectural principle of the ‘plastic number’. The basic
shapes that can be derived from the number’s proportions make up the
building blocks of this new line of lighting luminaries. Designing from
the plastic number, means working with spatial components. Creating
spatial luminaires is in strong contrast with kreon’s earlier designing
principles, which were exclusively applied in flat surfaces. In other
words, oran is a first for kreon, since it is its first design to claim space,
and to actively demand to be a part of it. oran’s spatiality can be seen in
its proportions, as well as its dimensions and materialisation.

kreon’s team of designers was not only inspired by human concepts.

Nature too was a great source of inspiration for this first ornamental
line. With its geometrical patterns, the skeleton of the Venus’ flower
basket goes hand in hand with kreon’s designing process. Venus’ flower
basket is a sponge, which can be found in the waters surrounding
Japan. The animals, which can measure up to 100cm, are structured
in a vase-like shape. The way in which the sponge is woven, grants the
Venus’ flower basket a sturdiness that enables the animal to survive
in the ocean. kreon’s designers analysed the shape of the sponge, to
transform it into the unique form of oran’s reflector inside the bulb.

What materials and technologies have been used? The reflector is

printed with 3D techniques. To mimic the natural shape of the Venus’
flower basket, a simple element is enlarged in a tiered manner. oran’s
reflector thus seems to have grown in an organic way. While using the
newest techniques, kreon does not lose sight of the past: oran’s glass
bulb is mouth-blown, reminiscent of the traditional trade. The oran line
creates space for artisan techniques and modern technologies in one
design, that effortlessly finds a compromise between future and past.

www.kreon.com
 #GreenActionArtemide
artemide.com

DISCOVERY SPACE
Ernesto Gismondi

DARC.indd 2 15/01/20 19:03