In Focus - Pastello by Curiousa
darc caught up with Esther Patterson of Curiousa to talk about the brand’s latest launch, Pastello. A beautiful collection of porcelain lights in a mix of signature and new colours that are quickly becoming a signature aesthetic of the studio. Discover details of Patterson’s inspirations behind the collection and the manufacturing processes the pieces went through to create the desired finishes
What is the concept behind this new collection?
Drawing on the studio’s signature colour palette from the award-winning Maya and Carnival collections, Pastello pairs hand-crafted ceramic and semi-opaque glass shades in a spectrum of pastel tones.
The inspiration behind the range’s palette harks back to the playful, optimistic colours of 1950s and 60s melamine tea sets, picnic scenes and coloured bathroom suites — a celebration of bravery, joy and the desire to brighten life after dark times.
We’re inviting homeowners and designers to channel that same boldness, creating bathrooms that lift the spirit and inspire the day ahead. This range embodies my love of colour, texture and playful form, bringing a sense of joy and individuality to any bathroom.
How long have you been working on Pastello for?
I’ve been experimenting with the shade shapes for the last 18 months. I make the original shape on the wheel; in ceramic slip-casting terms we call this the model or master. I create a solid shade shape in brown clay, then cast from this using plaster. I use this plaster mould to slip cast my ceramic shades using a beautiful porcelain clay called Parian. This clay was originally used for Victorian doll heads in the 18th century as it self-glazes and has a smooth, slightly translucent glowing finish.
What challenges did you face when producing this collection?
The first shades I made were cone-shaped, but when lit, there was a horrid shadow at the top and the shade wasn’t evenly lit. The lamp holder was creating a shadow, so I decided to start again and create a space at the top to allow room for the holder and to light the shade more evenly.
It worked. I made a simple dish and bowl shape - the Ciao and Hola - in this style. Originally, I experimented with using these for our Siren wall lights but then realised the potential for a simple spotlight-style light, so I created one with a swivel to make it directional.
I could really see the potential for these in bathrooms or bedside lighting - a simple and versatile visual addition to a room, using colour to create a pop of interest without taking up much space.
Tell us more about the materials and how you work with ceramics and glass in your studio.
What’s great about slip-casting is that you can make many pieces from one mould, and I can keep experimenting with each one. I’ve started painting some of the surfaces too. For instance, for the Hola, I decided to paint a layer of colour on the inside of the shade while it was still in the mould. I was just playing, but it turned out so well that I decided it would become part of the Pastello range, creating a simple two-tone shade. I’ve also started hand-painting designs on the shades and I’m thinking of bringing out a range of these next year. Because I make the models myself on the wheel, the final shades still carry the maker’s marks and impressions. I don’t want them to look factory made, but handmade.
What inspired you to introduce new colours into the collection?
It often starts with the colour and I work from there, sketching silhouettes in my pad first. Most of the palette stems from the previous Maya Collection, but I’ve added one more - Eggplant. The deep purple is an interesting mix with the diffused glass and ceramic pieces.
For me, colour is the stuff of life. It brings me joy, and I love the art of combining colours in a daring way. It’s a challenge sometimes to bring so many colours together, but when it works, I love it. We’ve even created a new strapline for ourselves: The Colour Lighting Company.
What makes these products different to other lighting pieces on the market?
All the prototype lights are made in my ceramic studio in Wirksworth, Derbyshire. For larger orders, I work with George Woolley (DINK), who used to work for Curiousa but now runs his own ceramic studio in Sheffield. I love that we keep things local and handmade to order.
There are a lot of white porcelain lights out there, and some of them are very beautiful, but not many coloured. My gut tells me we’ll see more of them soon, as I think this style will catch on. But for now, I believe we’re one of the first among my UK design contemporaries to offer porcelain shades with such a broad colour choice, all made to order.
Krishna Mistry
This year, UK-based lighting design practice Mistry Lighting celebrated its fifth anniversary. Founded and led by designer Krishna Mistry, this small studio has grown extensively in its infant years, not so much in physical size, but in reputation and calibre of projects.
darc editor, Sarah Cullen, took the opportunity to sit down with Krishna Mistry to discuss her career journey so far, her transition into business ownership, and to understand her studio’s approaches to design within the hospitality sector – a field in which it excels.
Born and bred in Northwest London to immigrant parents – her mother from India and her father from Kenya – Mistry went against the family’s wishes for her pursuing a career as a doctor, lawyer, or accountant. Rather, she went on to chase her dreams to study interior design. “Telling them I wanted to study Interior Design at university came as quite a shock! Though they soon came around once I promised I’d get a “proper job” at the end of it.
“I wanted to study Interior Design because I’ve always loved art, it’s something that’s always come naturally to me. My grandparents were carpenters who would carve the most intricate designs into wood, so creativity and craftsmanship have always been part of our family.
My sisters and I grew up painting all the time, it was how we expressed ourselves. My favourite hobby growing up and I’ve never let that go.”
It was at this time that Mistry’s love for lighting design was sparked. “During my degree in Interior Design at the University of Portsmouth, I used to play with light and shadow a lot, focusing particularly on how shadows could create drama and depth within a space. That experimentation fuelled my fascination with lighting. I realised that light has this almost invisible power to shape how people experience a space. A well-lit room could feel warm, intimate, or expansive, and I wanted to understand why. That curiosity led me to Buro Happold, an international integrated consulting, engineering and advisory firm, where I discovered both the technical and creative depths of architectural lighting.
“I started as a junior lighting designer at Fagerhult. That was my first step into the world of lighting. I worked on a range of retail projects and the company really spent time training me, but after a couple of years, I was ready for a change and found an opening at Buro Happold. I knew the projects would be larger and I was ready for that next step up in my career. I started working there in 2012 and it was from that point, I was hooked; lighting became my language.
“Working at Buro Happold exposed me to large, complex projects that involved multiple disciplines and often took years to move from concept to construction. It was an incredible training ground, I learned very early on how essential teamwork and clear communication are when so many specialists are involved.
“Every project required close collaboration with structural engineers, MEP consultants, acoustics team, architects, and, of course, the client team. Lighting design had to be deeply integrated, every detail mattered, from coordination with ceiling systems to the precision of mounting positions and glare control.
“Those early years taught me not just about the technical side of lighting, but also about patience and coordination.”
In addition to her passion for design, Mistry is also a worldwide traveller who seeks adventure and inspiration from all corners of the globe. “In 2016, I took a sabbatical from work and backpacked around the world for a year. It was truly the trip of a lifetime. Travelling is still my biggest source of inspiration; I love experiencing food, culture, and how different places use and perceive light. And yes, sometimes you’ll find me jumping out of planes too!
“Nowadays, when I’m not travelling, I’m mothering a very energetic toddler who keeps me on my toes and shows me what real multitasking looks like.”
Reflecting on her earlier days as a designer, Mistry reveals that she was fortunate to work with some of the biggest names in the architectural industry from an early stage. “I was lucky enough to work with architects such as Zaha Hadid, Richard Rogers, and Adjaye Associates, names I had studied and admired for years. To be involved in their projects so early on was a real honour.
“It was Tadao Ando’s work that truly caught my attention; his use of daylight is so powerful yet executed with such simplicity. That balance between light, form, and emotion was where my inspiration really began.
“I was quite lucky to have joined a team at Buro Happold that was already working on some incredible, high-profile projects. One of the first was the King Abdullah Financial District (KAFD) Metro system in Riyadh with Zaha Hadid Architects, an extraordinary building with complex, organic forms. It was a real challenge to light a space like that, especially at a time when flexible LED technology didn’t yet exist. It pushed us to be inventive and precise.
“With Richard Rogers, I worked on the Maryah Plaza development in Abu Dhabi, where we were involved in the lighting for the penthouse, façade, and external landscape, all of which demanded a balance between architectural integration and visual impact.
