Larose Guyon marks 10 years of artisanal lighting
(Canada) - Canadian design studio, Larose Guyon, celebrates 10 years of creating its handcrafted lighting pieces. Based in Verchères, Quebec, the studio continues to refine its material-driven approach to design.
Founded by Audrée Larose and Félix Guyon, the studio has gained international recognition for lighting that bridges art and craftsmanship. Every piece is handmade in their atelier, shaped by a commitment to slow design and storytelling through form and material.
In line with this milestone, Larose Guyon has been featured in the latest issue of darc’s 3d directory with its sculptural piece Saule highlighted in the product showcase. The coverage reflects growing industry interest in the studio’s evolving design language and its emphasis on texture, warmth and authenticity.
In May, the studio also collected numerous accolades with its immersive booth experience during ICFF in New York, which aimed to reflect the studio’s design philosophy through material, light, and texture. The installation featured three of the studio’s signature lighting pieces, alongside a live demonstration from a master artisan, offering visitors a glimpse into the handcrafting process that happens in the Verchères atelier.
The installation earned four awards, including Best of Show, ICFF Editorial Award for Exhibit Design, Best Booth Design, and Best Lighting from NKBA Manhattan.
Larose Guyon’s ongoing exploration of design that prioritises both aesthetic and emotional resonance. Their commitment to quality, sustainability, and artistic integrity positions the studio as a notable voice in contemporary design.
Foscarini Marks Two Years of “What’s in a Lamp?
(Italy) - Italian lighting brand Foscarini is marking the second anniversary of What’s in a Lamp?, an ongoing project that explores the intersection of lighting and visual art. Launched in 2022, the initiative invites international artists and designers to reinterpret Foscarini’s heritage designs through a variety of creative disciplines.
The project was initially unveiled during Milan Design Week and has since been exhibited in Copenhagen during 3 Days of Design. To date, it includes work by 17 artists from across the globe, each contributing a unique visual response to one of Foscarini’s lighting designs.
Participating artists include Luca Font, Noma Bar, Oscar Pettersson, Federico Babina, Maja Wrońska, Kevin Lucbert, Alessandra Bruni, Luccico, Stefano Colferai, Fausto Gilberti, Lee Wagstaff, Francesca Gastone, Antje Damm, Mattia Riami, Bennet Pimpinella, Giona Maiarelli and Jim Stoten. Their interpretations span a range of media and styles, reflecting the diverse ways light can be understood and expressed beyond its functional purpose.
According to Foscarini, the project is intended as an evolving platform to explore the multiple identities and potentials of lighting objects. Each collaboration adds a new layer to the narrative, using light as a conceptual and visual starting point.
A full archive of the project’s contributions to date is available online, and new collaborations are expected to be added in the future as the brand continues to develop the initiative.
For more information and to view the full collection of artist works, visit www.foscarini.com/whats-in-a-lamp
darc dialogues: Andrea Braescu
“I know I’ve succeeded when my work evokes the joy and serenity that being in nature brings.”
Meet Andrea Braescu, an award-winning interior artist, whose handmade porcelain light sculpture blends emotional depth with functionality. Based in Romania, Braescu’s work channels the beauty and calmness of nature, turning interiors into peaceful sanctuaries. Braescu primarily works with fine bone china, a ceramic material valued for its translucency and durability. When lit, the delicate, handcrafted components such as petals and leaves, produce a soft, atmospheric glow. One of her notable works, Grinko, features 700 individually crafted porcelain leaves suspended in a flexible arrangement, resulting in a sculptural installation that blends organic forms with architectural structure.
In a new Q&A series called darc dialogues, Braescu shares insights into her journey, discusses her design influencers, her connection with nature, and her journey with lighting design.
When was your first interaction with lighting and what was it about that experience that led you to your career now?
I’ve always felt a pull towards light and how it shapes our mood. My first real interaction came when I was still a student. I remember seeing the translucency of porcelain for the first time, how it could hold light yet look so delicate. It was magical for me and that moment stayed with me. It made me realise I wanted to bring the serenity and spirit of nature indoors through light and form.
You’ve described your work as capturing the essence of nature – what drew you to nature as your primary source of inspiration?
Nature has always felt like the purest source of harmony. Growing up, I would spend hours just observing the veins of a leaf or the way sunlight moves through branches. Nature’s quiet perfection inspires me endlessly. My work is my way of bringing that same calm and wonder into the spaces we live in.
