Lavsit wins Fuorisalone award for Re/Creation Exhibition
(Italy) - Czech glassmaking design house, Lavsit, emerged victorious surpassing industry leaders such as Google, Zegna, Kia, and Amazon in the installation competition during Milan Design Week.
The Fuorisalone Award selects the most memorable projects showcased during Milan Design Week. More than 1000 projects presented this year with 16 making it to the shortlist chosen by an expert jury. The final decision is left to the design community, who crowned Lavsit as its winner for its creative displays and art installation, Porta.
Porta, the centrepiece of Lasvit’s exhibition, was situated at the Pilazzo Isimbardi. Designed by Lavsit’s Art Director Maxim Velcosky the installation featured 10 monumental, fused glass sculptures – with the largest measuring nearly five metres – to showcase hand craftsmanship on an industrial scale.
Velcovsky says: “I am honoured to receive this award, especially in these challenging times. Being here in Milan and experiencing the warmth of personal interactions is refreshing. In an era dominated by artificial intelligence and the expanse of the internet, I am happy the designer community appreciated the craftsmanship and innovative technology we've showcased.”
The surrounding showrooms featured in the exhibition included a new lighting design concept, Bois de Cristal, by Maria Culenova, a new collection entitled Nebula Claesson Koivisto Rune, and Jan Lecha and Henry Wieglus’ limited edition, Neverending Glory. The architecture of the show was done by Prague studio Cirque Menu.
Leon Jakimic, founder of Lasvit, adds: “Best exhibition in Milan for 2024. Out of thousands of amazing exhibitions across the whole city, where every palace, gallery, museum, and showroom become a curated exhibition. Our Art Director Maxim Velcovsky curated ours. This is a great day for Czech design and craftsmanship. I would compare it to Kolya winning an Oscar for best foreign movie in 1996, except we won this as an overall best prize, not just for ‘outside of Italy’.”
Grau - Fire
(Italy) – German-based company, Grau presents a new portable lamp fire in Milan Design Week 2024.
Named the “world’s first light player” due to its moving light compositions, users can click and dim through various settings and vibes with a motion sensor. Fire’s design encompasses a soft uncompromising light experience that channels a classic ambient table lamp.
Grau references recent scientific studies, which show that the wrong light in the evening increases the risk of mental illness by 30%. Fire offers a warm light free from blue light to enhance the production of the relaxation hormone melatonin alongside other health-promoting effects.
Equipped with ultra-fast charging, Fire charges in two hours via USB-C providing up to 50 hours of portable light and a smart LED which indicates the remaining battery.
Timon and Melchior Grau, founders of Grau, say: “Fire is the biggest milestone so far. We are launching a new kind of lighting experience and are convinced that Fire marks the start of a new era of lighting – the era of living light.”
Flos makes historic return to Pilazzo Visconti for Milan Design Week
(Italy) - Flos returns to Milan unveiling new collections in a present-meets-past installation at the Palazzo Visconti.
Set in the Baroque architecture of the 18th century building, new collections by Barber Osgerby, Formfantasma, and anniversary editions of Michael Anastassiades’ IC Lights were displayed in a three-stage journey exhibition.
The Palazzo Visconti is where 36 years ago Flos launched its first lamp designed with its first international designer, Phillipe Starck. The installation was inspired by an archival photo taken of that evening in 1988.
Taken by Maria Mulus, the monochrome image features a gathering of prestigious architects, designers, art critics and journalists, with Phillipe Stark pictured in the centre.
Barbara Corti, Flos Chief Creative Officer, explains: “That photo is Flos’ soul: its past, its present and what it wants in the future. In those smiles you can read lightness, courage to dare, a small dose of imprudence mixed with the desire to accept the designer’s responsibilities.”
The installation’s journey starts in the entrance hall on the main floor. Visitors are welcomed by an array of Emi lamps by Erwan Bouroullec leading up the staircase. It is here a short film begins, serving as a prelude to the exhibition.
The movie plays a conversation between the five designers whose work is featured at Palazzo Visconti: Michael Anastassiades with the IC 10 Anniversary, Edward Barber and Jay Osgerby with Bellhop Glass, Andrea Trimarchi, and Simone Farresin of Formafantasma with Superwire.
Making the short film involved the five designers conversing and playing games. The film crew intended to create a situation when creative people get together, representing the value of the exchange of ideas and inspirations and celebrating it as the foundation of every design gesture.
The central hall presents an immersive installation with the three new glass lighting products. A series of mirrors divide the central space in parts, each dedicated to one of the three new products: IC 10 Anniversary, Bellhop Glass, and SuperWire consequently continuous visual to the architectural decor, unlike in 1988 where Achille Castiglioni chose to block out the décor of the Palazzo’s rooms with white canvases to display his Taraxacum 88 lamp.
Flos’ intention with the installation was to rediscover the atmosphere in Mulas photo, the effective dimensions of design, being retrospective to its historical identity while interpreting it in new ways to symbolise the company’s transformative nature.
Robert Silva, CEO of Flos, says: “There is no nostalgia in the operation. On the contrary, Flos at Palazzo Visconti represents the company’s desire to always look ahead by continuing to leverage its historical identity and interpreting it in a contemporary way.