“One of my personal favourites was the Latvian Museum of Contemporary Art with Adjaye Associates. I had never lit an art gallery before, so I spent time visiting galleries around London to study how artwork was illuminated. The building had pitched ceilings, which made lighting the art particularly challenging. We modelled the space extensively and produced numerous lighting calculations, using different products to find the best solution.
“Today, I’m inspired by collaboration, whether that’s architects, artists, or even chefs. I love how each discipline has its own rhythm, and lighting has this unique ability to tie them all together. Travel continues to be a huge influence, too. I’m endlessly fascinated by how light takes on a different character wherever you go, the gentle warmth of daylight in Asia versus the cooler, more restrained tones that play across London’s architecture.”
Following her time at Buro Happold, Mistry went on to be Senior Lighting Designer at Light Corporation Group for a couple of years before the world changed drastically for all.
“In 2020, I was working on a series of restaurant projects (lots of Nando’s) when I was made redundant due to widespread restaurant closures during the global Covid-19 pandemic. It was such a surreal time with the industry at a standstill; I didn’t think anyone would be hiring. So, I decided to take a leap of faith, set up on my own, and see what happened.
“It was a life-changing two weeks. I lost my job, got married, and then set up Mistry Lighting!
“Work came very organically, mostly through word of mouth. I reached out to everyone I knew, setting up Zoom calls when we couldn’t meet in person. I’m extremely grateful to all the clients who trusted me with their projects; their support is what got me here - along with my family, especially my husband, who’s my constant sounding board.
“One project led to another, and within two years, I was at full capacity, even turning down work. I eventually started working with a business coach because, truthfully, I had no idea about the business side of running a business. It has been a steep learning curve, but a rewarding one.
“I still have moments of imposter syndrome, but looking back at everything that’s been achieved - the projects, the collaborations, the growth - I feel incredibly proud of how far I’ve come.”
Discussing this pivot in her career to becoming a studio owner, Mistry tells darc about her initial goals, expectations, and realities. “When I started, my goals were simple: to build meaningful relationships, create work I’m proud of, and keep learning. I didn’t set rigid targets, but I did hope to reach a point where people came to Mistry Lighting for its distinctive approach. I’m proud that we’re at that stage now, and are recognised for a thoughtful, personal way of working.
“The learning curve has been steep, and I’m still learning every day! When you run a small studio, you wear every hat: designer, project manager, business developer, social media manager, and accountant. It’s a lot to juggle.
“One big realisation for me was that a business isn’t truly sustainable if it can’t run without you. I’ve learned to lean on freelancers and collaborators more, bringing in support when needed. You really can’t do it alone, and that’s been a huge shift in how I operate.
“Running your own business can also be quite lonely at times, but I’m grateful to be part of an industry where people are genuinely supportive and generous with their advice. Having that network makes such a difference; it reminds you that even if you work independently, you’re never really on your own.
“We’re really lucky to work in such a social and supportive industry. There are so many opportunities to stay connected, through communities like Women in Lighting, the SLL, and the ILP, as well as events hosted by Light Collective. The [d]arc awards and LiGHT expo are also brilliant occasions to catch up with fellow designers and celebrate great work.
“It’s not just about the lighting industry, either. Attending wider networking events is so important, especially when you run your own business, you never know who you might meet or where the next collaboration or client opportunity will come from.”
Looking through Mistry Lighting’s portfolio, it’s clear to see that hospitality projects are a strong offering. “Some of my hospitality projects capture what I love most about lighting - spaces where light supports the brand story without overpowering it. One that stands out is Cut & Craft Manchester, a Grade II-listed restaurant where we layered soft, concealed architectural light with decorative fittings to create warmth and rhythm within the heritage fabric.”
When asked whether Mistry Lighting has a particular design identity when it comes to hospitality projects, Mistry says the studio doesn’t necessarily have “a single signature style”. “Each space is different, and that’s what keeps it exciting. I take the time to understand the client’s vision and the story they want to tell, then tailor the lighting to suit. It’s always a collaboration.
“Our approach is architecturally sensitive and emotionally driven. Every project begins with understanding how the space should feel, the story it wants to tell, and then we build layers of light to support that. It’s all about balance: atmosphere and function, beauty and efficiency, creativity and control.”
When it comes to balancing storytelling, functionality, and guest experience, Mistry Lighting implements a state of hierarchy. “Every space has a heartbeat, a focal point, and a rhythm, and lighting helps orchestrate that. Functionality underpins everything, but storytelling gives it soul. The best results happen when those two aspects are inseparable.
“It also comes down to really understanding the space, how it makes you feel, and how you want others to feel within it. That emotional connection guides every design decision.
“I believe lighting should feel effortless. In hospitality, people remember how a place made them feel, not what fittings were used. I aim to create atmospheres that are warm, authentic, and aligned with the brand identity, where lighting enhances mood, complements food and music, and shapes a complete sensory experience.”
Working across both architectural and decorative lighting design and specification, Mistry sees the two components as equals in a project setting. “Architectural light defines the structure and function, while decorative light brings intimacy and character. The key is restraint, using decorative pieces with purpose, not as embellishment. It’s about layering what’s revealed, what’s hidden, and what’s left in shadow.”
Noting one particular project in which decorative lighting made a transformative impact on the overall design narrative, Mistry reflects on her work for Gina, a small restaurant in London, which was completed earlier this year. “I worked closely with the clients, who are also the chefs, to shape the lighting narrative. The interiors were stripped back and crying out for feature pendants, so we collaborated with designer Naomi Paul to create beautifully hand-woven lights that complemented the space without distracting from the artwork on display. Without them, it would have looked more like an art gallery!
“The decorative lighting was crucial in creating a rich, intimate dinner-time ambience, paired with handmade wall lights. Using tactile, crafted materials brought warmth, texture, and depth to the interiors, transforming what was a simple space into one that feels layered and inviting.
“In general, clients today are more design-literate and value-driven. Guests expect environments that feel considered and personal, not just “Instagrammable.” There’s a real appetite for warmth, tactility, and authenticity, and lighting plays a huge role in creating that.”
Looking ahead, Mistry delves into the current industry trends that are influencing design. Examining the roles of technology, wellness, and sustainability and their abilities to shape the future of design, Mistry says: “These are no longer separate conversations; they’re intertwined. Technology allows us to be more precise; sustainability keeps us accountable; wellness reminds us why it matters. The future lies in subtlety, designs that are smarter but quieter, where technology serves human experience rather than spectacle.”
Innovations and attitudes that Mistry is particularly looking forward to for hospitality design touch on the controllability of lighting and local craft. “I’m excited about the growing accessibility of tunable white and adaptive lighting systems in hospitality, tools that genuinely enhance mood, comfort, and energy. At the same time, I love seeing a return to craftsmanship in decorative lighting.
“We’re working with clients who really value handmade light pieces and understand the meaning they bring to a space. There’s something so special about that; it creates a deeper connection between the design, the maker, and the atmosphere of the room.”
Regarding what we can expect from Mistry Lighting over the coming years, Mistry discusses her dream job, growth opportunities, her measure of success, and the advice she would pass on to anyone considering starting their own lighting design studio. “There’s so much potential in smaller, experience-led spaces, independent hotels, cafés, and cultural venues that prioritise intimacy and storytelling over scale. Working with a small bakery chain recently, for example, showed how good quality lighting can transform everyday spaces, creating warmth and a genuine sense of home.
“I’m excited about continuing to collaborate with passionate clients and exploring new sectors while staying true to what we love. The unknown is the exciting part; I put no limits on where we can go next. I want to keep the studio small enough to stay personal, but ambitious enough to keep evolving. Anything is possible.”
If the sky were the limit? “I’d love to design lighting for a boutique hotel. I’m a sucker for a good hotel, so lighting one would be an absolute dream! And, if I’m really dreaming big, a superyacht is also on the bucket list. I love a challenge.