Is there a particular landscape, season, or natural element that consistently informs your work?
Leaves are a constant for me. They’re such a perfect example of nature’s balance between chaos and order. I’m drawn to patterns like dappled light through trees or the gentle movement of water. Spring holds a special place in my heart because it’s full of renewal and quiet energy.
How do you translate such an organic, intangible feeling into a medium like porcelain?
It always begins with observation and sketching moments that catch my eye. Then comes the hands-on part. Each porcelain leaf or petal is shaped by hand. There’s a beauty in allowing the material’s little imperfections to stay just like in nature. When light passes through the porcelain, it reveals the softness and movement, I want people to feel.
What is your biggest installation to date, or the one that left you feeling the most accomplished?
One of my most technically complex pieces is Nimbus, a cloud-like sculpture with hundreds of hand-crafted porcelain leaves for a private residence in London. Another proud milestone was my large-scale public installation in New York, which has around 155 porcelain leaves, some finished in gold. Both projects pushed me and my team to balance delicate craft with bold engineering, and seeing them come to life was incredibly fulfilling.
Could you walk us through the journey from concept to completed installation?
Every piece starts with an idea, often sparked by a shadow, a pattern of light, or a texture in nature. I sketch, then shape each porcelain element by hand. The firing process demands patience because porcelain can be so temperamental. Once everything is ready, we assemble the pieces and test how they interact with light. The final installation is about precision and making sure it appears to float naturally in the space.
Why porcelain – more specifically, why fine bone china? What does it offer that other materials don’t?
Porcelain’s translucency is like nothing else. Fine bone china lets light filter through in a way that feels alive, soft and warm. It’s also one of the most challenging materials to work with, which keeps me humble and always learning. Each leaf or petal ends up with its character, and that’s what makes it feel real.
Are there any challenges or surprises that come with working so intricately with light and porcelain?
Definitely. Porcelain has a mind of its own. Pieces can crack or change shape in the kiln even when you think you’ve done everything right. Then there’s the engineering side, making sure all the wiring and support stay hidden, so the sculpture looks like it’s grown there naturally. It’s always a balance of fragility and precision.
You’ve said your work aims to evoke “the joy and serenity of being in nature.” How do you measure whether you’ve succeeded in that goal?
I know I’ve succeeded when someone stands beneath a piece and feels a bit lighter, as if they’re part of a forest or a dream. That quiet moment means everything to me.
How much input do clients have when commissioning a bespoke piece?
Every commission is a conversation. I listen carefully to what a client wants to feel in their space, but I always stay true to the organic nature of my work. It’s about finding the right balance, so the piece feels alive and at home.
Are there any dream spaces – museums, public areas, or buildings – that you would love to create an installation for?
A boutique hotel in Paris, especially in a restored 19th-century building, is a dream of mine. I’d also love to create larger pieces for botanical gardens or museums, places where people already go to feel inspired and connected with nature.
You mention pushing the boundaries of material and technology. Can you share any recent explorations in that area?
My team and I are always refining how we combine modern engineering with the handmade spirit of the work. Lately, we’ve been experimenting with lighting that shifts with the time of day or mood. But it’s important that the technology never overshadows the organic soul of each piece.
What does a typical day in your studio look like?
My studio is my sanctuary. A day might start with sketching or testing new forms. I spend hours shaping porcelain leaves and petals by hand alongside my team of designers and engineers. Some days are all creative flow, others are about solving practical problems. I love that balance.
How do you stay creatively energised in your work and avoid repetition?
Nature never repeats itself, so I try not to either. When my ideas feel too predictable, I go back to observing. A simple walk outside can completely reset my mind. I also welcome mistakes; they often lead me in new directions.
If you weren’t working in lighting, where else do you think you’d be?
I’d still be working with my hands, probably sculpting on a larger scale or creating land art that interacts with nature. Whatever it would be, it would have to honour the same sense of wonder I find in light and porcelain.
What’s next for you creatively? Any upcoming projects or shifts in direction?
I’m working on a new series inspired by how water moves and how light plays through it. I’m also dreaming of larger outdoor installations that feel like you’re stepping into a living sculpture. There’s still so much to explore with porcelain, light and nature. I feel like I’m only at the beginning.
