Corka by Zero Lighting
In an era where sustainability is no longer a design afterthought but a defining principle, Swedish lighting brand Zero continues to lead by example. Known for collaborating with forward-thinking designers, Zero champions innovation that balances form, function, and environmental responsibility. Their latest collaboration with British designer Samuel Wilkinson exemplifies this ethos perfectly.
When Zero Lighting approached Samuel Wilkinson to design a sustainable pendant, the brief was refreshingly ambitious: create a lighting novelty that could be “literally thrown into nature” and decompose naturally. From this directive, Corka was born – a compact conical pendant crafted entirely from cork.
Corka’s journey began in mid-2023 and was completed earlier this year, a remarkably swift turnaround for the design world. Having previously designed successful novelties for Zero Lighting, such as the Haze pendant and Thirty ceiling and wall lights, Wilkinson understood the company’s ethos and reputation for unique lighting fixtures with sustainability and high-quality at the forefront. Yet, bringing Corka to life demanded a deeply process-driven approach – one that involved extensive exploration of materials and manufacturing techniques before arriving at the final, refined form.
“We experimented with numerous materials before concluding to go ahead with cork. Learning about cork has been particularly interesting,” explains Wilkinson. “At first, we assumed turning cork on a lathe would be the most cost-effective approach. But some pieces oscillated during turning, making accuracy difficult. Switching to pressing methods produced more consistent forms with a finer surface finish.”
The buoyant, lightweight material is known for its unique impermeable qualities, making it an excellent thermal and acoustic insulator. This versatility allows it to be used in various applications, such as wine stoppers, building insulation, and now pendant lights.
Cork is a type of bark, specifically the outer bark of the cork oak tree, called Quercus suber. The material is harvested only every 12 to 14 years in the Montados, Mediterranean oak forests, due to being a vital player in supporting 325 animal and plant species, protecting from erosion, regulating the hydrological cycle, and absorbing carbon dioxide. This remarkable material is one of the most sustainable resources available due to its ability to naturally biodegrade without releasing any harmful toxins, as well as this, nearly all its byproducts can be utilised for products such as flooring, aggregates, or bioprocessed for cosmetics, pharmaceuticals, or water purification.
What sets Corka apart is not just its material but its method of production. While many sustainable lights rely on recycled composites or industrial processes, Corka reimagines a natural, centuries-old material through modern moulding techniques, achieving consistency without compromising the cork’s organic charm. The production of the pendant is deceptively simple yet deeply rooted in craftsmanship and material understanding. Each pendant begins with granulated cork – either natural cork, black cork, or a mix of the two – combined with a small amount of binder. This blend is carefully prepared to achieve the right balance between texture, density, and strength.
The mixture is then placed into two-part metal moulds made from Teflon-coated aluminium. The surface quality and pressure of these moulds are critical, initiating the natural binding reaction within the cork as it begins to set. Determining the precise treatment time is a matter of testing and refinement, as different cork combinations, particularly when mixing natural and black cork, react in subtly different ways.
Once the mixture is sealed within the mould, it is left to cure for a carefully-timed period. During this stage, the cork reacts and binds, forming its distinctive, compact structure. When released from the mould, the Teflon coating leaves the surface with a soft sheen, a delicate contrast to the organic texture beneath. Each pendant is then lightly sanded by hand to reduce the gloss and reveal the raw, tactile quality of the cork. This gentle finishing exposes the material’s natural grain and variation, making every piece inherently unique. Though the process is efficient, it remains highly craft-based. As mentioned, no two pendants are identical; each reflects the subtle interplay of pressure, temperature, and time. “Once everything is added to the mould, the final result is out of our hands and left to the will of the cork,” says Wilkinson.
The creation of Corka occurred as a relatively streamlined development with few challenges and trials aside from the manufacturing process. Wilkinson had to work within the parameters of a strict budget set by Zero Lighting that ultimately heavily influenced the design process.
Wilkinson adds: “When machining from solid cork, the cost is directly affected by how many parts can be cut from a given sheet size, since the raw material is quite expensive. While tooling costs are much lower for machining, the outcome can be less consistent, so persuading Zero Lighting to invest in a moulding tool for the granular approach was important. The main criterion for the final shape was that it could be produced using a simple two-part male and female mould with sufficient draft angles to allow the part to release easily.”