“For me, success isn’t measured in money. It’s about the projects I get to work on and the people I collaborate with. As a British Asian woman running my own business, with a steady stream of meaningful work, all while raising a small family, I feel proud. That balance, however imperfect, is success to me.”
If you want to start out on your own, “know your why”, she states. “It’s easy to get caught up in what you think you should do, but the most sustainable path comes from being authentic. Be patient, stay curious, and build genuine relationships; that’s where the best work comes from.”
Royal Nawaab
Once a striking yet misunderstood local landmark, the long-quiet Stockport Pyramid has now found new life in a true architectural transformation. Today, this iconic structure has evolved from a dormant relic into a landmark dining destination – a restaurant where grandeur meets genuine warmth, and where the clatter of plates and laughter fills its vast, gold-toned halls.
You’ve probably heard of the Pyramids of Giza, and some of you might even know a little bit about the Pyramid of Teotihuacan. However, I wager that very few of you are aware that Greater Manchester has its very own pyramid. Tucked away just off the M60 in Stockport (the homeland of darc HQ), stands the Stockport Pyramid.
A four-sided blue-glass monument to 1990s ambition, it has loomed over the town since 1992 – residing for most of its existence in a derelict wasteland, the Pyramid is our very own “King of the Valley” despite only ever standing alone. Over the years, the building itself has split opinion: clunky, awkward, and ostentatious in every way. Yet, against all odds, the building that was once dismissed as an architectural eyesore has developed an interior to match its local iconic status.
After its original developers went bankrupt, the Pyramid stayed lonesome before being repossessed by the Co-operative Bank, who financed the original development and moved in from 1995 until 2018. Since then, the Pyramid lay dormant and derelict – until now. Today, it has been reborn as the spectacular new home of Royal Nawaab, a vast restaurant and events venue blending cultural tradition with bold, contemporary design.
At the heart of the transformation is Manchester-based design studio WDC Creative. Best known for retail and hospitality projects across the UK and Europe, the practice was tasked with reimagining the Pyramid’s cavernous interiors and creating a vision that could match the ambition of its owner, restaurateur Mahboob Hussain. From bespoke lighting installations to grand wedding halls, WDC’s design process was as much about storytelling as it was about space planning.
The studio’s involvement on the project occurred after the client had come across their work at the Carden Park Hotel in Cheshire. The project was a key turning point in the company’s portfolio. WDC helped reposition the hotel within the luxury market, redesigning facilities such as the gym, restaurant, and a new cocktail bar called Goldies. It was through their online presence that the client was struck by their work and was compelled to contact them directly.
“The client saw our work at Carden Park on Instagram and said, ‘We want what you’ve done, but bigger, bolder, and better.’ That’s how the Pyramid project began,” tells Jason West, director of WDC Creative.
The project began with a site visit to the Pyramid, untouched for more than a decade. The building was in disrepair, occupied by the ghosts of its corporate past. “When we first walked into the Pyramid, it felt as though no one had touched it for 10 years. There were old desks, cables, a huge security reception from when it was an office, almost like people had just walked out one day and left it. But beneath all that, we could see the potential. It’s an incredible space, with this vast atrium that goes right up to the top of the Pyramid. You could instantly imagine the drama of transforming it into something extraordinary,” adds West.
The client already had architects involved in planning kitchens and basic layouts, but the client wanted WDC to create the overall vision and interior concept. To do this, WDC built an enormous 3D model of the Pyramid, covering almost every space, from lobbies to wedding suites. They started with mood boards and AI-generated imagery, then developed full vitual 3D model walkthroughs to help the client, and the wider team visualise the transformation. This vision was critical for securing approvals, investment, and buy-in from stakeholders.
The transformation of the Pyramid started from the entrance. As a multipurpose event venue, the building had to be striking from the moment guests arrived. WDC designed a new gold-toned canopy to give the building a true sense of drama. Standing at two storeys high, the canopy acts as a gateway for wedding parties and a theatrical threshold for restaurant guests. Visitors then pass through the compressed tunnel clad with laser-cut metal screens that are illuminated with LED back panels before emerging into the atrium. Here, the design team layered warmth and detailing with walnut panelling, a bespoke water fountain, and cascade statement lighting. However, the most spectacular moment that draws any visitor’s attention is the atrium. Emerging from the soaring central atrium is a beautiful statement light installation, made from hundreds of glowing suspended pendants sourced from the client’s own network.
West comments: “We didn’t want it to feel like an office that had been turned into a restaurant; it had to feel completely reborn. The ambition was always to create luxury and spectacle, but never in a showy or ostentatious way. It’s about atmosphere, about theatre, when guests walk in, they should feel a sense of arrival, but also warmth.”
That balance between ambition and restraint defined the entire project. Owner and restaurateur Mahboob Hussain brought deep cultural insight and a clear vision of five-star quality; WDC translated that into built form through mood boards, samples, and immersive 3D visualisations. Every decision was collaborative, shaped by ongoing dialogue and mutual trust. Cultural authenticity remained central throughout: the design team avoided obvious motifs or clichés, instead consulting the client to ensure every pattern and detail felt respectful and true. Wherever possible, WDC and the client specified local makers and suppliers, grounding the scheme in regional craftsmanship as well as cultural meaning.
The entrance lobby, once an austere office reception, is now a hotel-style lobby complete with more bespoke lighting and coffers, rich curtains and comfortable furniture to boot – providing a calm and intimate space for restaurant visitors, while waiting for their booking. Inside, the dining hall is vast yet carefully zoned with banquettes and feature lighting by Chantelle Lighting. At its heart sits an open kitchen anchored by what is proclaimed to be the longest extraction hood in the UK.
The material palette continues the language of warmth and refinement, walnut and gold paired with marble surfaces, lifted by subtle gold accents. Lighting plays a crucial role in setting the tone, striking a delicate balance between intimacy and exuberance. The atmosphere invites private conversation yet celebrates the energy of communal dining, echoing the spirit of South Asian hospitality that brings together guests of all backgrounds from across Greater Manchester.
“When you go there now, you see such a wonderful mix of people from a wealth of different backgrounds enjoying it together. It’s brilliant,” says West.
A dynamic staircase leads to the upper levels, where weddings take centre stage. Suspended above is a bespoke chandelier of glass petals, again by Chantelle Lighting, a floral interpretation of modern grandeur. The Royal Suite, the largest of the event spaces, orients around a stage for the bride and groom, and can host hundreds of guests. Its walls are lined with illuminated fabric panels that can shift in colour or display graphics, allowing the space to flex between traditional ceremonies and contemporary corporate functions. Smaller suites on higher floors echo this adaptability, positioning the Pyramid as a multi-purpose venue for weddings, banquets and business events alike.
Turning the vision into a reality wasn’t always straightforward. Beneath the glamour of the marble, gold, and light, the project demanded significant intervention and willingness to solve problems in real time. One of the most dramatic moves was cutting through the existing floor slabs to open up sightlines and create vertical connection with an elegant staircase – a bold operation in a building defined by its geometry. “That was a big one,” recalls West. “You don’t take a saw to the Pyramid lightly.” Lighting was also part of the heart and the headache of the project. While bespoke pendants brought sparkle to the space, there were moments where lux levels were off balance or simply didn’t behave as planned.
“In hindsight, we could have brought in a lighting consultant earlier,” admits West. “We fixed it in the end, but I think there’s a lesson in that – big spaces need technical expertise.”
Yet for WDC, the project’s greatest technical achievement wasn’t just in its construction – it was the collaboration itself. The client, unaccustomed to working with external designers despite having owned a number of successful restaurants already, was forced to embrace a steep learning curve resulting in a special working relationship.
“We don’t create divides,” West explains. “We get under the skin of every client and work as part of their team. This is how the best ideas happen.”