In addition to the Palazzo Visconti exhibition, Flos also presented Golden Hour, an installation by Michael Anastassiades in celebration of the IC’s 10th anniversary. The collection presents a new gold finish and maxi versions of his iconic design.
Ten years ago, IC was born to re-propose that moment of suspension in space and time. A feature that is further underlined by the new gold finish, a material chosen as synonymous with not luxury but of timelessness and of that relationship of love and respect that well-designed objects inspire, in a natural way.
Thirdly, the Flos professional showroom will be dedicated to Out of Office, an installation dedicated to the world of the office and work, to reflect on the possibilities that lighting design and well-conceived interiors offer to stimulate interaction and the development of human relationships in everyday life.
The space was transformed into an extension of the Arquitectura-G studio (also responsible for the layout of Palazzo Visconti), and furnished with worktables, chairs, and lamps from the Workmates series by Flos Architectural, a family of professional luminaires created for the world of the office, that push the boundaries of workspace illumination to new dynamics.
Charlie Bark-Jones
This year, the Workspace Design Show will showcase a diverse range of lighting exhibitors, ranging from Daisalux and Luxxbox's expert emergency lighting, Stoane's bespoke, statement pieces, to Synergy Creativ, which specialises in biophilic lighting, Reon’s unique wall lights, Erco’s flexible spotlights, right the way through to Ricoman's acoustic pendants. In short, we’re delighted that this year’s event really runs the gamut of commercial lighting.
We've seen a variety of lighting trends coming through this year. The emergence of sustainability as a priority in lighting will come as a surprise to no one. This year, however, it is evident there is a newfound enthusiasm for reusing products, hence the thinking behind the talk at this year’s show 'The new aesthetic of repair and re-use in lighting design: Why we need a mindset shift’. We’ve assembled an expert panel to discuss this, including Dan Lister, Associate Director, Lighting, Arup, Ruth Kelly Waskett, Project Director, Hoare Lea, Simon Fisher, Founder & Director with F Mark and Kristina Allison, Senior Lighting Designer at Atkins Global.
With the sector’s increased focus on contributing to reducing carbon emissions, lighting designers are and must increasingly be focussed on developing sustainable methods and long term solutions, ensuring products work to achieve energy-efficiency targets. Exhibitor Stoane Lighting, for example, is launching a new division called ‘ReNew’ which has been set up for just this purpose. Its products are designed so that they can easily be disassembled, have internal components replaced, upgraded and eventually parts recycled.
Our theme for this year’s Workspace Design Show theme for 2024 is ‘Bloom’, reflecting the huge increase in biophilic design in the built environment. In design terms, biophilia seeks to integrate elements of the natural world indoors, fostering a deeper connection to the natural world. This trend is exemplified by our exhibitor Synergy Creativ, which specialises in design lighting fixtures such as living walls. In this way, it incorporates greenery to promote this connection with nature, promoting wellbeing and productivity by cultivating a serene atmosphere that visually connects inhabitants with flora and fauna. We expect to see more and more biophilia-inspired lighting in the next few years as in other areas of interiors.
Statement lighting has long been an asset in the designer’s armoury. Unique and eye-catching lighting fixtures can take centre stage to wow workers back to the office – think dramatic atriums or areas where a big impact needs to be made – for example in town hall spaces or shared kitchens. Designers often focus on creating bespoke, statement pieces that not only provide illumination but also serve as artistic elements to elevate a space. Manchester-based Ricoman Lighting has created Flow Curved Linear Lighting', which allows for countless dramatic possibilities. This system consists of straight and curved basic modules, which can be combined in different ways to create unique lighting projects. The modules can also be configured to classic circular luminaires, rounded rectangles, continuous waves or even more abstract shapes. Providing even more possibilities, single or continuous luminaires can be suspended or mounted on ceilings and walls with the light directing downwards, inwards, outwards and also twisting, making this product range ideal for larger spaces as a theatrical, suspended architectural lighting configuration.
Lighting is also becoming more experiential with dynamic lighting effects such as colour gradients, motion sensors, and interactive elements able to create engaging and immersive experiences in both commercial and residential settings where the boundaries between light and art blur. Lighting fixtures can also serve as works of art themselves of course, featuring beautiful sculptural forms, and innovative use of materials to really bring out the brilliance in an interior. Lighting is also working harder than ever before with products having the ability to provide acoustic baffling or even sprinklers or M+E systems.
Human-centric lighting is also set to continue its rise in popularity into 2024. This concept involves designing lighting systems that mimic natural light patterns to positively impact human health and well-being. This includes adjusting colour temperatures throughout the day to support Circadian rhythms to suit people’s needs. At home, this means keeping the light out when you need to sleep and ensuring you let the light in when you need to wake up and stay energised. In commercial interiors, whether that’s a workplace or other commercial environment it could mean providing a range of lighting from brighter lights to warmer tones, depending on the time of day.
This fits in nicely with the idea of personalisation in lighting, another key trend set to continue. This not only includes overhead lighting but also the use of desk lamps, allowing individuals to customise the amount of light required on their individual workstations, as well as making an attractive addition to the physical desktop.
Lighting is a key product category for us here at Workspace Design Show and we look forward to visitors exploring the thriving ecosystem of work life, including lighting up offices in a multitude of ways.