Cork’s virtues extend beyond its renewability. It is extremely light – over 50% of its volume is air – and elastic, compressible without losing shape. It is impermeable to liquids and gases, thermally and acoustically insulating, fire-retardant, abrasion-resistant, hypoallergenic, and possesses a tactile natural texture that is warm to the touch. Its inherent qualities make it perfectly suited for a lighting object, softening the glow. 
“The tone and texture of the cork are among the material’s greatest qualities. They help to soften the emitted light, creating a warm and gentle glow. During the day, the natural gradient that forms across the conical surface is particularly beautiful, enhanced by the cork’s subtle granular texture,” adds Wilkinson.
Available in three finishes – natural, mixed, and black cork – and can be paired with either black or natural linen cables, with the linen option offering a lower environmental impact, similar to cork, completing a pendant that is entirely process-conscious and materially honest. Beyond its sustainable credentials, Corka offers a quiet sculptural presence to any interior, whether it is residential or commercial. Whether suspended singularly or as a cluster, the Corka offers a subtle, unique edge to any space through its tactile materiality and a soft ambient illumination, which evokes a sense of calmness through its natural warmth.
The mission was clear: to create a light that could quite literally be thrown back into nature. Wilkinson not only rose to the challenge set by Zero but also continues to demonstrate the possibilities of how organic material from the natural world can coexist harmoniously with contemporary design. Corka is more than just a pendant – it is a statement of intent in a world overrun by synthetics and overproduction. Together, Wilkinson and Zero Lighting champion a more regenerative, material-conscious future for lighting design.
Images: SW Studio, Zero Lighting
CSI Europe Opens Registration Ahead of First Hamburg Edition
(Germany) - Cruise Ship Interiors Design Expo Europe (CSI Europe) has opened registration for its inaugural event in Hamburg, marking the trade fair’s move from its long-standing London base to one of Europe’s key centres for shipbuilding and river cruise design. The show will take place at Hamburg Messe & Congress on 3–4 December.
The relocation aligns the event more closely with the European cruise interiors market, at a time when shipyards across the region are operating at near-full capacity. According to organisers, the shift allows CSI Europe to address the specific challenges facing the sector, including design requirements for 295 refurbishment projects and 73 new-builds scheduled over the next two years.
This year’s conference, delivered in partnership with NEWH, will focus on efficiency in the shipbuilding process and the design considerations shaping guest experience on smaller river and ocean-going vessels. More than 300 exhibitors are expected to showcase products and solutions across the cruise interiors supply chain, from materials and finishes to outfitting services.
A dedicated hospitality zone, Hospitality@CSI, will examine the crossover between hotel operations and onboard experience. Programming will include a Lunch & Learn session featuring insights from a major hotel brand, followed by networking opportunities.
Over 120 companies will be exhibiting at CSI Europe for the first time, alongside regular participants such as Marine Interiors, The Deluxe Group and Accomar. Exhibitors range from amenities suppliers and outfitting specialists to surface and furnishing brands.
The event will conclude with the Cruise Ship Interiors Awards, the only awards programme focused solely on cruise ship interior design. The ceremony will feature updated categories and a new judging panel, reflecting the rapid activity in both new-build and refurbishment markets.
Registration for the two-day event is now open.
www.cruiseshipinteriors-europe.com
LiGHT Expo London marks its most design-driven edition
(UK) - The highly anticipated LiGHT Expo London returned for its fourth consecutive and increasingly successful year. As the UK’s only dedicated high-end lighting exhibition, LiGHT 25 once again welcomed thousands of visitors to the Business Design Centre in London. Over two days, the 19th and 20th November, the exhibition centre was transformed into a creative and collaborative hub.
A record number of more than 6,700 visitors braved the cold weather to attend this year’s show, demonstrating their unwavering support. LiGHT 25 brought together thousands of architects, interior designers, lighting designers, engineers, and specifiers, alongside hundreds of leading architectural and decorative lighting brands. Visitors attended inspiring talks and presentations from over 60 speakers, all while making new industry connections through creatively curated networking opportunities.
