Maison&Objet presents Tech Eden January 2024 Theme
(France) – Maison&Objet has announced the theme of its January 2024 show will be Tech Eden.
In conjunction with its 30th anniversary, Maison&Objet will be exploring the theme of Tech Eden following last year’s theme ‘Enjoy!”, Tech Eden conveys an optimism through shape and colour, focusing on futuristic biophilia and a new world of well-being.
Tech Eden was created with strategy agency Peclers Paris, who have said to see it as an opportunity to “highlight the profound evolution in the relationship between science and nature, and project it into a sustainable and desirable future.”
Peclers offers a narrative, on a futuristic utopia with new realities, will feed into the show’s activities, encompassing all sectors of interior decoration and design, arts and crafts, retail, decor, and hospitality. Through immersive experiences, Tech eden invites professionals to rethink spatial design and layout, augmented by technological innovation, and employing innovative aesthetic and environmental approaches.
Tech Eden will take place in several different locations, giving expression to its futuristic aesthetics and technological advances, as well as its gentle approach and appetite for a return to biophilia due to venues becoming hybridised.
The ‘What’s New? In Retail?’ space has become a think-tank for the now omni-channel distribution sector, offering a selection of new products, a programme of workshops and conferences, a café, and a wealth of merchandising ideas. François Delclaux will present a space for sourcing, inspiration, and exchange, in collaboration with the global design agency BETC.
The scenography of the venue has been given the softest of designs, where “tech” makes a discreet appearance, expressed by enveloping materials, natural forms, and gentle colours. This will serve as a showcase for three major trends: sustainable minimalism, responsible brutalism (re-use and recycling of materials), and organic fluidity.
In a post-lockdown context, the home is being transformed by remote working. Homes are getting comfy yet flexible, with living rooms becoming offices and bathrooms becoming living rooms for well-being; Elisabeth Leriche’s "What's New? In Decor" trend space will focus on this fresh approach to interior decoration. While in hospitality, “the Hospitality Lab” Has three chill pods – awakening, active, regenerative – mixing well-being in cafes, luxury spas in hotels, and high-tech sports hall in waiting areas.
Maison&Objet has also announced that Mathieu Lehanneur has been named ‘Designer of the Year 2024’. Each year, this award honours a key figure in the international design industry. During the January show, the designer will craft a dedicated space that reflects his research and career path, titled ‘Outonomy’.
Melanie Leroy, Managing Director of Maison&Objet, said. “This anniversary edition will mark a significant development in Maison&Objet’s ability to support its customers while also celebrating 30 years of inspiration, creativity and closeness to its community.”
Maison&Objet will be taking place in Paris between the 18-22 of January, go to www.maison&objet.com to plan your visit now.
darc @ LDF 2023 'Does varied experience and diverse backgrounds positively impact design?'
"Does varied experience and diverse backgrounds positively impact design?" darc's editor Sarah is joined by a panel of industry experts, including Anuj Gala, Dara Huang and Tola Ojuolape in exploring why gathering design influences, skills, and experience from different industries, countries, and cultures can make you a better designer.
Entry is Open for Design Guild Mark Awards 2024
(UK) - The Design Guild Mark has opened their entries for the 2024 award show, inviting designers and companies to submit entries.
Established in 2008, by the Furniture Marker’s company, the non-profit programme was created to raise the profile of British Industrial design and to recognise it’s excellence. The award is open to designers working in Britain or abroad and must submit to one of three categories: furniture, lighting, and interior design.
Submissions can be for an individual product or a collection of products that are currently in production, that were designed for, and are manufactured by, an industrial design process. The designs can be intended for domestic, office, hospitality, educational or corporate use, and for both interior and exterior environments, with no restriction on when the design was launched.
The competition process works by applicants presenting their submission in person in front of a panel of independent expert judges. Instead of a ranking system, the award is given to all designs that demonstrate to the judges that they represent the highest standards of originality and innovation in industrial design. Entries are measured by a selection of criteria such as innovation, function, form, brand, and environmental responsibility.
Winners of the Mark will be celebrated at the award ceremony on the 23 May. This year’s judges for the lighting category include Simon Alderson from twentytwentyone; Gitta Gschwendtner of Gschwendtner; Risa Sano from Mensten; Simon Terry from Anglepoise, John Tree from Jasper Morrison; and Sebastian Wrong from Established & Sons.
