Daniel Blaker
Daniel Blaker, Creative Director at Nulty, discusses the lighting details to be considered when designing a lobby, and how it can be used to establish the tone of the space.
Entering a lobby should feel like a warm embrace. A beautifully curated welcome that creates a strong first impression and immediately gives you a sense of the occupant’s character and personality. Light has an important role to play here because it has the power to change the tempo and set the tone, so the way that we weave a lighting scheme together needs to be carefully balanced and emotionally driven. While a designer’s approach varies according to whether it’s a commercial space where typically brighter finishes are required, or a hotel where warmer tones are the order of the day, our design intent is simple - a lobby environment should make an impact and feel like the pinnacle of the experience set to unfold.
Before we consider the specifics of incorporating a decorative luminaire or a feature installation, it’s important to step back and unpick the design narrative and purpose of that scheme. What are we trying to say with that space? Who is the scheme intended for and how will it be used? Is it simply a transition space that’s sole purpose is to guide its occupants through to a particular spot. Or should it encompass the welcoming spirit of a concierge and be a space of emotion and connection. It’s likely to be the latter because lobby environments are evolving to become social landscapes that serve multiple purposes, so co-working spaces and casual meeting areas are being embedded into the design. Designing for diversity of purpose is a skill that the lighting designer is becoming increasingly adept at. Often it means pulling a rabbit out of a hat by weaving different lighting techniques together in one single scheme. The trick is how we master the hierarchy of the space; the magic takes place when we design in layers.
First things first, we need to think about how light can be used to influence the way that people move around the space. As the eye is drawn to the brightest point, we can aid wayfinding and improve permeability by using light where it’s needed most to create a dwell point or pause moment such as a reception area or concierge desk, or to guide users to the next stage of their journey by accenting a lift lobby or staircase.
Next, we need to think about what materials are being illuminated and how they receive light. Most of the lit environment is perceived through how effectively the vertical surfaces are illuminated (as opposed to the floor), so when a person enters a space from the outside world, they shouldn’t feel like they are walking into a cave. If we have taken the time to properly illuminate the elevations, the transition should feel seamless.
Finally, we need to make the space sing, come alive and feel unique - this is where a focal point such as a bespoke chandelier or a theatrical lighting installation comes into play. When decorative lighting is thoughtfully curated, it can elicit an emotional response by imprinting a hotel experience in a person’s mind, reinforcing a company’s visual identity in a workplace, or giving pause for reflection in a residential setting. If we get it right, it’s a stylistic intervention that becomes an expression of the wider interior design narrative.
Too often a decorative lighting piece in a lobby is an off-the-shelf response, which is a missed opportunity because creation isn’t just specification, it’s about how form, materials, finishes, and light come together to create something special. Commissioning a piece for a lobby is a chance to have a little bit of fun by adding a creative stroke to that scheme, or weaving in something unexpected that gives it an extra punch of personality. All of this brings us back to our original design mantra - make an impression! This should be the raison d’etre of a decorative luminaire or lighting piece in a lobby space, but it’s important to remember that these standalone lighting elements can’t be expected to enhance an interior space on their own. They need a sprinkle of magic in the form of delicately balanced layers of light that prevent them from becoming featureless and formless.
The key to activating the characteristics of a decorative lighting piece depends entirely on the composition, scale, materiality, sense of movement, and ambience that you are looking to create. In some cases, the feature itself is the light source, and whilst this does inherently provide its own expression, it typically delivers a modest performance that is at best functional light. Considered use of architectural lighting can make all the difference. If we want to add a strong dose of sparkle, we need to balance multiple light sources around a fitting to increase the level of refractions and reflections. And, if we are looking to make a feature soar, incorporating imperceivable up lighting will help it ascend.
A harmonious dialogue between architectural and decorative lighting will, without fail, result in a more resonant environment. Staging an experience is fundamental to the success of a lobby environment, and while decorative elements are typically not wall flowers, they need a little bit of help to be teased out of the shadows.
www.nultylighting.co.uk
Studio Sløyd
The new Archive table lamp from Northern is the result of a collaboration with designers Studio Sløyd. darc’s editor chats with the duo about their first venture into the world of designing lights and how Northern’s Jonas Norheim helped them along the way.
The Archive table lamp is the first collaboration between Nordic design brand Northern and fellow Norwegians, Studio Sløyd.
The collaboration was established during Designers’ Saturday, one of Oslo’s largest and most important design events.
An open competition was hosted to aid in building relationships between designers and manufacturers. Five design briefs were sent out by the manufacturers to which designers could respond. Northern’s brief for a lamp design received approximately 40 different proposals from roughly the same number of designers. Eventually, the team chose Studio Sløyd to be their partners.