Cantabrian Maritime Museum
Architectural studio Zooco has transformed the hospitality venues inside the Cantabrian Maritime Museum, creating an elegantly simple destination that celebrates the building’s original architecture.
The Cantabrian Maritime Museum, Spain, was conceived as part of an architectural complex together with the Oceanographic Center, designed by Vicente Roig Forner and Ángel Hernández Morales and built between 1975 and 1978.
The original building consists of two square bodies connected by a canopy, with a concrete structure. The interior is distributed over three floors around a central courtyard covered by a vault of paraboloid membranes. In 2003, a renovation and extension was carried out, which included the extension of the west façade and the roof of the terrace with a pyramidal aluminium structure, thus altering the initial conception of the building.
Madrid-based architectural studio Zooco was brought on board initially to rectify issues of dampness in the roof and façade of the building. This later developed into the team designing and creating a new space of the museum on the second floor, which houses its restaurant and terrace.
When describing their involvement in the project, Miguel Crespo Picot and Javier Guzmán Benito, two of the three founders of Zooco, explained how fortunate they were that the client granted them complete freedom when it came to shaping the design of the restaurant.
“Throughout the duration of the project, the integrity of the design remained unaltered, preserving its originality and functionality without undergoing any changes.”
The geometric properties of the space helped define the approach to the restaurant’s interiors. The square morphology of the restaurant’s volume is the result of four additional triangles that regularise and complete the concrete paraboloids of the original building.
“The original building had a terrace on the third floor, where the concrete structure was completely outside and functioned as the roof of the museum’s central patio. In 2003 the building was renovated and within this intervention, the paraboloids were covered with a new roof and the space between them, and the perimeter of the building was closed with glass, generating a covered space where there was previously a terrace. From the outside, the original cover can no longer be seen, and from the inside it is covered by paint or coating,” explain the two founders.
“Our intervention focused on recovering the original essence of this significant construction element. To do this, the coating and paint were removed, and the inclined green glass was replaced with vertical transparent glass. In this way, the paraboloids appear in their pure state and a perimeter terrace is recovered along the entire space.
“The geometry of the existing structure conditions the space, because its height in its lower part is impractical, so a large bench was arranged around the entire contour that allowed us to take advantage of that space and organise the distribution of the rest of the floor plan.
“We wanted the concrete paraboloids to be the absolute protagonists of the space. To do this, we looked for a floor finish that was as neutral as possible, that adapted to the existing conditions and did not compete with the main element of the project.
“To enhance the original structure, we decided to use a wooden roof that framed the perimeter of the paraboloids. The wooden slats bring warmth and friendliness to the space, while allowing us to solve all the technical needs for air conditioning, heating, and lighting, leaving them hidden. In this way we ensured that all these elements did not interfere with the dialogue of concrete and wood, which were presented as continuous and clean elements.
“This geometry became a recovered element, a vestige of the past, and the protagonist of the restaurant’s interior. Treated as an artistic element, the triangular wooden false ceilings frame it.
The museum’s location also played a key role in the design strategy for Zooco. “We could say that it influences 100%,” says Guzmán Benito. “We are at the Cantabrian Maritime Museum, a museum dedicated to the sea, which is practically on top of the water. When we are inside, the feeling is the same as when we are inside a boat, there is only water around, and that is why we used clean glass from floor to ceiling, generating a perimeter terrace as if you were on a boat.”
“The use of wood and steel for all the furniture is reminiscent of the materials used in ship building,” continues Crespo Picot. “The wood is arranged in small boards just as it is used in the hulls of boats and the furniture has slight curvatures that are reminiscent of the aerodynamic shapes of boats. Likewise, the lamps are inspired by the masts for ship sails.
“The dialogue between the concrete container in grey tones, on the one hand, and the glass envelope that allows a total visual connection with the outside, generates great spatial harmony. Everything is completed and harmonised with all the oak wood furniture and stainless steel accessories.”
The role of decorative lighting was integral to achieving the minimalist aesthetic the team were working towards for the dining area. Along with fixtures from Arkoslight, Menu and Gubi, Zooco also created a custom piece called the MMC Lamp.
“The concept behind the design of the MMC lamps stemmed from a specific necessity – the quest for a lighting solution that seamlessly emerged from the table surface, eliminating the need to suspend it from paraboloids,” explains Crespo Picot. “This innovative approach aimed to preserve the integrity of the concrete structure, ensuring a harmonious blend of functionality and aesthetics. In addressing this challenge, the lamps were meticulously crafted to not only fulfil their illuminating purpose but also to become an integral part of the architectural composition.”
Discussing the various considerations for lighting placement, Guzmán Benito says: “First, in this luminous spectrum are the suspended fixtures, gracefully poised from the ceilings adorned with wooden slats. Second, the MMC Lamps that emerge from the table, and thirdly the recessed spotlights, which are strategically placed to illuminate pairs of tables, creating intimate pockets of radiance.
“[Decorative lighting is] as important as any main element of the design. The luminaires, in their varied forms, become not merely sources of light but protagonists in the narrative of design, illuminating not just spaces but also the nuanced interplay between permanence and flexibility, aesthetics and functionality.”