This year’s Decorative Zone proved one of the most talked-about elements, welcoming many new big-name brands to the zone, such as Italamp, Industville, Vibia and Lumen Loom. A special VIP Design Tour welcomed 23 leading interior design studios to participate in a whistle-stop guided tour of the show. The design professionals were treated to introductions to 10 leading lighting brands suited to the interiors market, before heading to the lounge for further networking opportunities. The tour received high-praise from both attendees and the participating brands for providing a concise yet informative platform to explore the show and make connections.
Always evolving in order to remain relevant to the wider industry, LiGHT 25 also introduced its new Technical Zone. While focused on brands in urban and commercial lighting, controls, components and emergency lighting, this addition sat alongside the decorative offering to ensure a well-rounded visitor experience.
Education and community were once again central to the event. Supported by Studio Due, the Associations Lounge once again acted as a shared base for leading industry bodies, including the DALI Alliance, The LIA, ILP, SLL and the IALD. Located on the Gallery Level, the lounge hosted networking events such as the in-person Silhouette Awards celebration, the LiGHT Lunch with Studio Due and speaker David Atkinson of DALD, and a dedicated two-day splinter talks programme.
Central to the educational element of the show programme were the CPD-accredited [d]arc thoughts talks series in collaboration with Lutron. Curated and moderated by editors of arc and darc magazines alongside guest moderators, the two-day talks programme brought together global experts to address themes ranging from sustainability and circularity to wellness, health, and the business of design. Topics and highlights include Shaping Atmospheres with Judith Patiño, of Vibia, who discussed how light and space work in unison to craft memorable spaces. Plus, True Luxury is Handmade: Crafted for Connoisseurs of Light, with speaker Surbhi Jindal (Da Light Hub / Women in Lighting India Ambassador), exploring the creativity that brings bespoke lighting designs to life.
Also new for 2025, visitors were able to immerse themselves in an innovative light art installation by Speirs Major Light Architecture in partnership with formalighting. Re:Vision explored the theme of colour perception across species, using custom spectral profiles and reimagined Ishihara colour blindness test patterns to reveal the diversity of visual experience across the natural world.
Managing Director, Paul James comments: “We are once again blown away with the positive response and overwhelming attendance to the show. We are proud that the exhibition keeps getting bigger and better this year, cementing LiGHT as a must-visit event for anyone involved in lighting, architecture, interior design, engineering, and beyond. The show has a perfect mix to discover new ideas, strengthen professional relationships, and stay at the forefront of the lighting industry.”
Helen Ankers, [d]arc thoughts Programme Director adds: “We are so pleased with the feedback to this year’s show. The entire team had an amazing time exploring the zones, attending the range of inspiring talks from renowned speakers across the industry, and being in awe of the light art installation from Speirs Major. Thank you to all the media partners, event supporters and exhibitors for your valuable contributions this year. We hope that LiGHT will continue to be a success for years to come, and we are looking forward to sharing special plans for our milestone fifth year in 2026.”
LiGHT remains free to attend, with next year’s dates confirmed for 18–19 November 2026.
www.lightexpo.london/
Blink Design Group opens London studio
(UK) - Blink Design Group has opened a new studio in London, marking the next step in the practice’s ongoing international expansion. The interior design studio, founded by Clint Nagata, already operates in Bangkok, Singapore and Dubai, and the London launch aims to strengthen its presence in the UK and wider European markets.
The move follows the securing of three major European projects, which the firm says prompted the decision to establish a permanent base in the city. London’s role as a global centre for design, along with the firm’s ambition to deepen its work in the region, were cited as key factors.
As part of the launch, Blink has appointed William Evans as Director of Development. He will lead the studio’s business development efforts and act as a liaison with developers, investors and hospitality clients. In addition, Matt Nadilo joins as Associate Director of Interior Design. With more than two decades’ experience in luxury hospitality projects internationally, he will work closely with Nagata to guide the creative direction of the studio.
Blink’s European portfolio includes upcoming projects such as Six Senses Loire Valley Residences and a new retreat in Normandy, both of which draw on the firm’s interest in site-specific storytelling and cultural context.