Following the acceptance of Sløyd’s design, Northern was then tasked with developing a prototype, which was to be displayed at the next Designers’ Saturday event that takes place every other year. Once the final design is completed, the brand has a choice on whether to release the design back to the design studio who can take it to another manufacturer, or to keep and produce the piece themselves; Northern chose to keep and produce the design.
darc sat down with Herman Ødegaard and Mikkel Jøraandstad of Studio Sløyd, and Jonas Norheim, Director of Northern to find out more about the studio as well as their collaboration on Archive.
“We both grew up in Oslo, Norway,” says Ødegaard. We both attended and met, at the Oslo School of Architecture and Design. The school had a big focus on service and interaction design, so when we found we had a common interest in furniture, we collaborated on a school project and thus, the studio was created.”
Jøraandstad adds: “We established Studio Sløyd because we wanted to keep creating furniture together. We are also good friends, so we thought that starting a studio, and making a career together would be just perfect. The studio was established in 2019.”
When discussing design principals and approaches, darc discovers longevity is key for the young designers. “It can be an expectation that a young design studio is focused on creating objects with a certain “out there” concept and shape, and this can cause objects with a contemporary and short lifespan. We want to create furniture with a long lifespan,” explains Ødegaard. “But it can be challenging to design something completely unique, and something a lot of people want to fill their homes with. It is a big reward when we feel like we have fulfilled both these criteria, as we have with the Archive lamp.
“We think that a long lifespan both in quality and in design is important. For us, prototyping is also important for our process. With the Archive lamp we prototyped using regular A4 sheets of paper. This caused the lamp to be sleek and minimalistic. We also think that a good relationship between the designer and the producer is essential to create furniture that both parties can be proud of.”
Norheim’s first impressions of the studio’s design submission was that they found something that would fit in nicely with Northern’s branding.
He describes it as a “nice lamp, timeless character, and something new”.
Making the prototypes for the Archive lamp from paper allowed the team to perfect the soft curves of the lamp. It was then down to Sløyd’s materials-focused approach to recreate these smooth curves in striking steel.
“Archive is made from steel and stainless steel,” explains Norheim. “For this lamp, the materials choice was a given, because of its shape. There are a lot of curves and small details, which are very suited to steel. Also, it gives it a fine quality and will make it last for a lifetime.”
Jøraandstad continues: “We used paper to prototype the lamp at the beginning of the process, which also played a part in the inspiration for the lamp. The shape is made up of an elongated cylindrical lampshade in stainless steel, which reflects the light downwards. The end of the cylinder is capped with an angled piece of steel that not only creates an interesting composition, but helps the light reflect onto a wider area. The table lamp has two bent pieces of steel that form the base as well as a visual counterpart to the lampshade. The shape of the base lets the light travel down along the two pieces and creates an interesting gradient of light towards the ground.
“We discussed making it in aluminium, but the weight of the lamp in the final product with steel feels right, and it really feels and looks like a quality product.”
Before embarking on this project with Northern, the Sløyd duo’s experience in design was mostly built upon wooden furniture, so the working relationship they built with Nornheim was invaluable as they developed skills and knowledge in metalwork.
“We had a meeting with Jonas shortly after the announcement of the winners, where we discussed the processes further. Northern was very open minded and assisted us with all the help we needed in the design process, but it was very clear that we should do the big design decisions. We really appreciated the trust from them,” says Ødegaard.
“Getting the opportunity to work with the very experienced people at Northern has been very educational for us. Not only does Jonas have a lot of good advice when it comes to the production aspect, but he is also a great designer, so we feel very lucky that we got to collaborate and discuss the design with him along the way.
“Working on a new kind of object and a new material is always challenging. We had never made a lamp before, and the complexity of all the parts and components was a new chapter for us. Northern made it easy for us to understand, but this was probably the most challenging aspect of the process.”
Nornheim adds: “I think the working relationship was a good one. This was their first lamp in production. So, I believe they learned a thing or two. Heman and Mikkel are fast workers, so every time there was some changes needed to be made, they fixed them right away. That is something which is very important when you are developing a lamp in such a short time.”
The Archive features a replaceable LED lamp and a three-step dimmer switch, which is integrated as a design feature. It is available in two colour ways and two sizes, which were carefully thought out. “In the development of the Archive lamp, we explored a spectrum of colour combinations and sizes to discover the most harmonious fit for the intended environments - be it a desk, sideboard, or console,” explains Northern. “After thorough consideration, we narrowed it down to two sizes that perfectly cater to these spaces.
“As for the colour selection, we were drawn to dark green/light grey and black/steel. These particular hues naturally stood out, not only complementing the lamp’s design but also embodying a sense of versatility and timeless elegance that aligns with our vision for the product.