When asked how this project differed to others in Zooco’s portfolio, Guzmán Benito explains that the task of rehabilitating the existing concrete structure was a point of difference for them. “This challenge added layers of complexity to the process, requiring a meticulous approach to preserve and strengthen the structural integrity while undergoing rehabilitation.
“Zooco designs everything. Our philosophy consists of approaching any type of assignment, regardless of its scale, budget, and programme, with the same attitude and creative ambition. Applying the same process searching the most appropriate and valuable solution, both from an artistic and functional point of view.”
In Focus - Lysabel Lorenzo Truant intra lighting
Designer Lorenzo Traunt discusses his pendant light, Lysbel, for intra light.
What is the design concept behind Lysabel?
Lysabel was born as a straight line, hypothetically infinite, radiating its light 360°. The primal idea of Lysabel originated from the beautiful images of laser sabre battles in well-known science fiction movies. The whole project was illustrated through compelling images, reminiscent of the epic saga, with numerous characters wielding the lamp attached to the power cord. For example, the robotic multi-armed Grievous from Star Wars (who wielded four lasers) lent itself to being associated with the adjustable multi-armed Lysabel chandelier or the “en guard” position of one of the knights approaching the floor lamp.
The collection grew with the thought of light like a gash in the darkness, like a weapon to be wielded in a dark space to illuminate it, like a battle between opposing entities such as light and darkness.
How long have you been working on the collection?
The Lysabel collection was born in 2019 and developed over a few months with increasingly elaborate concept sketches and an initial 3D-engineered design equipped with all the essential components. In 2020, it was sent to Intra lighting, with the first prototypes unveiled in 2022.
What was the most challenging aspect of this project?
Managing the uniformity of light along the light rod. In my initial drawings, I identified both a 360° spread and a predominance of light on one side, without compensating for the opposite side. The hypothesis could only be checked in the prototyping phase, thanks to the photogoniometer provided by Intra. This device allowed us to assess optimal light diffusion with precise data, without bothering the view.
Another challenge involved designing the connection between the light rod and the power cord. The detail borrowed from the particulars of irons has been simplified and embellished. This detail personalises the lamp and makes it ready to become a horizontal, vertical or tilted element as desired.
What materials and design processes are used?
The basic materials are aluminium and acrylic glass (PMMA), both of which are 100% recyclable. The profile of the acrylic glass is obtained by an extrusion process that easily allows for varying lamp lengths and improves production by optimising it in terms of assembly time and production adjustment. High-quality LED strips can be cut to size, allowing for high production flexibility. The light sources have high-quality parwww.intra-lighting.comameters: Hi flux LED strip, CRI>90, MacAdam<2, and with a wide range of colour temperatures: 2700K, 3000K, 3500K, 4000K. The design process begins with imaginative assumptions. These ideas converge into thoughtful formal choices that undergo verification in the engineering and prototyping phase. Subsequently, they are further examined in the photometric results, utilising tools such as the photogoniometer. This meticulous approach aims to achieve optimal functionality and manageability.
What technologies are used?
The frosted opalescent acrylic glass tubes are extruded by calculating the exact coverage of the opalescent compound so that the light is diffused evenly without the bright dots of the LEDs being visible, but without the diffuser finish being able to cover too much of the light emission. The aluminum body, including the ball joint and all visible metal details, is offered with a choice of finishes: gold, onyx, and bronze in coated or brushed variants. The components are of high quality, and the ballast operates at 24V, maintaining a constant voltage. The light source consists of long flexible webbing that can be cut at will, carrying on board numerous LEDs juxtaposed one to the other and electrically connected.
Despite its slender appearance suggesting fragility, the collection is surprisingly resilient and manageable.
Designing for Small and Large Spaces supported by the BIID
An expert panel brings a wealth of experience, from stadiums to five star hotels, from homes in the UK to homes overseas. Join them as they discuss lighting spaces big and small from the perspective of an interior designer.
Steven Eshleman
Interior design studio AvroKO is not only well known for its stunning interior schemes, the firm also has a product design arm, which is led by Director of Industrial Design, Steven Eshleman. darc chats to the designer to find out more about his career at the New York studio, and his design approaches when it comes to creating light fixtures.
American interiors studio AvroKO is well known for some of the most beautiful hospitality projects spanning across the world. Established in 2001 by four close friends, Kristina O’Neal, Adam Farmerie, William Harris and Greg Bradshaw, the studio prides itself on four foundational values; create as a collective, work macro-to-micro, be hospitable, and think sideways.
“As we’ve grown as a firm, this idea of “connection” has extended beyond just the four of us, our studio, and even the end result of the work,” says the firm. “We orchestrate experiences that envelop patrons through a combination of design-driven programming and contextual references.
“This ultimate goal of connectivity in our design is to ensure that hospitality backdrops are not simply passive reception spaces where people dine or sleep, but that they create emotionally transcendent experiences, however tiny or even subliminal, allowing the energy of the spaces to shift and evolve timelessly.”
Along with delivering outstanding interior schemes for hotels, bars and restaurants, the studio also provides product design services.
“A big part of the design of our spaces is focused on the magic of custom lighting and furniture pieces, elements that often define the experience of a space. We pride ourselves on our passion for developing these custom furniture, case good and lighting components inhouse and turning them from visions into production pieces.”