Today, the process of refinement continues, with new wallpapers, improved signage and subtle lighting adjustments enhancing the experience. But the doors are open, and the affection long held for the Pyramid from afar can now be felt inside – perhaps best over a hot, spicy curry, if that’s your preference.
Beyond its transformation from local curiosity to grand multi-functional venue, the Pyramid’s significance runs much deeper than its physical form and is more than just a restaurant. It has become a place where people of all backgrounds and communities come together – a shared space for celebration, family and connection. During an increasingly polarising time in British society, the rebirth of the Stockport Pyramid feels both timely and hopeful: a symbol of hospitality, inclusivity and new life for one of Greater Manchester’s most recognisable landmarks.
Interior Design: WDC Creative
Architect: NK Architects
Lighting Specified: Chantelle Lighting
Images: Louis Cannell
Maison&Objet opens a new chapter at september edition
(France) - In September, Maison&Objet once again reaffirmed its position as a major meeting point for the global design industry, presenting a reimagined format that sought to free both spaces and imaginations. With more than 600 first-time participants, the event reflected the vitality of a sector intent on renewal and forward momentum.
This year’s edition was conceived as a laboratory for contemporary design, where craftsmanship, technology, and creativity intersected. Visitors explored six key sectors – Cook & Share, Decor & Design, Craft – métiers d’art, Fragrance & Wellness, Fashion & Accessories, and Gift & Play – with a restructured layout designed to simplify the visitor experience and better highlight each area’s distinct identity.
Under the creative direction of Amélie Pichard, the central installation Welcome Home – An Open House, Open to All transformed a 150m² space into a dynamic environment featuring 300 objects presented as “characters” in an open-stage setting. Blending recycled materials, artisanal craft, and playful imagination, the installation celebrated accessibility and diversity in design.
Elsewhere, Design District in Hall 5A showcased a new wave of brands under the artistic direction of the Hall Haus collective. The space featured 52 exhibiting brands – many newcomers – alongside the Rising Talent Awards, which this year focused on emerging German designers.
The Future on Stage programme highlighted three innovative young companies, DROBE (Norway), YUSSEE (France), and HILO (Monaco), recognised for their fresh approaches to design, technology, and user experience.
The Cook & Share sector explored the artistry of the table, bringing together established and emerging brands in hospitality and gastronomy. The Factory by Émergence area, supported by the Confédération des Arts de la Table and Francéclat, spotlighted new tableware designers with an emphasis on sustainability and innovation.
The fair hosted the inaugural Women & Design Innovation Awards, which recognised Elaine Yan Ling Ng, founder of The Fabrick Lab, and Sophie Salager, Director of Manufacture de Couleuvre, for their innovative contributions to contemporary design. The initiative forms part of a global programme supporting women in the industry, with upcoming events planned in Hong Kong and beyond.
Maison&Objet 2025 also served as the venue for the Accor Design Awards, which challenged design students to conceptualise a sustainable, low-carbon hotel room without compromising guest experience. More than 100 projects from 16 schools and 11 countries were submitted, reflecting the fair’s increasingly international reach.
Looking ahead, Maison&Objet Paris will return from 15–19 January 2026, focusing on excellence, savoir-faire, and French elegance. Highlights will include a Designer of the Year showcase, the Curatio exhibition dedicated to collectable design, Maison&Objet In The City, and an itinerary through Paris’s leading showrooms and studios.
The next international edition, Maison&Objet Interiors Hong Kong, will take place from 3–6 December 2025, under the theme Crossroads, exploring cultural exchange and sustainable innovation.
Rumee - Louis Poulsen
(Denmark) - Louis Poulsen has announced the launch of the Rumee portable lamp, marking the first design collaboration between the renowned Danish lighting brand and industrial designer Gabriel Tan, recently named Louis Poulsen’s Designer of the Year 2025.
The Rumee portable lamp embodies Tan’s signature approach to tactile, emotionally resonant design. Its sculptural yet practical form invites users to interact with it, to hold, move, and experience light in a more personal way. Designed for versatility, the lamp can be carried easily from room to room or used outdoors, offering a balance between function and craftsmanship that reflects both Tan’s design philosophy and Louis Poulsen’s dedication to timeless lighting solutions.
For Tan, the journey to becoming a globally recognised designer began in an unexpected place. While training to become a combat officer in the Navy, he discovered a collection of design books at the National Library of Singapore. “I fell in love with design that day and eventually realised I wanted to be a designer,” Tan recalls. “So, I decided to give up my Navy career and enrolled at the National University of Singapore to study industrial design.”
Now based in Portugal, Tan leads studios in both Porto and Singapore. This transcontinental setup enables him and his team to draw from a broad spectrum of cultural and aesthetic influences, an approach that is evident in Rumee’s design language.
With its distinctive asymmetrical form and soft, ambient glow, the Rumee reflects Tan’s belief that good design should engage both the eyes and the hands. The lamp is not only an object of beauty but also one of everyday utility – a companion piece that fits seamlessly into modern living spaces.
The release of the Rumee portable lamp celebrates the convergence of two design philosophies: Louis Poulsen’s heritage of creating lighting that shapes spaces and emotions, and Gabriel Tan’s contemporary sensibility that bridges continents and cultures.
Rumee is available now through Louis Poulsen’s official retailers and online store.
[d]arc awards Best of the Best winners so far…
(UK) – The [d]arc awards, the world’s only peer-voted celebration of creativity in lighting design, has officially reopened entries for its 2025 edition! As we gear up for another dazzling year, we’re taking a look back at some of the past “Best of the Best” winners – the ultimate accolade, awarded to the project that received the highest number of votes across all categories.
Each of these projects has pushed the boundaries of imagination, technology, and storytelling through light. Maybe this year, it could be your turn to take the spotlight…
2017 – Pier Mauá Cranes by LD Studio
The Pier Mauá cranes are iconic cranes in Rio de Janeiro, Brazil, which are now a centrepiece of the city's waterfront regeneration project, called the "Porto Maravilha". They are a popular tourist attraction and cultural landmark, used for various events and lighting displays. The cranes have a history as working docks and have been preserved to add a historical element to the new urban space. Brazilian-based LD Studio provided the lighting concept to the metal structures in a way that allows people to go back to childhood and give wings to their imagination. The designer’s approach consists of revealing the main structure, the ‘animal’s legs and upper body’, using warm white LED flood lights with different intensity and beam angles, while taking the opportunity of the existing transparency of its operator’s cabins and along the crane’s ‘arms’, using LED RGB technology.
https://issuu.com/mondiale/docs/daawards17_digital_issuu/4
2019 – Noctambule by Flos
The best of the best category is up for grabs by anyone, not just lighting schemes. Take a look at Flos winner for 2019, Noctambule. Designed by Konstantin Grcic, this collection of lamps is made of handblown glass modules. The simplicity and transparency of the lamp make it invisible during the day, coming to life at night like a nocturnal animal.
https://issuu.com/mondiale/docs/darcawards2019_review/14
2021 – Bath Abbey by Michael Grubb Studio
Winner of the 2021 [d]arc awards was a £19.3 million restoration and transformation programme designed to preserve Bath Abbey’s heritage while introducing sustainable, modern solutions. Led by FCBStudios and Michael Grubb Studio, the project features an innovative lighting design that highlights the Abbey’s intricate architecture - from the fan vaulting to Georgian memorials, through energy-efficient LED systems and advanced DMX controls. The scheme not only enhances the Abbey’s spiritual ambience but also provides flexibility for diverse events.