“Naming a new product at Northern is a comprehensive and meticulous process. We conduct numerous workshops to find a name that not only resonates with the essence of the product but also aligns with our brand identity. For the Archive table lamp, we went through an extensive list of over 20 potential names. Ultimately, Archive stood out because it evoked the same emotions and characteristics as the lamp itself, perfectly capturing its spirit and the timeless elegance we strive for in our designs.”
www.studio-sloyd.com
Wembley by Ark
Introducing the boat in the sky, the latest addition to the co-living sector in London, Wembley by Ark. Interior Architects Holloway Li took on the challenge of creating a new kind of community living space, using inspiration from London’s homes such as canal boats to classic terraced houses.
Award winning interior architects Holloway Li unveiled its ambitious nautical design for co-living brand Ark in Wembley in September 2023. The London studio transformed the former hotel, while still taking cues from the hospitality setting, and created a rejuvenating retreat around community-centric values.
When imagining an enhanced approach to community-focused living Hollaway Li said it drew inspiration from the hospitality environments. “The client was aware of our work with Locke Hotels and wanted to bring that lifestyle driven hospitality approach to the project,” says the studio’s Managing Director, Na Li. After 18 months the project was complete with a design that works for the flexible lifestyles that have come in the aftermath of the pandemic but, in a way that makes working from home both comfortable and enjoyable.
Li further expressed that configuring the former hotel space into the client’s brief and accounting for the various co-living spaces was one of biggest challenges the designers faced. The project encompasses 300 residential spaces with ample shared facilities such as a resident’s lounge, co-working space, a gym, multimedia room, meeting rooms, and a rooftop pavilion and terrace. The latter was added as a brand-new architectural feature, a new challenge for the Holloway Li designers, with full panoramic views of Central London. The terrace’s design acts almost as a ship’s hull where people can relax and picture themselves soaring through the sky as if mid-voyage.
Li describes the project as “drawing influence from spatial design of nautical living, from London canal boats to luxury cruise vessels, while paying homage to classic terraced housing, on a grand scale” - while also making a playful nod to the building’s name, Ark. Each resident’s studio takes inspiration from canal boat design; utilising joinery elements like textured and translucent screens, as well as partitioned seating areas, the rooms achieve a harmonious blend of flexibility, modularity, and spatial efficiency. The studios are distinguished from one another through three subtle colour palettes – sage, sand, and taro – maintaining a neutral back drop that allows residents to infuse their own character and personal touch to a space so it can feel feel like home.
Li says: “We researched the traditional design vernacular of canal boats in depth, borrowing spatial elements to create studios that felt spacious with pockets of intimacy.” The selection of decorative lighting played a crucial role in enhancing this spatial quality. The inclusion of Moooi’s Random Light II and &Traditions’ Formakami lights, were pivotal features in elevating the overall airy ambience and domestic charm of the space. Opting for various paper shade lights, these emit a soft, gentle glow that disperse a warmth in all directions, enveloping the surroundings and creating a cosy, inviting atmosphere within one’s personal space.
The main entrance lounge and co-working area are situated on the ground floor, the space takes cues from the spatial planning of London terraced houses on a grand scale, while finishes are reminiscent of a hotel lobby or luxury sailing vessel. Furnished with four, 16-seater co-working tables, booth seating, a grab-and-go breakfast island, and private meeting booths, the space allows for casual gatherings and quiet zones for concentration - meeting the varying needs of post-pandemic lifestyles.
The shared areas are also adorned with furnishings such as floor and table lamps, richly patterned cushions, large oversized pendant lamps, and rattan chairs, the design immediately sets the tone and evokes the sense of ‘home’. The use of lighting through the design not only functioned to embellish the space but kept cohesion between the design narrative and the brief’s expectations.
“We used soft, warm lighting throughout to ensure the space felt inviting and comfortable while maximising the natural light available where possible” says Li. “In the co-working space for example, it was crucial the lighting nurtured productivity and comfort in equal measure, with options for adjustable lighting to cater to residents’ live-work needs. We strategically placed the pendant lights at eye level - serving as focal points within the space, while the floor lamps act as natural partitions within the expansive open-plan layout, effectively defining distinct zones to create a more intimate and inviting ambiance,” says Li.
Ark’s rental concept is on a mission to change the way people stay and experience London through its flexible community-centric rental concept. Holloway Li has a similar mission in its own work, as Li puts it, “we enjoyed the challenge of working on a new typology - we’re interested in reshaping modes of living and this project did exactly that.” Holloway Li successfully layed out the blueprint for the interior of this new generation of residential life, using ample amounts of creativity and flair without sacrificing the practicality and certainly not comfort. “We were really proud of the project - the co-living sector is ever-evolving, and we hope with what we have created with Ark will offer a new and nourishing mode of living for those who reside within” concludes Li.
BlackSwan Studio
Montreal-based interior design firm Espace 313 has created a monochromatic and graphic studio, enhanced with elegant lighting, for tattooists at BlackSwan.
Situated in the heart of Montreal, Canada BlackSwan tattoo studio is a hub for inked artists to congregate in the unassuming destination that presents a unique character.