Nagata’s approach to design is shaped by his background in Hawaii and Japanese heritage, with an emphasis on narrative and locality. This ethos underpins the studio’s global work and its internal initiatives, such as the S.W.A.P exchange programme, which enables collaboration between Blink’s international teams, and the Wish To Remember scholarship, which supports designers exploring craft and culture abroad.
The studio has delivered projects for hospitality brands across Asia, the Middle East and the Indian Ocean, and continues to work with operators including One&Only Resorts, Nobu, Banyan Tree, Park Hyatt, Orient Express, Mandarin Oriental, Waldorf Astoria and Alila.
The London opening aims to embed the practice further within the European design landscape and expand its collaborations in the region.
BDNY 2025 Highlights in Design and Hospitality
(USA) - Boutique Design New York (BDNY) returned to the Javits Centre this November, drawing more than 16,000 members of the global hospitality design community for two days of exhibitions, installations and industry programming.
Now in its 2025 edition, the show featured over 750 exhibitors and a conference schedule of more than 180 speakers. Organisers reported a 6% rise in qualified attendees compared with last year, with visitors representing more than 50 countries.
As in previous editions, BDNY placed significant emphasis on experiential spaces. The BD mainstage, designed by Saguez & Dash, created a woodland-inspired setting for keynote talks, while the nearby BD Hub hosted discussions on emerging technologies, sensory and emotional design, and the development of responsive environments.
Hospitality F&B design took centre stage in the expanded Dine & Design area. Its signature installation, The Alchemist café by Aria Group, operated as a fully functioning venue, showcasing how atmosphere, materials, lighting and service can be combined to shape guest experience.
Three additional “Designed Spaces” offered further creative interpretations of contemporary hospitality environments. They included Châlet Après, a modern take on an alpine retreat; The Splash Pad, which explored poolside culture through reflective surfaces and strong geometries; and Midnight Garden, a richly coloured, atmospheric installation centred on light, movement and mood.
BDNY also recognised achievements in booth and product design. The Best of BDNY Best Booth Competition named winners across Small, Medium and Large categories, with Cava Surfaces receiving Best in Show.
The Best of BDNY Product Design Competition awarded winners in 13 categories spanning architectural materials, lighting, textiles and outdoor products. The Best in Show accolade resulted in a tie between Juniper’s Multiverse System with Illuminated Ribbon, Weave, and Juniper Cylinder, and Fireclay’s Foundry Collection.
A range of networking events and celebrations took place throughout the week. The annual Women Leaders in Hospitality breakfast brought together senior figures for discussions on leadership and professional development.
The show week opened with the Platinum Circle Awards Gala, honouring long-standing contributions to the hospitality sector, and concluded with the Gold Key Awards at Cipriani 42nd Street. This year’s Gold Key ceremony recognised winners across 24 project categories and named Studio Paolo Ferrari as Design Firm of the Year.
The next edition of BDNY is scheduled for 8–9 November 2026, returning once again to the Javits Centre.
David Village Lighting becomes official UK distributor for Artemide
(UK) – David Village Lighting (DVL) has announced a new UK distribution partnership with Italian lighting manufacturer Artemide, covering its architectural lighting portfolio, including the Alphabet of Light collection.
The agreement marks the latest development in a relationship that spans nearly 50 years, during which DVL has collaborated with Artemide across both decorative and architectural product lines on a wide range of project types. The new distributor status is intended to enhance visibility of Artemide’s solutions-focused architectural offering in the UK, as well as strengthen local support for the architecture and design (A&D) community.
DVL’s recently expanded business-to-business team will assist in the specification process for the Artemide Architectural range, working in close coordination with Artemide’s head office in Milan.
Founded in 1981 and based in Sheffield, David Village Lighting has established itself as a specialist in architectural and decorative lighting within the UK market. The company supports projects from the initial design concept through to product specification, procurement and delivery, across commercial, hospitality, residential, education and healthcare sectors.
The Artemide Architectural range comprises a variety of solution-led luminaires designed for precision and flexibility, including directional spotlights and adaptable profiles. Products are available in a range of colour temperatures, dimming options, CRI values and UGR ratings to meet diverse project requirements.
www.davidvillagelighting.co.uk
&Tradition sets science-aligned carbon reduction targets
(Denmark) - &Tradition has outlined a new climate strategy centred on reducing emissions across its operations and supply chain, following the validation of its targets by the Science Based Targets initiative (SBTi). The plan aligns the Danish design brand with global efforts to limit warming to 1.5°C under the Paris Agreement.