Vibia illuminates Italian Pavilion at Architecture Biennale
(Italy) – At the 2025 edition of the Biennale Architettura in Venice, lighting brand Vibia was selected to participate in the Italian Pavilion, located within the historic Arsenale complex. The installation is part of the 19th International Architecture Exhibition, curated by Carlo Ratti under the theme “Intelligens. Naturale. Artificiale. Collettiva.”
This year’s Biennale brings conversations on sustainability and climate action, showcasing work from around 750 contributors. The Italian Pavilion, titled “Terrae Aquae. Italy and the Intelligence of the Sea,” is curated by architect and academic Guendalina Salimei. The exhibition explores the interplay between architecture, science, and culture, examining Italy’s past, present, and future through the lens of its maritime identity.
The Italian Pavilion is housed in the Tese delle Vergini, a 16th-century hall within the Arsenale, which was once the largest industrial production centre of the pre-modern world. Vibia’s lighting installation within this space is designed to interact with the existing architecture, drawing attention to original structural elements such as walls, ceilings and support beams.
The lighting approach is aimed at enhancing the atmospheric qualities of the venue through a combination of light and shadow. Different types of luminaires are installed throughout the exhibition to guide visitors and subtly highlight works on display.
Upon entering the space, visitors encounter two suspended Array luminaires by Umut Yamac, which produce a soft downward glow. Further along, visitors experience Circus Solo spotlights by Antoni Arola, which provide a focused lighting on selected photographic works, while leaving the surrounding areas in semi-darkness.
The upper level is illuminated by North Floor lamps, by Arik Levy, which delineate a pathway between display tables with directional beams of light. In the final area of the pavilion, Flamingo lamps, also designed by Arola, are suspended above the exhibition space, contributing a warm glow intended to mirror the installation's opening sequence.
The overall lighting scheme aims to create a sculptural presence through the exhibition, integrating seamlessly into the architecture of the pavilion and creating a sensory experience that supports the themes of the broader exhibition.
The Power of Narrative in Design with Tony Matters, Faber Design
https://vimeo.com/1092744531
You may well have heard the term ‘narrative’ used about design, particularly within the sphere of hospitality spaces such as restaurants; in this presentation, interior designer Tony Matters of Faber Design, discusses in more detail how the idea has become more widespread in design, even though many clients may not fully understand what it means.
In Conversation with Alex Dauley
https://vimeo.com/1092732581
darc magazine editor, Sarah Cullen sits down with interior designer Alex Dauley - a storyteller, a visionary, and a passionate advocate for inclusivity in the design world. Her journey into interior design is unique, marked by her fearless creativity, authenticity, and unwavering commitment to breaking barriers. As a champion for diversity and representation, Alex's leadership and dedication shine through in every project, creating innovation and change in the industry.
In Conversation with Sofia Hagen
https://vimeo.com/1092742550
Sofia Hagen x Studio Marmi bring together the latest in innovative 3D printing technologies and traditional craftsmanship to create a timeless design dedicated to mindfulness. Hempla is a meditation furniture set that creates a sanctuary to relax and meditate in a variety of configurations.
Ahead of the Hempla meditation session happening at Design Fields later that day, designer Sofia Hagen sat down with [d]arc media editor Sarah Cullen to discuss the story of Hempla Series so far, her partnership with Zumtobel during Milan Design Week, and what she hopes the future holds for the product.
Maison&Objet name Amélie Pichard as Artistic Director
(France) – The international trade fair for design and decoration has announced the appointment of designer Amélie Pichard as Artistic Director for its upcoming September edition.
The announcement was made during a press conference on 27 March, at the Maxim’s venue in Paris. Mélanie Leroy, Managing Director of SAFI, the organiser behind Maison&Objet, unveiled the fair’s latest evolution, which focuses on enhancing the experience for its global community of nearly two million professionals.
According to Leroy, the fair is moving towards a more streamlined and intuitive format, reflecting current trends and practices in the design world. The September edition will be guided by the theme of renewal, with Pichard at the creative helm.
Prichard, known for her cross-disciplinary influence in both fashion and design, is expected to bring a fresh perspective and distinctive energy to the event. Her feature installation, Welcome Home, Pichard’s Opxen-Plan House, will serve as a central piece exploring new interpretations of the home as a space for experimentation and expression.
Maison&Objet continues to position itself as a platform for emerging creativity, offering insight into evolving interior trends. The September edition aims to serve as an “observatory” of dynamic design practices, highlighting originality and artistic exploration.