BlackSwan is designed by Espace 313 as a bespoke environment imbued with unapologetic elegance. “In an era of increasing tattoo democratisation since the beginning of the century, as well as a desire for personal affirmation and ownership of one’s own body, the tattoo salon offering has continued to grow, with a desire to differentiate itself from the sometimes-intimidating appearance typically associated with these places,” says Gatline Artis, owner and lead designer at Espace 313. “It is in this perspective that the client approached us with the ambition to reinvent the traditional image of the tattoo salon, favouring a soft and refined aesthetic.”
Utilising the existing space, the team added contrasting conceptual interventions merged with a contemporary artistic spirit. Espace 313 wanted to showcase raw and distinctive materiality throughout.
Upon entering, the blend of materials and textures sets the tone for the studio. A plaster covered reception desks draws your attention before revealing an enigmatic metal sculpture that rises in front of a delicate white veil that filters soft light. Hanging above the reception desk is Michael Anastassiades’ Mobile Chandelier 9 fixture. The delicate pieces hang beautifully balanced in an arrangement of linear tubes, geometric lighting sources, reflective surfaces, and counterbalancing weights. They rotate freely, creating an ever-changing lighting configuration.
Taking inspiration from a tattoo on pale skin, the team aspired to integrate distinctive dark elements onto a bright canvas, and ultimately using the element of contrast as a pillar of the design concept.
At the heart of the project is the welcoming lounge. Furniture takes on curved forms and a splash of plum colour is woven into the space, which adds a touch of “vivacity and contrasts with the vegetation already present”. &Tradition’s Formakami pendants, by Jaime Hayon, cluster above the seating area, reinforcing the curvature forms of the furniture. The pendants are a contemporary expression of the traditional Asian lanterns, hand crafted with ivory white rice paper and black stained oak accents.
The lounge area is bathed in an abundance of natural light, but the centrepiece of the tattooing space is a large sculptural light installation, which is “subtly evoking the unfolding of a swan’s wings and echoing the studio’s graphic identity”. The black Vega Minor fixtures used to create this installation, by Kuzco, are a diminutive square linear profile that envelops and radiates a soft uniform light, and again adds to the monochromatic scheme of the space.
Taking this minimalist approach in design goes against the typical aesthetic of tattoo studios. The clean lines and tones give an impression of sterility and cleanliness, and a lack of decoration on the walls and non-customisation of workstations was a deliberate choice by the owner. Instead of imposing an artist’s identity on the space, an emphasis is solely placed on the artwork created in the tattoo designs.
David Village Lighting Introduce a Dedicated Specification Support Team
(UK) - David Village Lighting (DVL) have announced the launch of a Specification Support Department, offering free of charge guidance and assistance with technical brands including Flos, Vibia, Artemide and Bega.
Being representatives of 100 of the world’s leading designer brands, the company has expanded its offering to better services for those partners. For example, offering support with the use of brand configurators, technical information, or aesthetic-led advice. A dedicated team are on-hand to support the early stages of projects ensuring that lighting can take centre stage.
James Village, Managing Director at DVL says: “Having communicated with our design and specification partners over the years, we’ve found that there’s an unfulfilled need for further support on the more technical elements of the products we’re able to supply. With this in mind, we’ve expanded our service to reflect this, and look forward to providing the support that’s missing from the market.”
www.davidvillage.co.uk
ICFF unveils rebrand
(USA) – International Contemporary Furniture Brand (ICFF) has unveiled its new branding in line with the show’s 35th anniversary.
ICFF, to be held 19-21 May at the Jacob K. Javits Convention Center in New York City, has unveiled a new campaign designed to highlight its marketing evolution under the direction of Odile Hainaut and Claire Pijoulat. The strategy includes solidifying ICFF’s role as a business accelerator, transforming the brand into a 365-day-a-year platform. Clarifying its objective of being at the centre of design culture, community, and commerce.
Inspired by New York City, the rebrand is said to reflect ICFF’s hometown. Designed by award-winning creative agency, forceMAJEURE, the logo features a heavy wordmark reminiscent of the densely populated city juxtaposed with a lighter typeface that symbolises its softer side.
forceMAJEURE redesigned the logo of a black square and four letters and added colour to represent each distinct ICFF features yellow for Wanted (forceMAHJUEURE also designed its visual identity), green for Oasis (which focuses on sustainability), and blue for the new Bespoke area (which centres around high-end craftsmanship), with plans to add more in the future. Using colour brings a sense of excitement and warmth to a brand that is repositioning itself.
Odile Hainaut and Claire Pijoulat, ICFF Brand Directors, says: “We want to shift away from a more corporate identity to mark a new chapter for ICFF. By reimagining the brand’s core, we are unveiling a fresh look, positioning the show as the leading North American contemporary design fair at the forefront of the industry. Our goal is to inspire, engage, and support design companies and enable success. This direction affirms our commitment to design excellence beyond the show and infuses an energy and creativity that speaks to emerging audiences.”