The company says its approach responds to increasing environmental pressures, including climate-related disruptions and biodiversity loss affecting natural materials and the communities that produce them. Its new roadmap uses the Greenhouse Gas Protocol to assess emissions across Scope 1, 2 and 3 categories, from direct energy use to the wider supply chain.
Working with SBTi, &Tradition has set measurable goals for 2030. The brand aims to reduce its Scope 1 and 2 emissions, those generated directly through company operations and purchased energy, by 50% from its 2021 baseline. These emissions account for less than 1% of its total footprint but include areas such as company vehicles and energy use across offices, stores and warehouses.
The company’s largest impact lies within Scope 3 emissions, which cover production processes, materials, and activities across its supplier network. These represent more than 90% of &Tradition’s total footprint. Rather than setting an absolute reduction target, the company has chosen an intensity-based metric that reflects its growth rate, aiming to cut Scope 3 emissions by 55% per million DKK value added by 2030.
The roadmap identifies several key levers for reducing emissions. One priority is increasing the share of products manufactured using renewable energy. While some suppliers already operate with green energy, availability and cost remain limiting factors in certain regions. Supporting a transition to renewable sources will form a central part of the company’s strategy.
Material adjustments also feature prominently. &Tradition plans to integrate higher levels of post-consumer recycled content and explore lower-emission alternatives in upholstery foams and textiles. These efforts are part of a broader review of product lifecycles, with the company assessing opportunities to reduce the long-term carbon footprint of key collections.
According to the company, achieving the targets will require continued cooperation with designers, product developers and suppliers. The roadmap will evolve as new methods and technologies emerge, with further initiatives expected as part of the brand’s long-term sustainability work.
One week until LiGHT 25: Discover the show's new features
(UK) - The countdown is nearly over, with just one week to go before visitors and exhibitors gather for the 2025 edition — an expanded showcase of innovation, education, and networking opportunities. This year’s highlights include the launch of the brand-new Technical Zone, the much-anticipated return of the Associations Lounge, and an exciting new immersive light art installation.
Launched for the first time at LiGHT 25, the Technical Zone will provide a dedicated showcase for brands at the forefront of urban lighting, commercial lighting, control systems, components and OEM, lamps and gear, and emergency lighting. With advanced controls, emergency systems, and components playing an increasingly important role in sustainable and human-centric design, the Technical Zone offers both exhibitors and visitors a vital platform to exchange expertise and explore the latest developments.
Supported by Studio Due, the Associations Lounge will once again act as a shared hub for leading industry bodies, including the DALI Alliance, The LIA, ILP, SLL and the IALD. Located on the Gallery Level, the lounge will provide visitors and exhibitors with a comfortable environment away from the show floor, complete with complimentary refreshments, networking events such as the in-person Silhouette Awards celebration, the LiGHT Lunch with Studio Due and speaker David Atkinson, DALD, and a dedicated talks programme. It also offers the opportunity to learn more about association initiatives and membership.
Central to the educational element of the show programme is the CPD-accredited [d]arc thoughts talks series in collaboration with Lutron. Curated and moderated by editors of arc and darc magazines alongside guest moderators, the two-day talks programme will bring together global experts to address themes ranging from sustainability and circularity to wellness, health, and the business of design. Topics and highlights include Out of Our Lane: What Lighting Designers Must Learn from Medicine, with speaker Willie Duggan (Lighting Designer), which calls on lighting professionals to step beyond the silo of the industry. Plus, True Luxury is Handmade: Crafted for Connoisseurs of Light, with speaker Surbhi Jindal (Da Light Hub / Women in Lighting India Ambassador), exploring the creativity that brings bespoke lighting designs to life.