https://darcawards.com/best-of-the-best/
2023 – Artifact Bar by Light Origin
Winner of the Structures - Low category, and Best of the Best winner 2023, is a hidden speakeasy bar located in the basement of BaseHall Central, Hong Kong. The bar draws inspiration from the rhythmic patterns and serene yet dramatic ambience of underground cisterns. Guests enter through a secret passage featuring industrial pipe-like windows and digital light art that sets a mysterious tone. Inside, a mirrored ceiling creates an illusion of infinite height, while sculptural rib-like forms and a glowing circular skylight evoke the warmth of a sunset. Intimate booth lighting and soft under-seat illumination enhance the space’s immersive and dreamlike atmosphere. Despite challenges such as limited ceiling height, the team cleverly integrated lighting within architectural details to achieve both function and artistry. With 90% of fixtures locally sourced and LED-based, combined with efficient dimming controls, Artifact exemplifies how sustainable lighting design can elevate ambience and imagination in equal measure.
https://darcawards.com/best-of-the-best-2023/
2024 – Thames City by Foundry
Winner of both the 2023 [d]arc awards Spaces category and Best of the Best, Thames City is a landmark redevelopment transforming 10 acres of former industrial land in Nine Elms into a vibrant, mixed-use riverside destination. Designed by Foundry, the lighting scheme enhances the sensory experience of the landscaped courtyards, podium gardens, and linear park, using a delicate balance of warm light and shadow to reveal textures of stone, foliage, and water. Low-level and column lighting create intimacy, guide movement, and highlight architectural features, encouraging visitors to slow down and engage with their surroundings. The result is a refined, atmospheric design that celebrates both nature and urban life after dark.
https://darcawards.com/portfolio/thames-city-uk/
The 2025 [d]arc awards are now open for entries! Whether you’ve created a ground-breaking architectural lighting scheme, an experimental installation, or a beautifully crafted product, this is your chance to be recognised on the global stage.
Winning Best of the Best means joining an elite group of designers and studios whose work has inspired the industry worldwide. The 2025 celebration will once again take place at Woolwich Works, London, bringing together professionals from across the international lighting community for an unforgettable night.
Enter your project now and you could walk away with not one, but two [d]arc awards.
www.darcwards.com/enter-the-awards
BDNY to showcase Boutique Hospitality Design
(USA) - The annual Boutique Design New York (BDNY) trade fair will return to the Jacob K. Javits Centre this November, bringing together professionals from across the boutique hospitality design industry for two days of exhibitions, discussions, and networking.
Now in its 15th year, BDNY is recognised as one of the leading events for the hospitality design community, featuring more than 700 curated exhibitors from around the world. This year’s fair will present new products, materials, and technologies across furniture, lighting, textiles, surfaces, and interior solutions tailored for hotels, restaurants, spas, clubs, cruise ships, and residential projects.
Keisha Byrd, Vice President and Brand Director at the Hospitality Design Group (Emerald), says: “The 2025 edition will highlight the incredible calibre of talent that makes BDNY the epicentre of hospitality design, bringing together a powerful mix of iconic firms, influential speakers, and new exhibitors.”
Among the fair’s immersive design showcases will be four major installations. This will include The Alchemist by Aria Group, a restaurant concept exploring the fusion of culinary craft and creative design. Marriott Bonvoy will introduce Châlet Après by Apartments and BHDM Design, an alpine-inspired retreat combining rustic materials with urban sophistication. Meanwhile, Dream Hotels and Nivek Remas create The Splash Pad, a lounge installation reflecting the energy of poolside, and Design Agency invites visitors to its Midnight Garden, an experiential environment combining light, sound, and form.
The event’s conference programme will address key themes in contemporary hospitality design, such as sustainability, inclusivity, wellness, artificial intelligence, and human-centred spaces. A highlight of the schedule will be the BDNY Power Players: Women Leaders in Hospitality Breakfast, featuring a panel discussion with industry figures from design, procurement, and development. Panellists include Julia Choi (Jeffrey Beers International), Chequetta Dessources (IHG Hotels & Resorts), and Carrie Gates (Absolute Procurement), among others.
Two major awards ceremonies will take place alongside BDNY. The Platinum Circle Awards Gala, scheduled for 7 November at Cipriani 25 Broadway, will honour lifetime achievements in hospitality design. This year’s recipients include AvroKO, Flick Mars, Aliya Kahn, and Marcus Samuelsson. The Gold Key Awards, to be held on 10 November at Cipriani 42nd Street, will recognise excellence across 24 design categories, including luxury hotels and boutique projects, while also naming the Designer of the Year and the Up-and-Coming Hotelier of the Year. Both events are hosted by Hospitality Design magazine.
Advance registration for BDNY 2025 is open, with full two-day conference passes currently priced at $325 until 15 October. Trade fair access and other ticket options are available via the official website.
LiGHT 25 Returns with VIP Design Tour
(UK) - Leading trade show, LiGHT returns to London with an exclusive new feature for interior designers. The VIP Design Tour offers a curated preview of premium lighting brands.
The VIP Design Tour is a curated guided experience specifically for interior designers and featuring a range of hand-selected premium lighting brands that are particularly relevant to the high-end interiors market.
The one-hour tour will start at 9:45am on 19 November and feature introductions from each selected brand, including exclusive previews of their latest launches. Afterwards, designers will be welcomed to the Lounge for light refreshments and networking.
Brands featured include: Industville, Italamp, LedsC4, Lightnet, Lodes, Lumen Loom, SAAS, Tala, and Vibia. If you would like to attend this event, please reach out to Programme Director, Helen Ankers at h.ankers@mondiale.co.uk
Now in its fourth year, LiGHT will open its doors at the Business Design Centre on 19 - 20 November for two days of design inspiration focused on lighting and design for high-end hospitality projects.
Following a record-breaking 2024 event that welcomed over 5,500 visitors, this year’s show continues to evolve with a dynamic new layout and features. To reflect the scale and scope of the lighting industry today, LiGHT 25 will be divided into three distinct zones, helping visitors to easily navigate the vast range of brands, technologies and innovations on display.
Alongside the hundreds of lighting brands, attendees can also enjoy an array of engaging content, including the return of the dedicated [d]arc thoughts talks programme in collaboration with Lutron.
Highlights Include:
- Shaping Atmospheres - leading lighting designer Sanjit Bahra of Design Plus Light takes to the stage alongside representatives from lighting brands Vibia and ProtoPixel, to examine how light and space work in unison to craft memorable experiences. They will explore the interplay of design, technology and storytelling - how lighting defines mood, shapes perception, and reinforces identity, specifically in hotel environments.
- Brilliant on Paper, Broken on Site - sees James Siddle of Ideaworks moderate a discussion focused on how procurement can either reinforce or unravel a lighting vision. Too often, beautifully considered designs are compromised – not through a lack of creativity or technical skill, but because of poor procurement practices: misunderstood specifications, vague communication, or a lack of attention to detail during delivery. A great design is only the beginning. It takes a high-performing team through construction and beyond to bring it to life.
All talks and presentations are free to attend, and you can view the full programme here: www.lightexpo.london/talks-programme
Beyond the exhibition floor, LiGHT 25 offers a dedicated co-working space with free Wi-Fi, late-night opening hours, VIP party, networking lunch, and immersive light art installation from Speirs Major Light Architecture.
Free to attend and not to be missed – register now for your visitor badge and discover more about the show here: www.lightexpo.london
NeoCon to launch premier lighting exhibit
(USA) - NeoCon, the largest and longest-running show serving the commercial interiors (A&D) industry, has announced the launch of Illuminate at NeoCon 2026, a new show-within-a-show concept dedicated to architectural, technical, and decorative lighting.
Scheduled to debut on 8-10 June at The Mart in Chicago, Illuminate will take place on the 7th floor of the exhibit hall as part of the redesign section. The platform aims to foster deeper connections between lighting manufacturers and professionals and the design community, offering direct access to the brands and technologies
As part of a redesign of the 7th Floor Exhibit Hall, Illuminate will serve as a showcase for education and exploration, featuring a selection of premiere and emerging lighting brands in unique booth configurations. Visitors will experience interactive vignettes and immersive installations that demonstrate the dramatic effects of lighting design in real-world scenarios.