To discover more about the product design arm of AvroKO, darc’s editor spoke with Steven Eshleman, Director of Industrial Design at the studio.
“I spent my formative years in Hong Kong, and subsequently in Toronto, Canada,” he tells darc. After high school, he obtained a bachelor’s degree in environmental studies at The New School university in New York, and a Bachelor of Arts degree in industrial and product design from Parsons School of Design.
Alongside his design career, Eshleman gives us a personal insight into his side line hobbies: “In recent years, I can admit that I’ve fostered an addiction to collecting and caring for unusual houseplants. At the same time, I’ve cultivated a budding interest in writing horror fiction on themes surrounding technology and climate change. Curiously, these hobbies are the functions of perceivable light and conceptual darkness.”
Perhaps this self-confessed interest in the dark side explains one of his intriguing original career aspirations, to work with the dead. “I don’t think I consciously desired a career in design, life moves fast, and I just leaned in; I do remember I wanted to be a mortician or to work in advertising. Early on, I was told I had a penchant for sketching, collaging, and anything that involved crafts. That led me to an arts education, which led me to an arts-focused university. After the first year in school, a professor urged me to major in 3D design based on what he observed of my work. From there, everything seemed to point towards industrial design.
“Before disbanding for higher education, I developed and capitalised on a quick-service food concept with a few schoolmates. In university, I interned for a fledgling pet product design company, and had another internship at a furniture and lighting design atelier. At one point, I had the opportunity to teach a college course by myself. Afterwards, I worked in sourcing and procurement for an eco-fashion start-up. My career could have very well ended up on any of those paths.”
Eshleman joined the AvroKO team in 2019 as Senior Furniture and Lighting Designer before progressing to Director of Furniture and Lighting in 2022, and now Director of Industrial Design in 2023.
“My current role is pretty novel at AvroKO in that it demands a multidisciplinary approach to the work, the mentorship of younger designers, and the conceptual pollination of future projects. The work is micro in scale but has macro impacts if not executed thoughtfully; the princess will feel the pea. On a typical day, I’m still involved in ideation, sketching, and 3D modelling just like any member of our furniture and lighting team. We take Hospitable Thinking very seriously for our clients as well as our staff; I emphasise a place of empathy and collaboration for my team so that they can be empowered to succeed in every project they tackle. Outside of client-based projects, we also wear various hats in product development for our own lines of furniture and lighting with collaborators and partners like Visual Comfort and Stellarworks.”
The concept of Hospitable Thinking referenced by Eshleman is a phrase coined by AvroKO that describes its philosophy to approaching projects. The studio describes it further: “AvroKO believes that hospitality transcends languages, industries, and borders, it’s a collection of small moments that can have a powerful, positive impact on how people feel. Human needs are universal. They transcend geography, race, religion, culture. They are wired into our very DNA, informing our decision-making and shaping our reactions to the world around us. They are few, finite, and classifiable, and have remained constant throughout history and human culture. By understanding and fulfilling these fundamental human needs, brands and businesses can resonate with consumers on a deeper, more profound level, resulting in a strategic approach that maintains relevance and longevity. It’s an approach we call Hospitable Thinking. We bring the philosophy of Hospitable Thinking to all of our projects in order to foster remarkable experiences and ultimately form more meaningful connections between people. This process integrates timeless core truths, behavioural sciences, and environmental psychology to maximise hospitality experiences.”
Looking more closely at Eshleman’s product design journey, he reflects on his design style over the years and how his various experiences and education have influenced this. “In my early career, I gravitated towards the mid-century modern, as many of us are guilty of. But in an effort to diversify, I’ve focused on the perennial aspects of design rather than a specific period or place. What makes a product or design alluring to a person apart from its period or place? This question allows us to focus more on form and design rather than a point in time that might fall out of fashion. Perenniality in creativity is identifying inspiration from the past just as well as works from today; it does not discriminate between Eastern or Western styles. This certainly has an influence on AvroKO interiors because our work cannot be defined by a particular era — let alone be replicable by others. What is old becomes new again can describe others’ works, while our designs live in the nostalgic tension between the old and the new.
“In product design, the light we work with is promethean and basic, but that doesn’t mean it’s easy or elemental. The conjuring of new light is heavily influenced by memories of past experiences. A new design for a sconce, for example, only emulates all the light that has ever been. When we describe our work, we often propose that a light fixture evokes a place, a time, or a snapshot. We ask questions like, “should the light be diffused and spray like shattered crystals up a column? Or should it peak and dance through reveals in an opaque shade?” Light itself is fickle and intangible in the most romantic way. It reminds us there is a past, and plants us squarely in the illuminating present.
“I have always been drawn to the works of H.R Giger, Carl Auböck and Eero Saarinen. All of their works remain steadfast and unflinching through grace and brutality; timeless in execution, skewering passing fads. Today, I’d say my inspirations can come from a concept or idea derived from tangible thematic research. I often find myself in decrepit flea markets flipping through books or trawling the recesses of strange Tumblr pages trying to draw connections from one idea to another.”