The forceMAJEURE team adds: “Our vision for ICFF is highly connected to New York City, its home. The city truly embodies everything the brand communicates. It is bold and universally recognised. It is international. It is a portal to the U.S. market, where dreams are accelerated, and inspiration is plentiful. Taking a birds-eye view of the city and its iconic grid, we see large blocks from the avenues of buildings and observe an infinite sense of modularity. The elevated new logo embodies the functional and emotional allure of ICFF, evoking confidence and innovation but also creative possibilities.”
Voting opens for 2023 [d]arc awards
(UK) – International design community asked to cast votes following panel shortlisting process.
With a judging panel made up of lighting designers from the 2022 40under40 competition – including Eugenia Cheng, Andrea Levratti, Jenny Bland, Pinar Onat, Nicola Houel, and Sophya Acosta – the shortlisted entries for the 2023 [d]arc awards have now been selected.
As the only lighting design awards in the world to use a peer-to-peer voting system, the winners of the 2023 [d]arc awards will now be decided by the wider design community, with all independent architects, lighting designers, interior designers and product designers invited to vote for their favourite projects and products.
With 14 categories in total – covering high and low budget lighting design projects, as well as light art installations, and products - for the decorative lighting sector, shortlisted entries include:
Kit Category
- Astro Lighting’s Ako
- Vibia’s Array
- LUMi Collection’s Bola Ego Glass
- Da Light Hub Bespoke’s Devaalaya
- Baranska Design’s Frozen Lake
- tamasine Osher’s Grain
- Xiamen Leedarson Lighting’s Jinshang Pendant
- Empty State’s Light Pipe
- Lladrò’s Llandò Soft Blow by Luca Nichetto
- Occhio’s Luna
- TM Lighting’s MasterLight
- John Beck Steel’s Monitor Floor Lamp
- Xiamen Leedarson Lighting’s Ningxiang Pendant
- LightArt’s Ocean Coil Marina
- Serip’s Origem Outer Core
- Duncan Meerding’s Propeller Blossom 1000 Pendant
- XiamenLeedarson Lighting’s Ruoshui Pendant
- Geoffrey Cameron Marshall’s Sepiida Floor Lamp
- Adams&Co’s Strata
- Rousseau Design’s tempus 2023 Edition
- Tyson London’s The Jewel Collectio,
- Xiamen Leedarson Lighting’s Tianchang Pendant
- ScenoLight Atelier’ V-bOwl
- Xiamen’s Leedarson Lighting’s Yingzhu Pendant.
Art Bespoke Category include:
- Böm, USA
- Caesars Atlantic City Rotunda Fixture, USA
- CŒUR Bristro, Germany
- Coster Stone, Spain
- Garlo I Chaise Longue, UK
- Infinitree, UK
- La Mamounia, Morocco
- Lighting Tune Norway
- Luna Sphere, China
- Moon Flower, UK
- Samai, India
- Winds Whisper, Taiwan
Independent designers have until 1 March to view all entries and cast their votes – simply head to www.darcawards.com/vote for all information on the voting process.
As a thank you for getting involved, all voting designers will be invited to attend the [d]arc awards party for free.
Taking place at the famous Fabric London night club on 27 March, this year’s event will adopt an 80s theme - featuring 80s inspired light art installations from the event’s designer / manufacturer partners; retro gaming; an 80s playlist; 80s inspired dining and an encouraged 80s dress code.
www.darcawards.com
[d]arc sessions Asia
For specifiers and suppliers of international lighting projects; [d]arc sessions is an intimate, relaxed space to share ideas, specify projects and network. Curated by [d]arc media, the two-day programme comprises a series of meetings and seminars interspersed with ample networking opportunities within beautiful surroundings.[d]arc sessions is a series of events connecting the very best people creating exceptional lighting projects around the world.
It takes place twice a year (once in Europe and once in the Middle East or South East Asia) and comprises four key elements: Speed+Sync meetings; Symposia speaker sessions; Sustenance breakouts; and Social celebrations. Guests attend [d]arc sessions to specify and source projects; to escape, regenerate and rebuild, in beautiful, spacious surroundings.
To get involved in the next edition of [d]arc sessions, head to: www.darcsessions.com
Maison & Objet Highlights 2024
Maison & Objet, the major French trade fair for interior design returned for its bi-annual appearance at the Paris Nord Villepinte Expedition this January. darc’s Web Content Creator Ellie Walton attended the show to marvel and discover the latest and greatest the show had to offer from the lighting industry. Amid her exploration, she encountered a captivating mix of new and familiar products, each leaving an impression through their geometric and abstract shapes, illusive use of light refractions or simply show-stopping design. Dive in to what caught darc’s curiosity in our Maison & Objet 2024 highlights below.