Educational programming led by lighting experts will offer insights into the latest trends, technologies, and applications, while special events, happy hours, and meet-and-greets will offer collaboration and networking opportunities.
Lisa Simonian, Vice President, Head of Trade Shows at The Mart, comments: “With Illuminate, our goal is to create a dynamic new hub connecting the lighting industry with the commercial design community and NeoCon’s audience of more than 50,000 architects, designers and end-user decision makers. We are responding to an important need for lighting to be more properly recognised as a key and essential component of good design.”
LDF: product highlights from the Shoreditch Design Triangle
Discover the latest innovations, products and installations we uncovered during the darc Lighting Tour, in partnership with Design London Shoreditch at London Design Festival.
As summer fades into memory, the design world is only just hitting its stride. For us at darc, the London Design Festival marks the true beginning of the season – a moment that not only re-energises the industry after its quieter months but also sets the tone for what lies ahead. This year, the festival saw the debut of Design London Shoreditch, a fresh addition to the festival and one we were excited to collaborate on. Brought to life by the organisers of Clerkenwell Design Week, the event popped up across East London’s thriving design district with a series of tightly curated exhibitions.
As part fo the launch, darc partnered with Design London Shoreditch to host a dedicated lighting tour, guiding attendees through standout showrooms and brands while highlighting the latest products and projects that showcase the ever-evolving role of light in design. As Media 10’s Marlon Cere-Marle, and leader of the tour, explained:
"The idea behind the lighting tour was to give lighting designers and specifiers the chance to experience key installations and product launches first-hand, while hearing directly from the creatives shaping the industry. It was extremely well received, with visitors valuing the opportunity to ask questions and connect directly with brands and designers. The launch of Design London Shoreditch has further strengthened Shoreditch Design Triangle as the largest district and a key destination during London Design Festival, drawing an even broader trade audience to the area. Collaborations like this with darc are central to that success, and we were delighted to partner with them to bring the tour to life."
The tour began at Lee Broom’s flagship showroom, where the designer welcomed us with his trademark flair – coffee, pastries, and a display as immaculate as ever. But the real spectacle was the work. Broom’s collaboration with Lladró, Cascade, was a highlight: porcelain lanterns reimagined as glowing, modular installations, which made its debut in Milan earlier this year (read more here). His new Chant Portable Lamp was another standout – sleek, sculptural, and refreshingly functional. With a 40-hour battery life and a festival launch price of £225, it was one of those rare pieces that balances collectability with accessibility.
At Tala, the experience took a different turn. Instead of unveiling a product outright, visitors were confronted with a question: What do you usually do before going to sleep? Unsurprisingly, most admitted to scrolling on their phones. The point was clear – and so was the solution. Tala, in collaboration with Heatherwick Studio, introduced Wake, a bedside lamp designed to replace our phones as a sleep companion.
Presented in the immersive Sunset Room, Wake felt more like an experience than a product launch. The installation washed the space in warm, meditative light while a film narrated its three-year journey from idea to object. The lamp itself, made from ceramic and glass, blends craft with technology through subtle, programmable sequences of light and sound. Unlike the clunky “sleep gadgets” already on the market, Wake feels like something you’d want in your home. Elegant, tactile, and purposeful – a rare combination. (Read more about Wake in Issue #61).
Just across the road, we visited the Buster + Punch flagship, where founder Massimo Buster Minale unveiled Takeout – a portable table lamp in solid metal, featuring the brand’s signature cross-knurl detailing. Its distinctive light pipe and canopy sit beneath a toughened glass shade, dimmable by touch. Though still in development, the tour had the rare opportunity to handle the prototype firsthand. True to Buster + Punch’s flair for storytelling, the launch is accompanied by a bold creative campaign, which we also previewed. Unlike the brand’s predominantly made-to-order catalogue, Takeout is designed as a grab-and-go item, ready to purchase and take home immediately. To match the lamp’s concept, the flagship itself had been transformed into a quirky convenience store – echoing the promotional video – complete with playful touches such as Buster + Crunch cereal boxes.
At the Wax Building, home to brands like Cozmo, MinimalLux, and Tamart, the standout was undeniably Lightmass^ by Raw Edges. The lower-floor installation featured sculptural, feather-light lighting pieces that integrate LED sources directly into their mesh structures, blurring the line between form and function. Pendants, floor, and table lamps are crafted from a single material, reducing waste while remaining adaptable to a variety of spaces. The collection’s focus on sustainability and its ability to turn light into a tangible spatial experience underscore Raw Edges’ vision of lighting not just as illumination, but as a key architectural element.
After stops at architectural lighting brands Light Lab and XAL, the tour arrived at the final destination: House of Icons, housed in Shoreditch Town Hall and the beating heart of Design London Shoreditch. The space offered a curated mix of exhibitions, talks, and installations, showcasing both emerging and established lighting brands.
In terms of exhibitors, two highlights stood out. Dutch company Georgious presented its Slide Light, a tubular floor lamp with adjustable height and light output. Smart sensors activate only the exposed LEDs, allowing the piece to subtly transform a room’s ambience. Meanwhile, Italian family-owned Masiero’s Dimore lighting impressed with its luxurious contemporary collection for private interiors. By blending sophisticated aesthetics with emotional nods to tradition, the brand delivers lighting that is both artistic and functional.
From Lee Broom’s sculptural innovations to Tala and Heatherwick Studio’s immersive experiments, and the playful ingenuity of Buster + Punch to Raw Edges’ sustainable designs, the festival felt alive with ideas that push lighting beyond utility into art and experience. Design London Shoreditch proved itself a worthy addition to the festival, offering a stage for daring design and thoughtful craftsmanship.
www.designlondonshoreditch.com
Laurence Llewelyn-Bowen
British TV presenter and interior designer Laurence Llewelyn-Bowen talks with darc about his new venture as Design Curator for Rangeford Villages retirement accommodation, as well as his approach to lighting design within residential projects.
Laurence Llewlyn-Bowen is an internationally acclaimed interior designer and television presenter, who is well-recognised for his beautifully outlandish wardrobe of patterned blazers and British rom-com-esque mop of dark hair. In the 1990s and Noughties, his design expertise played a large role in creating a movement in British interior design that encouraged personal expression and confidence in exploring colour and pattern in an era that had a tendency to lean into neutral chromes and greys.
Llewelyn-Bowen has graced the British TV screens since the mid-1990s, featuring on iconic interior design shows, including Changing Rooms, which became a staple household viewing.
Nowadays, Llewelyn-Bowen splits his time between escaping the claws of Bear Grylls’ treacherous Bear Pit (“Celebrity Bear Hunt”, Netflix 2025) and designing a new generation of retirement living accommodation.
darc’s editor, Sarah Cullen, had the unique opportunity to sit down with the designer to discuss his relationship to lighting as well as one of his most recent projects for Rangeford Villages and the role that lighting plays in creating a safe and comfortable space for our older populations. In July last year, Llewelyn-Bowen opened his first Rangeford design offering in its stunning Siddington Park residence in Cirencester, Gloucestershire.
As the appointed Design Curator, Llewelyn-Bowen brings his creativity, maximalist approach and fresh style to Rangeford’s developments, offering a sophisticated touch to the brand’s luxurious living spaces in their first collaboration. His passion for design innovation aligns with Rangeford’s vision to redefine retirement living and a mutual aim of setting a new standard for luxury and design in the retirement sector. Throughout the residential spaces, the majority of fabrics, upholstery, furniture, artworks and accessories are handpicked and sourced from the Llewelyn-Bowen’s brand and patents. “As you get older, you must not stop being brave, you must not compromise, and you must not assume, ‘I’m old now, so I’d better turn down the volume’,” he explains.