LiGHT 25 will also feature a new light art installation with Speirs Major Light Architecture, who have partnered with formalighting to present Re:Vision. Exploring the theme of colour perception across species, Re:Vision uses custom spectral profiles and reimagined Ishihara colour blindness test patterns to reveal the diversity of visual experience across the natural world. LiGHT isn’t just a trade show made up of rows of exhibitors. It’s a chance for designers, engineers, and architects to really immerse themselves in light, learn more about how light shapes the design industry, and make new connections through our varied features.
In addition to these new features, LiGHT 25 will bring together thousands of architects, interior designers, lighting designers, engineers, and specifiers, alongside hundreds of leading architectural and decorative lighting brands. Visitors can also take advantage of networking opportunities throughout the event, including a late-night drinks party, a networking lunch, and a dedicated co-working space.
LiGHT 25 is a must-visit event for anyone involved in lighting, architecture, interior design, engineering, and beyond. The show has a perfect mix to discover new ideas, strengthen professional relationships, and stay at the forefront of the lighting industry.
Visitor registration is free. To register and for more information, visit: https://www.lightexpo.london/
HIX LDN returns for 2025
(UK) – Europe’s leading hotel design event – returns to London’s Business Design Centre on 26–27 November for two days of talks, parties, installations, and a curated expo of over 150 leading interior labels.
Guided by the theme ‘Culture Clash’, this year’s programme is a platform for hospitality design without borders, celebrating the unique customs, traditions and perspectives that see hotels breaking down barriers and connecting guests worldwide.
Welcoming designers, architects, operators, suppliers, investors, developers, project managers, independent hoteliers, and anyone else involved in creating inspirational spaces, HIX LDN brings the hospitality design community together for a true celebration of the hotel interior experience.
The show floor features a curated edit of the best new products for next-generation hotel spaces. Featuring major brands from across the furnishing, bathroom, surface, fabric, technology and décor sectors, more than 150 exhibitors will showcase their latest collections along with some exclusive HIX-first releases.
With its own programme of exhibitor activations, breakout talks and partner content, HIX EXPO represents the cutting edge of hotel interior design, connecting the entire supply chain under one roof for a one-stop project shop.
Discover the latest launches from: GROHE, Panaz, Marset, Chelsom, Concept Contract, Robena, Laufen, Tuuci, Roca, Heathfield, Jung, Heals, Gessi, Hansgrohe, Porta Romana, Julian Chichester, Hypnos and more.
The HIX Talks programme features two days of panels, presentations and perspectives delivered by leading designers, operators and experts. From innovations in hotel wellness and the secrets of brand translation to emergent technologies and the shifting definitions of luxury, the 2025 agenda will put the industry’s hottest topics up for debate with some of its brightest minds.
Returning sessions include Studio Confidential with the Festival of Hospitality, going behind the scenes with international luxury hotel specialists G.A Group as they celebrate a landmark 40th anniversary, as well as a panel discussion with four esteemed AHEAD Europe judges as the leading awards programme for hospitality experience and design prepares to reveal the year’s best hotels. Meanwhile, a special HIX Keynote interview with hotel visionary Christoph Hoffmann will see the 25hours Founder explain what it takes to meaningfully challenge the status quo.
Guests will be able to explore a trio of distinct installation spaces inspired by the 2025 theme of ‘Culture Clash’. As part of the main installation space, MKV Design have teamed up with Luma Mirrors by Gemm London for a reflective kaleidoscope concept bringing a slice of Ibiza to the HIX show floor.
Elsewhere, Secto Design and Conran and Partners will be bringing The Essence of Finland – an immersive display and exhibition first debuted at Clerkenwell Design Week – to HIX, offering a visual journey into the country’s unique interplay of light nature and craftsmanship via a triptych of themes - Forest & Materiality, Lakes & Reflection, and Light & Contrast. While up in the Silent Gliss showroom, a future/retro guest room concept by Studio Moren will feature its own programme of content including breakout talks with the designers and a drinks reception.
The HIX opening night party will start on 26 Nov. 17:00–20:30 and kicks off the social strand with receptions, activations and networking opportunities across the show floor, soundtracked by a Balearic-inspired DJ set from Music Concierge and the return of the Gessi soundsystem.
HIX is free to attend, and welcomes designers, architects, operators, developers, investors, owners, project managers, suppliers, general managers and anyone else involved in bringing hotels to life.
Register for your free pass via the link.
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