With reference to his first degree, he continues: “Environmental studies is a broad topic that encompasses everything from urban landscape design to cartography in the service of disaster research. At AvroKO, it has helped me to understand the macro-level impacts of the furniture and lighting industry. We promote a workflow where we encourage our clients and vendors to think globally but act locally. Not everything we design must be manufactured and sourced from oceans away, it’s up to our team to resource that homegrown industry given the renewed need for a repatriated supply chain. With that, I have always seen hospitality environments as the most eco-friendly way of experiencing good design; in the lifetime of a hotel, for example, thousands of people can experience a chair rather than the creation and delivery of thousands of chairs in as many homes. We can elevate the product through diligent material selections and design engineering, thus ensuring a longer product life; many of our works can be refinished or refurbished for a new life after the original project.”
In Eshleman’s experience, good lighting should above all be functional. “No one wants to be blinded by a phone camera in a restaurant with medieval light levels and miniscule menu fonts. Light imagines and maps memories onto space, whether the memories are filled with contentment or melancholy is entirely up to the guest and user. Through materiality and geometry, a simple point of light through tinted glass panes can be manipulated to evoke the green flash at the ocean’s horizon, for example. At its core, lighting reflects one’s histories, and those illuminating histories bring nostalgia.”
In order to balance aesthetic appeal with functionality, Eshleman and his team work through iterative sketching. “Yes, we can make it beautiful, but we can be thoughtful in the way it can be manufactured, assembled, and serviced too,” he explains. “If we see that the aesthetics or function of a product is eclipsing the other, then that is when we reorient. Many times, it’s a simple stroke of the pen or just omitting a detail to bring those aspects to a harmonious design.
“Good designers employ a blend of critical, conceptual, and technical thinking. It answers the “what,” “why,” and “how” through tangible designs and use cases. There is really no prescribed “good” product design, only if it solves a need; the need can be met with experiential and practical products.”
With regards to technological developments, he believes that technology is “simply a tool in our primitive hands”. “Tools can be helpful, or they can be abused. We designers have been using tools long before generative AI, and we will be creating long after our current arsenal of software becomes obsolete. I’d instead reframe the question to, “how do we empower designers to create their works without stripping them of their nuanced experiences and cultural context?” Perhaps the worst outcome is that we would fail to see the subtleties of organic design or the sophistication of the beholder. The best outcome? We keep designing.”
Walking us through the design process of creating a new decorative lighting product, Eshleman describes how he and his team are immersed into “three distinct conceptual pillars” from which they ideate. He continues: “The conceptual triumvirate informs us of the site, its relative history, as well as any associated muses as a contextual backdrop. From there, we research and unearth unexpected themes that we can incorporate into the larger story. We fold those findings into our hand sketches and ideations. For example, we reimagined the form of a proto-handloom from pre-modern Korea as details in a series of lighting for a new hotel in Chicago. When the schedule permits, we frequently prototype our designs for our clients and internally for quality control. All of this culminates into the delivery of an original product that is truly one-of-a-kind, with notes of the past and a foot into the future; AvroKO’s designs today are tomorrow’s coveted vintage finds.”
When it comes to the relationship between technical architectural lighting and decorative lighting in the world of interior design, Eshleman refers to the topic as somewhat controversial. “There seems to be two schools of thought, the architectural design perspective is prescribed to run in opposition to the visions of interior designers. Architectural lighting can create a sleek and modernist tableaux, but a liberal use of which creates a sense of coldness and frigidity. It’s up to interior and lighting designers, engineers included, to negotiate and identify the utility of the space in question. While we can all agree that programming for lighting is straightforward for boutique hotels or the healthcare space, it is the transitional and transformative spaces that need careful consideration. These require us to be cognizant of what the space is used for at different times of the day or night, and in changing social contexts. In short, it’s finding the optimal balance because nothing is as jarring as ghastly lighting temperatures in otherwise thoughtfully designed welcome spaces.”
Reflecting on one of the most significant moments in his career, Eshleman describes the moment he “professionally stepped into the Idlewild at JFK airport”, which has since been recast as a public space for the TWA hotel. “It remains the most reverent project that I have been a part of since I have family who are of Finnish descent. At parties, the topic is a tried-and-true icebreaker because chances are, someone had a layover or made the pilgrimage to the iconic site.”
Looking at design trends across products and interiors, Eshleman has seen a shift to “loose, relaxed, soft, and comforting” due to the “current atmosphere of stress reckoning”.
“Design trends reflect the attitudes of the entire creative ecosystem, which encompasses the industries with the most cultural influence, such as fashion and film. As a generalisation, the next generation of designers are inclined to foster a sense of protectiveness and soothing in their works, as opposed to the brash or restrictive. What this translates to is plush and enveloping furniture and lighting that is blushed and elemental, at its core, approachability, and a sense of tranquillity. I’m not sure where design is going next, but I think you need to look out a restaurant window, feel the sentiment of passersby, and eavesdrop on current issues.”
As for the future of AvroKO and the direction the studio is moving, Eshleman concludes: “There is much to be done in the realm of mindful hospitality and all the industries that it touches. Nothing is off the table because everything is some function or experience of conscious design. With that, do stay tuned for AvroKO’s forays into the product world with many collaborations ahead…”
Vibia wins coveted Best decorative light award
UK- Vibia wins [d]arc awards 2023 Decorative Kit category for Array pendant.