Llewelyn-Bowen’s initial interest in retirement living began when the Siddington complex was being built on the edge of his village, Siddington. “Working on a retirenment accommodation project is not something I sought out to do. I was intrigued by it and really went in to play devil’s advocate more than anything. Here I am, a 60-year-old squire of Siddington,I’m not going to be forced into some sort of beige/oatmeal trailer park. I saw the Sex Pistols live! I want to go down fighting, with the ship!” And from those initial discussions with the Rangeford team, it was apparent to Llewelyn-Bowen that wasn’t the case for these later-in-life residences. Instead, Rangeford drew design inspiration from boutique hotels, which was what appealed most to Llewelyn-Bowen. “I said to the Rangeford team I wouldn’t be their poster boy; I’m not going to be involved in this unless I’ve got skin in the game. I want to be part of the design process. If they want my name, the cost is that they have to trust me as a designer. I think this is why the project became so big, because there’s a natural affinity there that you can’t license, you can’t franchise, you can’t manufacture.”
CEO of Rangeford Villages, Howard Nankivell, adds: “Laurence is the undisputed king of wild, spectacular and adventurous design. At Rangeford, we strive to really raise the bar for retirement living, creating thriving new communities that promote healthy, active lifestyles, hobbies, friendships, and wellbeing, so we are absolutely delighted with this partnership.”
As the Creative Curator for Blackpool Illuminations for 15 years, Llewelyn-Bowen knows a thing or two about fun lighting. But when it comes to considering its role in a residential setting, and especially for those who may be hard of seeing, it was important to address suitable illumination considerations for Siddington Park.
“I still think people are not properly, thoroughly, and creatively getting to grips with the absolute basics of lighting a room, which is that it’s a very simple thing. It was drummed into me in the 1980s; lighting should be in at least three, if not four, corners. Direct overhead lighting is something that will never be flattering to the room and deeply unflattering to anyone who occupies it as well. Try and create an environment where you are using as many points of light in as many different ways as possible.”
Looking more closely at the Siddington Park project, Llewelyn-Bowen explains that they completed all of the lighting schemes in-house. “I didn’t want the scheme to become too contrived because ultimately, these residents need to be able to live there.
“We’ve got a number of projects at the moment where we are working with a variety of lighting companies, which are all lovely and marvellous. In contract setting, lighting for shops and restaurants etc. you can use as many solutions as you need. In the B2B market, you’re dealing with professionals. But I think, when you are creating spaces for people to live in, presupposing that they’re going to have a cupboard with eight or nine different shelves, each of which is labelled with a specific light source in various colour temperatures, is something that’s never going to work.
“So, one of the things I’ve seen is that people are getting more and more interested in anti-tech interiors. Six, seven, eight years ago, interiors were very much about slinky lighting solutions that were hidden in troughs with tech that meant you could click your fingers and it all changed colour. All of these are becoming less interesting to people. They’re wanting an end result now. An indicator of this is the way that the television has now become something that is incredibly discreet in most people’s lives. It is disguised as a picture or a mirror or just left as a television, but it’s not dominating the room in the way that it did in the 1990s.
“So, I think that it’s about trying to achieve schemes that feel organically unlit in many ways and feel as if they are creating an ambience and an atmosphere, predominantly, rather than showing off that we are using lighting in a clever way.”
To achieve these lighting levels, Llewelyn-Bowen references the use of low-level light fixtures, such as table and floor lamps, as a key. Particularly for the Rangeford retirement projects, he was keen to interject a 1970s vibe through the low-level lighting; something he feels his generation will be able to connect with through a sense of nostalgia and familiarity. One way he has incorporated this is through the use of table lamps within cabinetry and display shelves as opposed to track or linear LED lighting. The act of switching a lamp on manually rather than through a connected automation system is something he believes the residents will appreciate more in a world that is taking a step back from technology. “I think people want design to stop being so technocentric and desire interiors that feel less like Big Brother, less digital,” he explains. “Particularly, a lot of our younger clients feel a lot of the big, showy tech that occurred in the 20th century has led to a lot of environmental issues that we witness today. When you look at the classic Noughties, spaces were enormous and minimalist with great big windows with concealed lighting. These spaces are incredibly heavy on resources, whether that’s heating or cooling. All of that glass is allowing for the energy that’s being expended on behalf of that room to escape. It makes you feel embarrassed for it. They’re terribly wasteful spaces.
“Look back at the Renaissance era when the super wealthy would express their wealth through ornamentation, decoration, gold leaf, and classical statues. Nowadays, people express their wealth solely by how much empty space they have.
“For a lot of people, it feels politically, socially, ecologically, and spiritually wrong to own a lot of space that you’re doing nothing with other than spending planetary resources making it comfortable for you on your own.”
Turning the conversation to the topic of natural daylight at the Rangeford’s retirement villages, Llewelyn-Bowen explains that a main ethos is very much about outdoor spaces. “Every apartment has incredible access to visual space, so you don’t get that feeling of cheek-by-jowl. Outdoor spaces are a very important part of the sociability of the Rangeford lifestyle. And this is all linked with the idea of preserving lifespan by creating interest, diversion, and excitement, while also creating easy-going access to outdoor spaces.
“One thing I can’t bear is over-lighting exterior spaces. You can end up with these golf course-type spaces with different coloured lights springing up through conifers, randomly dotted around. Instead, I like light sources to be visible in outdoor spaces, and to treat these areas in the same way I would an indoor space, with occasional table lamps and chandeliers hanging from trees.”
Another key ethos for the residential brand is one that isn’t about downsizing, but instead about rightsizing. It’s about providing a stimulating environment in which you can continue to be yourself, while minimising the physical frictions that come with ageing, for example, difficulties in climbing stairs.
It removes any worries or concerns about the upkeep of old English houses and instead puts the focus back into a community that you can choose to opt in or out of. “It’s about harnessing design, treating it seriously and using it as an important part of making people feel that they are still valued. They’re allowed to be surrounded by things that interests them rather than the traditional attitudes, which see the dial turned right down and next thing you’re shuffling along a beige corridor in your carpet slippers, passing pictures that were in shades of euphemism. This sense of literally sucking the life out of an interior, and in turn sucking the life out of the inhabitants of that interior.
“Our work is about doing the absolute reverse; this is about breathing fire, life, chilli, excitement and rock and roll into areas that are occupied by people that are all about that.”
When asked whether imposing such a strong sense of design, colour and pattern into a space that needs to cater for all tastes, Llewelyn explains how it is important not to like some things. “It’s always going to be marmite, isn’t it? It’s all about the fact that if you had absolutely everything in an interior, the right shade of pink, that shade of pink would be devalued. You need to have dissonance. You need to have some spice in there that makes if feel slightly different.”
Some of the ways in which this spice and flair were incorporated into the residences were through the decorative lighting fixtures. The Llewelyn-Bowen brand has thousands of patterns, colours and paintings created by the man himself. In addition to the specification of his in-house fixtures, Llewelyn-Bowen also worked closely with Soho Lighting and Pooky to interject added colour and points of interest. “We use Soho Lighting a lot, which I think is wonderful. I think there’s a real swing back to being physically engaged with technology. The idea of the Siri control and the Lutron controls etc. are less favourable. There’s something really nice about a light switch, and when it’s being configured to work and feel perfect - it’s something Soho do so well. Also, I think for too long in Britain we’ve been settling for these clumpy bits of white plastic on the wall. Something like a light switch is an incredibly important part of that wall; it’s part of the pictures that you see, it’s part of the vase that you might be displaying on a table. So we’re building Soho Lighting into our schemes more and more.