Past winners in the Lighting category include David Irwin from Luum for his Oslin Collection, Tala for the ‘The Muse in solid brass and Terrence Woodgate for Case Furniture for his Solid Rechargeable Light.
Alderson of twentytwentyone, says: “This year’s DGM Lighting award offered a diversity in approach, materials and applications. The designers presented their work extremely well, and it is this distinct component of the Design Guild Mark that makes the review of British-based creativity so special. The award acknowledges many criteria, though functionality, sustainability, price, and personality are celebrated as key components in this year’s winning designs.”
Previous winner Irwin adds: “I’m delighted to receive a Design Guild Mark, it’s a great honour to be granted this prestigious award and a privilege to be part of a community that values and celebrates excellence in design. It’s a testament to the hard work and dedication of everyone involved in bringing these designs to life, from the initial concept to the final product. Thank you to the judges for acknowledging our efforts, and to our clients for entrusting us with this project.”
Designers and companies have until 24 of November 2023 to submit an entry to meet the early bird deadline and until the 19 January 2024 for the final deadline.
Bathrooms with Sarah Speck
Lighting a bathroom should strike a balance between functionality and creating a calming space with high aesthetic value. A bathroom can be strictly practical – or it can be a jewel box that pleasantly surprises guests. The type of lighting needed depends on whether you are lighting a powder room, or a true bathroom where grooming and makeup application will occur.
My advice below can be used as a foundation, but ultimately, there is no right or wrong answer. Bathroom lighting is largely at the discretion of the designer or homeowner, so don’t be afraid to follow your instincts.
Key Bathroom Trends
Bathroom trends right now centre around promoting indulgence and relaxation, two things that we can all use a bit more of. While we don’t always follow trends, they are a great starting point to spark ideas when lighting your space.
• Statement-Making Fixtures: As maximalism rises in popularity, we’ve seen more statement sinks and freestanding tubs made from natural stone, like marble or granite, with heavy, unique veining. The stone adds a sense of drama and luxury, which can be complemented by ornate light fixtures or contrasted by sleek, contemporary ones.
• Warm Wood: The use of wood in the bathroom is another growing trend, with bleached, blonde, and mid-tones creating a cozy, spa-like atmosphere.
• Handmade Tile: Incorporating comforting, handmade design elements like naturally textured tile on the floor or walls is another way to create a soothing atmosphere in your bathroom. Consider using ambient lighting fixtures to accentuate the warm glow.
• Moody Hues: As we shift away from stark, neutral paint colours, moody hues are taking over. Colours and paint techniques (or wallpaper) with depth and richness are designer favourites at the moment – perfect for your cocoon-like space.
• Finishes: Light fixtures in brass and chrome or nickel tones add a bright, contemporary touch of style. Or for customers seeking a darker metal finish, industrial black are downtrending, with warm, modern bronze emerging.
Layering Lighting
A single ceiling flush-mount might be functional in a small bathroom, but it doesn’t exactly create a space that helps you unwind after a long day. Instead, most bathrooms benefit from layered lighting, which is a combination of multiple light sources – recessed, sconces, pendant lights, and more. Two to three light sources are ideal in a master bathroom to provide enough illumination for grooming purposes as well as ambient lighting options. We also recommend adding a dimmer switch to your recessed lighting. It will put you in control of the amount of overhead light needed, plus it can help you conserve energy usage in your home.
Best Placement for Lighting
If you have a spacious bathroom, consider lighting each section separately. For example, treat the shower as one section and the sink as another. Then, light each according to its purpose. Over the shower and vanity, task lighting is best to provide maximum illumination for applying makeup. However, we recommend ambient lighting for the bathtub area where you don’t need intense light. A romantic chandelier or a pair of soft sconces will do the trick. If you are displaying artwork, consider accent lighting that specifically illuminates the piece, making it a focal point.