On 27 March, Spanish lighting brand Vibia won the [d]arc award at fabric London after receiving the most votes in an exclusive peer-to-peer voting system.
Designed by Umut Yamac in collaboration with Vibia, the Array manipulates technically-processed threads stretched between two rings, forming conical and cylindrical shapes that can be combined for installation. Balanced on aluminium rings, the concealed light sourced within the lower ring produces a gradient effect, combining soft downlighting and enchanting upwards glow. Find more about Vibia's Array via www.darcawards.com/decorative-kit-2023
370 entries worldwide were submitted to this year’s awards with more than 11,000 votes cast. Before voting all entries were shortlisted by a team of lighting designers: Eugenia Cheng, LightOrigin Studio; Andrea Levratti, Lightera; Jenny Bland, Lightheory Studio; Pinar Onatm P.ERO Lighting Design; Nicolas Houel, l'Observatoire de la nuit; Sophya Acosta, Sophya Acosta Lighting Design Studio.
The 80s themed awards party hosted by darc media and creative partners Light Collective. 600 guests attended with 90% of which were designers.
The evening included neon inspired light art installations, 80s food and dress code, a retro video game arcade sponsored by Lutron, Alexy’s Revenge’ selfie spot provided by Unibox, and UV face paint.
The light art installations were provided by manufacturer sponsors who partnered with lighting design studios to design something inspiring, fun but sustainable within a £600 materials budget.
Into and Fibr8 took the award for best installation for their compilation tape inspired installation, ‘Now That’s What I Call Darc’, which used Fibr8’s Laser-Powered Fibre Optic Light Lines.
2023 [d]arc awards manufacturer partners and installation teams:
- Applelec and Nulty+ - “TM Tetris”
- Architectural FX and dpa lighting consultants – “Murder on the Dance Floor”
- Designed Architectural Lighting and Delta Lighting Design – “Blockbustetris”
- ELR and Equation – “Party Light Out”
- Fibr8 and Into Lighting – “Now That’s What I Call darc”
- Formalighting and Foster + Partners – “Saturday Night Live”
- Kingfisher Lighting and Arup – “Flicker of Fear”
- No Grey Area and Michael Grubb Studio – “Let’s Get Physical”
- Proled and Buro Happold – “Illuminated Dreamscapes”
- Rako Controls and Lighting Design Studio – “Top of the Crops”
- Radiant Architectural Lighting and BDP – “Pac Man”
- Signify and Cundall – “A Fruity Place to Dance”
- Thorn Lighting and Hoare Lea – ‘The darc 80s”
- Vivalyte and Light Bureau – “Voguelicious”
All category winners from the 2023 [d]arc awards included:
Places – High Budget: Chapel of Sound, China by Beijing Ning Field Lighting Design
Places – Low Budget: Artifact Bar, Hong Kong by LightOrigin Studio
Spaces – High: The Dark Line, Taiwan by Artec Studio
Spaces – Low: Bùnquers del Castell de la Trinitat, Spain by Atelier Medina Querini
Structures – High: Islamic Arts Biennale Jeddah, Saudi Arabia by Glare
Structures – Low: St Patrick's Church, Ireland by Dark Source
Art – High: Inner Peace, UK by Foster + Partners
Art – Low: Reverberating Light, USA by lightexture
Art – Bespoke: Garlo I Chaise Longue, UK by Marina Garlo
Event: Amsterdam Light Festival Edition 12, Netherlands
Kit – Architectural Interior: Cometa Q4 by DGA
Kit – Architectural Exterior: Mini G-Cat by Stoane Lighting
Kit – Decorative: Array by Vibia
Kit – Technology: Laser-Powered Fibre Optic Light Lines by Fibr8
The darc awards is supported by the International Association of Lighting Designers (IALD) and the Society of Light + Lighting (SLL). The awards are curated by Light Collective alongside darc media and will be celebrating its 10th anniversary at the 2024 awards.
Watch the full awards at www.youtube.com/[d]arcawards-liveatfabricnightclub
Matrix Office
Alex Dauley tells darc about her workspace scheme for Matrix Studio. Combining luxurious colours and furnishings, she has created a stunning and professional environment.
After two years of pandemic-induced remote work, the return to the workplace has left companies and their employees stuck at a crossroads. On one hand there is a positive attitude to the familiarity of routine and the welcome escape from home confinement, bringing back a natural rhythm to life. On the other hand, the comfort of our own abode is sorely missed when forced to work the nine to five in the same bland environment complete with squeaky swivel chairs and sterile lighting.
Matrix Studios, an office, studio, and co-working space, nestled in West London, is one of many companies changing their perspective of post-pandemic workspaces. Embracing the idea of being a “home away from home” Matrix has invested in its interior landscape to make employees and clients enjoy working in the space. Interior Designer Alex Dauley of Dauley Design was tasked with the ambitious endeavour to transform the space. Dauley, already having a longstanding relationship with the client, brought a wealth of expertise to the project with her knowledge of the company and working with many commercial projects since the pandemic.
“The office is used by two music industry companies, 2 Tone Entertainment and Stellar Songs. They are publishers and artist management. Their brand is very strong and the image they needed to project to their clients and artists informed the design direction. It needed to feel opulent, sophisticated, and professional yet relaxed,” says Dauley.