Franck Millot, Director of Paris Design Week, also presented the programme for the concurrent design festival, running from 4–13 September. Expanding the fair’s footprint across the city, the festival will feature curated trails, including highlights such as Design sur Cours and Paris Design Week Factory, which aims to support and showcase emerging creative talent.
The September edition will take place at Paris Nord Villepinte Exhibition Centre from 4-8 September. Registration is open now.
Project Focus Lina Stores, London, UK
https://vimeo.com/1092738869
Alessio Nardi of A-nrd Studio sits down with [d]arc media editor Sarah Cullen to discuss the design directive behind the stunning conversion of the historical grade II listed building, originally built in 1868 as a bank. The space is made up of a ground-floor all-day restaurant and a former vault basement, which takes on the persona of Bar Lina – an Italian aperitivo bar. Both with their own identities yet blending seamlessly as one.
WATG and Wimberly interiors appoint new senior leadership role
(USA) – Global luxury hospitality design firms WATG and Wimberly Interiors have announced the appointment of Molly O’Keefe as Associate Principal and Senior Director of Client Services.
O’Keefe brings over a decade of experience in design-led business development and will support the studios’ strategic growth and client engagement across the Americas. Although based in Chicago, she will collaborate closely with WATG and Wimberly Interiors offices in Tustin, Los Angeles, Dallas, Honolulu, and New York.
In her new role, O’Keefe will focus on enhancing industry relationships and expanding the firms’ project portfolios, with a particular emphasis on the luxury and lifestyle hospitality sectors. Her experience spans the intersection of design, brand strategy, and business development, and she is recognised for her ability to align creative vision with client objectives.
“I have respected WATG and Wimberly Interiors’ successes over the years, and I am honoured to be joining such an inspiring team that is pushing our industry forward, says O’Keefe. “I’m excited to harness the global power of the WATG brand and build upon significant achievements in the Americas, further cultivating our relationship and key partners and driving growth across our diverse portfolio of projects.”
Monica Cuervo, managing director of the Americas WATG and Wimberley Interiors, adds, “Molly is an exciting addition to our talented leadership roster. Her reputation, knowledge, global perspective, and deep immersion in the industry make her a trusted advisor across a range of market segments and brand categories. We welcome her to the studio and look forward to continuing to build our lifestyle and luxury offerings across the Americas.”
Contardi – Hat
(Italy) – Hat collection is the new lampshade archetype born from the collaboration of Italian lighting brand Contardi and designer Paola Navone of Otto Studio.
The lampshade is described as the perfect balance between past and present, drawing inspiration from the 1950s aesthetics and blending it with contemporary design. It comprises a floor, table, and pendant lamps, which are all unified by a white cotton or Tyvek lampshade. Each piece is accented with rope detailing, either wrapped around the metal stand of the table or the floor lamp or used as a suspension for the pendant version.
Dominico Diego of Otto Studio says: “We desired to create a versatile object that could fit harmoniously into context without losing its character. We wanted to design something that was both ordinary and extraordinary, combining simplicity and sophistication, with a playful touch.”
The option for customisation is available, allowing the collection to be adapted to multiple environments, from residential to hospitality.
Ambientec opens gallery in Tokyo’s AXIS Building
(Japan) – Ambientec opens its first Tokyo gallery on the second floor of the AXIS Building in Roppongi, a key hub for Japanese design, showcasing the brand’s portable lighting products as both functional and sensory.
Founded in Yokohama and led by president Yoshinori Kuno, Ambientec is an established brand for decorative lighting known for blending design and technical precision, drawing on its background in underwater photography equipment. The gallery, designed by Koichiro Oniki, takes a minimalist, science-lab approach, with modular displays and precise pin-shot lighting to highlight each product’s sculptural form. His vision - interpreting the product as a sculptural object - has been translated into a display inspired by the structure of a scientific showcase that, through a laboratory-like approach, allows visitors to experience how the light performs in real environments.
A temporary display also appeared on the fourth floor for the launch, featuring four new collections: Vosco by Nao Tamura, Barcarolle by Yoshiki Matsuyama, Still by Ryuichi Kozaki, and Hymn Pro by Hiroto Yoshizoe. Each was introduced to the Japanese public for the first time following previews at Euroluce 2025. During the opening event, a talk with the designers of each collection and Yoshinori Kuno, the brand’s founder and representative, was held.
The gallery is accessible via Shiro Kuramata’s distinct staircase and offers both public and industry visitors a quiet, tactile space for engaging with Ambientec’s vision of lighting.