Endless wall lamp by Design By Us
This is not your ordinary wall lamp, its sleek, its function-able and mysterious. The Endless wall lamp transcends the ordinary with a front adorned with a reflective mirror that fades away when turned on. Precise and contemporary, its alluring design can fit into an interior space to give a touch of glamour while simultaneously creating a sense of space and airiness with its reflective mirror. This lamp is universal as a standalone fixture or an ensemble. Ideal for restaurants, hotels, showrooms, or for the home in bedrooms, hallways and even bathrooms.
Applique B206 wall sconce by Michael Buffet
Created in 1953 by designer Michael Buffet, this sconce is part of the re-edition collection with Disderot, celebrating 1950’s to 1970’s French design. This unique lamp with abstract geometric shapes has proven to stand the test of time, perhaps even been before its time, with a sleek contemporary finish perfect for minimalist styles looking for an edge. Ideal for bedrooms, hallways and as reading lamps.
Mezzaluna by Bruno Gecchelin
Another re-edition vintage piece brought the show by DCWeditions alongside the designer himself, Bruno Gecchelin. Made in 1974, and produced by Skipper and Pollux in Milano, the floor lamp has a chrome plated tubular structure, a white marble base, and a black-enamelled head that adjusts to suit. This would be a sleek vintage piece to work as a reading lamp in living rooms, home libraries and offices.
Focus by Yuji Okitu
The Focus pendant is designed by Tokyo-based architect Yuji Okitsu who has a unique sensibility across fields of architecture, design, and art. DCWeditions displayed the light that suspended similarly to a mobile structure so that the bubble-like pendants floated elegantly. Each luminous disc is made of acrylic glass and provides illumination through Fresnel lenses that focus and refract light. The Focus lamp has a flexible aluminium base available in black or white. This pendant lamp is available with three lenses, Focus x3 to Focus x 5, with a span of 99.8cm to 160.8cm, this airy light can create a sense of tranquillity in any room.
Lamina by Sandra Peters
Lamina comes from the By Eve Black collection of luxurious and extremely refined lighting designs and works of art. The Lamina is made of vertical discs of dark coloured glass with a round wooden base; light seeps out between the discs of glass leaving a fascinating play of light and various shadows through the laminas. The composition of dark and light the Lamina creates makes it a great atmospheric piece for relaxing settings in the evening. There are two available sizes for the Lamina, one 29cm x 20cm or 21cm x 40cm.
Maison & Objet Sustainable Standouts in Lighting
During Maison & Objet this January, darc’s online content creator Ellie Walton sought-out the purpose driven creators that are crafting products that blend opulence with durability as well as leaving a positive impact on our planet. Read on to discover her findings.
Sustainable designers are the vanguards that are leading the charge of the transformative change the industry needs. These designers aren’t just redefining longevity but also championing progressive production methods and innovative material applications.
During my time at the Paris-based fair, I found products that won’t just live a lifetime but can also live a life, one that is born and then dies through biodegradable properties. The following designers are those I found leveraging their platform and brand to embrace sustainable design, from the use of recycled materials to the treatment of garment workers. In the lighting industry, these visionaries are wielding their power of design to shape consumer habits, fostering an environment where conscious consumerism can truly flourish.
Originalhome’s Bottle Cap Lamps
Originalhome’s commitment to sustainability is evident in its design philosophy, effortlessly infusing a cool and laid-back vibe into any space. The rattan-style lamps stood out offering a touch of shabby-chic bohemian elegance that boasts an aesthetic that withstands time.
These rattan looking lamps are crafted with a unique twist – recycled bottle caps taken from the coastlines and rivers of Indonesia. Speaking to the designer said “Normally people use the bottom of the bottle because they’re easy to use and transparent. The Bottle caps, however, are lot harder to use and recycle, so we found a way to recycle them. The downside, or perhaps upside, is that the lamps can only be available in green, blue, or brown.”Using the harder pieces of plastics allows the lamps to be stronger and more durable, making them suitable for both indoor and outdoor environments. 
The company’s dedication to sustainability extends beyond the product itself. Each item is meticulously handcrafted, and the only machine used in production is for the recycling process of the bottle caps. The company also calculate the CO2 emissions through the entire production and distribution process in which it proportionally gives back through initiatives like planting trees and providing cooking stoves to women in India. Originalhome understands that we live in a world where conscious consumer choices matter and offers products for style and impact.
N-Lobjoy Porcelain Paper shades
Nathanaëlle Lobjoy, artist and craftsman, seamlessly blends poetry into decoration through her exquisite paper lights, crafted and plant-based materials sourced from Europe. Employing a combination of pencil, pen or even brush, Lobjoy intricately creates floral and plant-inspired designs, which are artfully printed onto the lamp shade. The shades themselves are fashioned using a papier-mâché technique, showcasing Lobjoy’s unique modelling and craftmanship that imparts the illusion that the lamps are biscuit porcelain – a traditional European un-glazed, matte porcelain finish.