Previously the office was a stereotypical white box with little character, thankfully the client was open for a complete transformation, leaving Dauley with a blank canvas. Her design emerged from her observations of how the team worked and through thorough research of the client’s brief.
In response to the clients wishes to have a SoHo House inspired look, the design process unfolded with a nuanced approach aiming to establish sophisticated feel to it’s hospitality. Using a layered approach to textures and tone, Dauley designed a neutral backdrop using stone and wood, which were juxtaposed against bronze mirror, brass accents, and reflective surfaces. Each element was meticulously created not only for its visual appeal but also its practicality in conjuring the kind of productivity for a music company. The overarching aesthetic sought to strike a balance between opulence and fostering an atmosphere that will nurture creativity. Take for example, the chairs, upholstered in a vibrant blue velvet, injecting energy while blue can simultaneously bring peace and calmness.
Dauley explains: “This space was about creating a vibe, a space that allowed for creativity and entertainment, alongside the day to day running of the business. It had to function on several levels. Technically we had to soundproof the entire office so music could be played without causing too much disturbance. The space needed hot desks, a group meeting area, break out spaces, a private meeting room, bar, and stage for client performances. We fitted a lot into a small space.”
Alongside textured materials and warm metallics, the look is complete with ambient light such as Andrew Martin floor lamps positioned in the corners of the room, while Andrew Martin’s tubular chandelier takes centre stage from the ceiling. The wall lights are vintage and bought from Crystal Palace Antiques, washing the walls with a warm glow.
Dauley adds: “I wanted the space to feel like you were at home. The lighting was residential lighting placed into a corporate space. It needed to be softer and more tactile to create that ambience.”
According to Dauley, decorative lighting is one of the crucial components when achieving a dynamic look in workspace environments to add both comfort and luxury. She says: “The lighting played a huge role, again to help it move away from feeling too corporate. Layered ambient lighting, lamps, vintage wall lights and statement pieces added to the relaxed aesthetic and the mood could change depending on the lighting used.”
The shift in workspace design since the pandemic has been notable to Dauley, with most of her commercial projects requesting to move away from corporate looks and instead prioritising comfort. The reason for this is crystal clear to Dauley as she explains from her experience: “I think companies want to entice people back into the office environment and have realised the importance and benefit of creating a space people want to spend time in and that promotes wellbeing and happiness.”
DesignLSM founder Simon McCarthy retires
(UK) – DesignLSM announces Co-Founder Simon McCarthy’s retirement after 36 years at the company.
Alongside McCarthy’s departure, the studio announced his successors Holly Hallam, Managing Director, and Rachael Pratt, Studio Director, who will be taking full ownership of the company.
McCarthy found the company in 1988 with his late business partner Steve Bouchardiere. The pair were driven by a shared passion for hospitality, and creating aesthetically pleasing spaces that led them to commercial successful. Bouchardiere passed away in February 2023.
Under the stewardship of Hallam and Pratt, DesignLSM is set to continue building upon its reputation, focusing on expanding its global footprint with projects in Central London, Europe, and a continuing growth in the Middle East.
Simon McCarthy, Co-Founder of DesignLSM, says: “As I reflect on the past 36 years, I feel immensely proud of all that my dear friend, Steve, and I began. Starting any business has its challenges, let alone launching an agency at the ages of 24 and 32 – but standing back and seeing the thousands of projects around the world that we have collectively delivered with our fantastic clients and talented teams over all those years feels like a true achievement. I am eternally grateful to Steve for joining me on this path and will forever cherish and miss him as a wonderful business partner, but more importantly, an amazing friend.”
He adds: “I couldn’t be happier that Holly and Rachel will be leading the future of DesignLSM – I have every faith that they will drive the business forward with their undeniable passion, knowledge of and love for the hospitality industry, just the very reasons why Steve and I started this agency. I will continue to show my support and cannot wait to see what more they can achieve.”
Hallam says: “Simon has been both a mentor, not only sharing his vast knowledge of the industry and in-depth technical expertise with both Rachel and me, but also as an invaluable business partner for the last three years. We both are extremely grateful to have had him by our side to navigate through the Covid period and to then move on to celebrate our strengths and successes; ensuring a smooth transition in ownership, equipping us to forge forward, continuing the legacy of DesignLSM. Simon will continue to offer his support with all our future endeavours. We wish him and his family the happiest of times ahead as they embark on their next adventure.”
Jeffrey Beers 1956-2024
(USA) – Jeffrey Beers, founder of JBI, dies age 67 after a battle with bowel cancer.
A leading figure in hospitality design, Jeffrey Beers, passed away on the 18 March 2024, surrounded by his wife, Connie, and his two sons Justin and Oliver.
Beers began his studio in 1986 and established a successful career spanning 38 years designing for celebrities, corporate America, and international hotels. Significant projects include the likes of Fontainebleau hotel in Las Vegas, the offices for Jay-Z’s Roc Nation record label and 40/40 Club in Manhattan and the legendary China Grill,
Newly appointed partners, Tim Rooney, Nora Liu-Kanter, and Michael Pandolfi says “During this difficult time, our priority remains supporting Beer’s family and the JBI team as we navigate this loss. We ask for your understanding and patience, and privacy as we work through this period of grief and transition.”