“I’ve also had a really strong affinity to Pooky Lighting. I think they’re arty, crafty, 1960s/70s aesthetic chimes very well with what we’re doing in terms of pattern and colour. One of the best ways of making a real difference to the way that a space feels when it’s lit is putting a pattern on lampshades. And I think particularly when you are dealing with the LED lights nowadays, they do have a very flat light because they’re so diffused. A pattern shade, which is about light and colour, is a bit of a stained-glass window that brings some of the romance, some of the mystery back to lighting that was lost with the change to LED. Also, doing things like using foil inside a lampshade also makes a big difference. And, controlling light through lampshades, which literally block the light, so it’s like
a hand in front of the light, making it move off to the sides. All of these things are part of the sculpture of light play that you can be quite theatrical with. And I think this is something that the Rangeford buyers are really responding to; the fact that they’ve got this very high-end, boutique, bougie idea of lighting in the apartments, which is not what you’d typically find in a retirement context. That would usually be a lot of light. There are times when we do need this - such as when picking out the perfect plush velvet tie to go with our flares - but most of the time we don’t. We want to be in a gentle, sultry, sexy environment.
“As you get older, you must not stop being brave, you must not compromise, and you must not think, I’m old now, so I’d better turn down the volume. Rangeford has proven it’s about keeping the volume up, keeping up the rock ‘n’ roll, and keeping the excitement. Design is there to help, it is there to make you feel a lot better about who you are, where you are and how you live - this collaboration is the perfect example of that.”
Private Residence
In Bydgoszcz, Poland, a riverside apartment becomes a sanctuary where the spirit of flight meets the comforts of home. Inspired by their clients’ love of gliding, designers Jakub Żurawicki and Joanna Kubiak shaped an airy, light-filled space that balances work, rest, and passion in perfect harmony.
In the heart of Bydgoszcz, Poland, an apartment perched on the Brda River became the home of two young professionals. Active enthusiasts of travelling, gliding and the great outdoors, the pair bought the designed apartment to gain more than just a place to call home but a sanctuary to pause, recharge, and find the balance between constant movement, work life, rest and rejuvenation.
Interior designers Jakub Źurawicki and Joanna Kubiak were tasked with tailoring the apartment to every facet of the owner’s life, from work and studying, to spending quality time with loved ones, in turn creating a multifunctional open plan living area. The pair developed a concept rooted in the client’s passion for the sky, with their main hobby being open-air gliding. Rather than resorting to literal motifs to express the concept, the designers introduced subtle gestures of lightness and flight in the form of soft cloud-like fabrics, airy blue palettes, and above all, a considered lighting scheme that ties all the elements together.
Źurawicki and Kubiak were hired through a recommendation from previous clients. The first objective was clear: to create an interior that would reflect their love for flying, while also functioning as a flexible home base. The first step of the project meant expanding the zone of the apartment to achieve an open living area. Ultimately leading to the elimination of a whole room by removing a wall to create the multifunctional space the owner’s desired. However, the space is still defined by a kitchen, a dining area, and a lounge, but is instead defined subtly through furniture arrangement, a shelving unit as a divider and zoned lighting rather than a large physical partition.
Lighting played a crucial role in defining the zones and creating balance between the narrative of sky travel and creating a calming sanctuary. Flos architectural fixtures provide a calm, neutral base of illumination, while decorative lamps bring character, colour, and references to flight. This layered approach allowed the designers to inject the poetic resemblance of the sky without overwhelming the space, adding what the designers would call “the jewels of the décor”. The collaboration with the Flos Poland team was instrumental in achieving this harmony. Their expertise ensured the architectural lighting scheme was both technically precise and discreet, allowing the decorative layer to take centre stage.
Throughout, the sky became a guiding metaphor. Wisps of clouds are suggested in the round, organic shapes of the furniture and lighting fittings, while shifting tones appear in the palette of whites, beiges, browns and blues, contrasted with bold accents of burgundy, navy and cobalt. In nine months, the pair developed an interior that feels both expansive and cocooning, providing an atmosphere that is shaped as much by light as it is by materials and form.
“In the early stages of the project, we dedicated a lot of time to carefully developing a functional layout that would fully meet the needs of the residents,” says Źurawicki. “As a result, we did not make any changes to the agreed-upon concept in the later stages of the project.”
The overall concept of the sky and lightness came to no exception when selecting the decorative lighting and was in fact a key player in defining the overarching narrative of nature. Delicate, lightweight lamps with soft or spherical shapes in white or muted blue subtly expressed the sky theme. One standout feature was the Halo Edition lamp by Mandalaki Studio, which imitated the northern lights.
To support this poetic layer, architectural lighting was kept deliberately understated. Flos fixtures provide a discreet, high-quality base of even illumination, their hidden LEDs casting soft, non-glare light. “The architectural lighting forms a neutral foundation,” adds Żurawicki. “It allowed the decorative lamps to become the real jewellery of the interior.”
Together, the two systems work in harmony: architectural lighting ensures clarity and comfort, while decorative elements create mood, mark out zones within the open-plan space, and embody the theme of flight through form and atmosphere. The result is a scheme that is at once functional and deeply expressive – translating the sky into light.
Kubiak comments: “We paid particular attention to the design of the decorative lighting. We aimed to create soft, diffused light that would enhance the atmosphere while also helping to define distinct zones within the open-plan space. The careful selection of lighting allowed us to subtly separate yet visually connect the dining, lounge, and home office areas.”
The decorative lighting elements in this project were selected with two equal priorities: technical quality and atmospheric effect. A variety of pendants, floor lamps, table lamps, and accent LED lighting were chosen based on their colour temperature, light quality, and function relative to the layout, while aligning with the overall sky travel concept. A mix of Scandinavian classics and Polish designer pieces were incorporated, adding both international appeal and local character to the scheme. Statement pieces such as the New Works Tense pendant hang elegantly over the dining area with a cloud-like presence, creating a sense of suspension and weightlessness to the design. Meanwhile, &Tradition’s Flowerpot series in cobalt and stone blue echoes the sky palette, while introducing a retro flair in shape, complemented by a Muuto Leaf floor lamp in copper that not only enhances the retro aesthetic but offers gentle, adjustable task lighting for reading or work. The comprehensive lighting scheme includes fixtures from Flos, Halo Edition, &Tradition, New Works, Muuto, Wästberg, Labra, Artera, Chors, and Westwing. Together, this well-balanced mix enables the interior to transition seamlessly between moods – from soft, atmospheric glow in the lounge to brighter, more focused illumination in the kitchen and work areas.
“For us, lighting is always a priority,” says Kubiak. “It not only defines zones and creates distinct scenes but also translates the main theme of the interior – in this case, the clients’ passion for flight – into something tangible. It becomes the jewellery of the space, highlighting textures, colours, and details.”
The effects of the interior feel both calm and energised. Diffused glows of warmth to the lounge alongside the vibrant hues of the Halo Edition lamp introduce a vibrancy and an element of surprise. The lighting also directly influences the well-being of the occupants, thanks to the carefully selected high-quality fixtures, and close attention to colour temperature and diffusion ensures comfort in its daily use, from focused work to relaxation.
“What truly surprised us in person was how beautifully the materials and lighting came together - even better than we had anticipated. They gained richness in colour, depth, and energy, while at the same time the space offered a sense of calm and balance to those experiencing it,” says Żurawicki.
What makes the project exceptional, and the designers agree, is the collaboration with clients, who were receptive to bold material choices and the seamless integration of Polish and international design pieces. The apartment feels timeless, energetic, and calm all at once, and the clients’ needs, personalities and passions are perfectly met without having to compromise on their original vision. By translating a love of flight into architectural and decorative lighting, furniture, and finishes, the designers created a space that is more than a home: it is a sanctuary, a stage for life in motion, and a story told in light.
As Kubiak notes: “The project is a story about the people living in it – their passions, their habits, their way of experiencing the world. This apartment is exactly that story, expressed through materials, forms, and most importantly, light.”
Interior Design: Zurawicki Design
Architectural Light: Flos Poland
Lighting Specified: Artera, &Tradition, Chors, Flos, Labra, Mandalaki Studio, Muuto, New Works, Wästberg, Westwing
Images: kroniki