She tells me that the underlying concept of her designs is to create functionable products that are like hanging art by day then lights by night.
In a transformative journey spanning 30 years, Lobjoy transitioned from using chemically harmful and unsustainable materials. Seven years ago, she committed to minimising her use of harmful chemical materials and contribution to landfill. Expressing her stance, Lobjoy says: “I don’t believe it’s necessary and I do not want to contribute adding more dust into the world. For the decoration I chose paper because it takes less energy, and it removes the need to use other chemicals and products like polish. The only manufacturing energy comes from my hands to transform the pieces.”
The environmentally conscious approach also extends to the recyclability and biodegradability of Lobjoy’s paper lamps shades. As they are crafted from paper, the shades can be completely recycled thus creating more recyclable paper, which becomes more accessible and re-useable. Ultimately, this ensures Lobjoy’s materials are abundant for her continued creations with unique patterns.
Let’s Pause “Leather” lamps
Nestled in hall 8 of Maison was the brand Let’s Pause, a company that is rooted in its sustainable philosophy and creating synergy between design and nature. Among its showcased products was the extraordinary lamp shade known as ‘Couro’, which translates from Portuguese to mean “leather”. Contrary to its appearance, the material may look like leather but is in fact derived from the leaf of a palm tree, which the brand will only harvest when the tree has blossomed and shed its leaves to the ground. The leaves are then steamed to attain flexibility and take shape using only sewing – a simple handmade process that doesn’t use any machine-powered energy.
The visual resemblance to leather, coupled with a tactile sensation, creates a trompe l’oeil effect through its stretchy and flexible leather texture. 
Also, not only does the shade’s appearance mimic leather but it equally matches its durability. Let’s Pause boasted at the show that the shade has a perpetual lifespan. However, if the customer desires a change or to dispose of the product it can simply be removed and recycled back into nature through decomposing the material. Its versatile nature makes it equally suitable for home decoration or illuminating counter tops and bars in a hospitality setting, embodying a philosophy that seamlessly fuses ecological consciousness with modern chic.
Ay Illuminate Continental Lanterns
On the way out of Hall 8 it was hard not to be stopped by the stunning display of Asian Lantern-inspired shades. Suspended gracefully over a stone bench was the Z Series, a creation by conscientious brand Ay Illuminate, with its captivating zen-like arrangement. The meticulous craftmanship and unique array of material could compel anyone to stop and appreciate the artistry.
The Z Series lanterns are offered in three sizes, each featuring covers crafted from a diverse array of materials sourced from various countries including Afghanistan, Senegal, and the Philippines. Each lamp is unique as a result of its hand-crafted production and the various materials available for the covers such as cotton, cashmere, sisal netting and carboard. The neutral and dark shades emanate from the material itself or from the use of natural ingredients such as tea.
Notably the framework of the lantern is composed entirely of bamboo. Designer of the Z Series, Ay Lin Heiner, says: “We use bamboo because its strong and looks clean but is also completely sustainable. Bamboo is like grass; you can cut off branches and it will quickly grow back as well being completely biodegradable.”
Ay Illuminate maintains a commitment to sustainability by having the lanterns crafted in the same location as the cover’s material is sourced. According to Heiner, the brand works with villages to provide jobs for the locals and focuses on providing opportunities for women and girls to learn craft and new languages such as English, fostering their independence.
The use of natural materials in the pendant lamps makes it an ideal choice for home décor, restaurants, and bars for those aiming to showcase a blend of opulence and authentic spirit.
A new chapter for ICFF
(USA) – New York-based International Contemporary Furniture Fair (ICFF) celebrates its 35th anniversary with a new direction for the show.
The ICFF team is reshaping the core of its brand to remain one of the leading contemporary design fairs. Its aim is to solidify its position as the entry point to the U.S. market for international brands, clarify its objective to be at the centre of culture, community and commerce and be appealing to the next generation, plus amplify content year-round to support design brands.
As part of the translation of its new vision, a new identity for the show has been created by New York-based creative agency forceMAJEURE. The new aesthetic features a solid, heavy wordmark reminiscent of the densely populated New York City, which is juxtaposed with a lighter typeface.
“New York City is substantial, to say the least. The density, scale, and span of the buildings have a way of making you feel small and empowered at the same time. New York City’s famous grid was created to combine beauty, order, and convenience. Today, the grid is so famous that it has inspired branding for the city itself, making it recognizable on a global scale. Our design work within this rectangular framework brings a million possibilities for unique expression that speaks to spatial design and is very much a tribute to the spirit of New York,” states the forceMAJEURE Design Team.
ICFF will tap into the expertise of RADS, Rodolfo Agrella Design Studio, to implement the new branding into the show floor and create the 2024 look and feel for the fair. This will include the talks on the Mainstage and The Oasis; the Wanted Lounge; The Restaurant; and the Fair’s overall wayfinding aesthetic.
Official branding will be unveiled sometime this month.
“Given ICFF’s 35-year history, we felt it was time to redefine and rebrand ICFF to solidify, clarify, and amplify our design messaging and content. Since ICFF is the leading contemporary design fair in the U.S., we decided to concentrate on the most important products, technologies, and issues facing the industry and partner with global, high-quality brands that reflect ICFF’s ethos. Our long-standing collaborations with the industry increase our engagement year-round with the design community, allowing us to enhance ICFF’s brand visibility across design communities around the world,” says ICFF Brand Directors Odile Hainaut and Claire Pijoulat.
As part of its continued focus on sustainability, ICFF is making changes to decrease the show’s carbon footprint and lessen the amount of waste it produces. Efforts include removing most of the carpet from the show floor, renting walls instead of building them, using recyclable material for all signage, placing water fountains throughout the floor for refillable bottles, using low-energy lights, and asking the food vendors to avoid single-use plastic. It is also encouraging all participants to follow its lead and do what they can to lessen their carbon footprint at the fair.
With the ICFF Talks on the Mainstage and The Oasis, the main programming topics for the fair this year include:
- Sustainability and materials
- The best in making and producing, from hand-made and high-end craft to new industrial innovations and technology-related processes.
- Business and collaboration opportunities in the U.S.: how to achieve company goals, understanding the U.S. market better, design landscape, and needs.
- Education, including diversity in design, original design, and new tools (AI)
Further new additions to the show include a more curated, accessible, and user-friendly experience. The show floor will include more spaces to explore, lounge, network, and have conversations. New dedicated areas have been created for complementary products such as Materials, Outdoor Living, and Kitchen & Bath. The latter will also feature a lounge area for dedicated programming. The newly designed spaces will offer activation and communication opportunities for attendees, including Bespoke: The Art of Making; Design School Workshop presented with media partner Core77 and conducted with Pratt Institute and Honda R&D Co., Ltd. Honda Design; ROOM + OFS Podcast Studio; and The Library in partnership with Phaidon.
Dedicated to emerging design, WantedDesign returns as a centrepiece of ICFF with Look Book, Launch Pad, the Schools Showcase, and the new Design Schools Workshop.
Returning this year at the heart of the fair, The Crossroads will be a collaboration between the ICFF brand directors; Creative Director David Rockwell, founder of Rockwell Group; and co-curator and editor Pei-Ru Keh. Sustainability, in its complex and multifaceted form, serves as the focal point of The Crossroads’ second iteration. This year’s exhibition will spotlight the way designers seek to preserve long-honored craft traditions, together with how they push the boundaries of circularity to consciously re-think the legitimacy of material use. It will also highlight the different ways creative communities can make design more accessible to all, whether through more inclusive cultural representations or deeper community-wide engagement.
Programming curator Tiffany Jow, Editor-in-Chief of Untapped, will develop and host talks at The Crossroads with Pei-Ru Keh.
The core talks will occur on the Mainstage and The Oasis space. The Mainstage is sponsored by Turf. Additionally, focused conversations will take place in new dedicated spaces such as Bespoke, Crossroads, Look Book with media partner Dezeen, and Kitchen + Bath.
The Oasis will continue to host conversations about sustainability and conscious design topics. The Welcome Lounge, The Restaurant, the ICFF Editors Awards, and other features will also return.
Many country groups from around the world are joining ICFF in 2024 for the International Pavilions, including Norway, Brazil, Portugal, and Romania to name a few.
ICFF is evolving beyond the fair to promote its partners year-round through expanded editorial content and programming, networking, and promotional opportunities. Throughout the year, it will amplify partner and exhibitor materials across its channels (digital, newsletters, social media) and support events such as showroom activations and partnered programs to engage and educate the design community. Plans for 2024 include a networking opportunity in Paris in January, a global virtual press preview in February, a Look Book talk in NYC in April with media partner Dezeen, an event in Milan in April, and a networking designers’ trip to Design Week Mexico in October.
“Rather than ICFF being just a three-day event, we are building a brand to speak to the design community 365 days a year, on all platforms. We want to keep the conversation going and continue to provide relevant stories for the entire design spectrum from students and emerging designers to more established designers and architects. We are promoting all through our channels to make it a real added support to the industry,” says ICFF Brand Directors Odile Hainaut and Claire Pijoulat.
The next edition of the fair takes place May 19-21, 2024, at the Jacob K. Javits Convention Center, New York.
In Conversation - Lights on Screen - Glass Onion
In issue #51 our editor Sarah made a fascinating series on where she uncovers the products and people of the lighting industry that have found themselves working in the movie industry. In November 2023 Sarah speaks to set designer John Mchughes and Qusaur founder Arjens Van Gammeren and their collaboration on Netflix's hit movie 'Knives Out: Glass Onion' where the Qusaur chandlier was featured in the iconic dining table scene.