Pay Attention to Moisture
Due to the high humidity levels in bathrooms, there are several things to avoid. Fabric shades have the potential to mildew, so they are not recommended for bathrooms. As a workaround, you can find some that are pre-treated or made of performance blend fibers that are moisture-resistant. Unlacquered brass may also be a material to avoid due to the potential to patina over time. When brass is exposed to high levels of moisture, it will naturally change hues, resulting in a green discoloration. While many appreciate the vintage charm of patinated brass, it’s less commonly seen in bathrooms as it doesn’t have a fresh, clean look. Of course, always check with an electrician before installing lighting in a place with a lot of humidity. For a shower, you’ll need special wet rated lights.
Even in small rooms, I’d urge homeowners not to underestimate the power of lighting. Paying attention to the nuances of your lighting decisions can make or break the atmosphere in the room, which is why it’s so important to consider functionality and have options to suit your needs. Lighting makes all the difference – turning a highly utilitarian room into one that feels like a personal sanctuary.
Tako
Tako is a brand-new sushi restaurant and cocktail bar situated in the heart of Ostiense in Rome, Italy. The neighbourhood is known for its strong industrial identity, which was once dominated by an electrical power start, river port and gasometer. Today, the area is lively with a strong street art scene, underground culture, and gourmet dining experiences.
Tako’s eclectic and playful interiors scheme was created by Rome-based architecture and interior design studio Collidanielarchitetto. Taking inspiration from Alice in Wonderland, the restaurant that opened in the Chinese year of the rabbit creates a strong emotional impact for diners.
The scheme, as described by the studio, is: “Charismatic and carefree; multifaceted and dreamlike, it is a colourful dream played out in macro-proportions. Butterflies, flowers, lollipops, and rabbits populate an environment where food and design blend together to bring to life an emotional, timeless, and ageless experience that remains imprinted in the memory of its guests.”
The project is spread over two floors, with the ground floor housing 160 seats, the kitchen and cocktail bar. A fluid movement is created with mirrored surfaces and metal coverings above a fragmented black and white floor.
The cocktail bar that welcomes guests is dominated by a monolithic cylinder and L-shaped counter in solid black marble. Press-bent metal magenta panels dominates the bar frontage while a macro circular bottle holder with polished steel details stands out against a background of iridescent pink glass, enhancing the dream-like atmosphere.
Luminous pearl pendants from Sikrea float from the ceiling like clusters of bubbles, creating a suspended, light atmosphere, which is enhanced by the multiplication of reflections on the mirrored surfaces and metal finishes.
“In Tako’s project, the circle serves as the foundation for the dynamic design elements, from the macro elements to the decorative patterns on surfaces and decorative lighting fixtures. Both decorative light pieces used have a spherical shape. We chose the Bilia by Sikrea for the broader restaurant area, installing a cascade of luminous beads with multiple combinations to create a suspended and light atmosphere, accentuated by the reflections on mirrored surfaces and metallic coverings. In contrast, for the narrower and elongated section, we used the smaller metallic spheres of Mr. Jack to achieve a more intimate atmosphere.
A bold, pink lacquered arch marks the passage between the two floors used for various functions; a staircase leads to the basement that houses the customer services and technical areas,” explains Daniela Colli.
A kaleidoscopic tunnel of coloured arches is illuminated with lines of light using iGuzzini’s Laser, which multiply to infinity creating the illusion of being chased down towards the magical world of Alice in Wonderland. “Walls are wrapped in pink and white wallpaper with dynamic geometry, while macro decor elements such as butterflies, flowers, rabbits and lollipops define a pop identity, in a careful and calibrated staging of colours and shapes,” describes the studio.
Colli adds: “Each space should have lighting that complements its function, materials, and colours. I enjoy contrasting light and shadow, which is an essential feature in my projects. Decorative lighting plays a significant role in my interior design projects, serving as an iconic and central element in the space.
“Generally, I employ lighting with small LED recessed spotlights controlled by a home automation system that allows me to adjust the light intensity. Depending on the presence of daylight and the desired atmosphere, I create different lighting scenarios. I use decorative lamps to establish the right evening ambiance, especially where the light should be soft and have a lower colour temperature compared to daylight.”
The only challenge Colli faced during this project’s journey was getting the decorative lighting to communicate with the home automation control system, which did not recognise the correct IP addresses of the various lights. “After several unsuccessful attempts, we decided to separate the control of decorative lighting from the architectural lighting,” she explains. “Unfortunately, this is a problem we have encountered in the past because decorative lamp manufacturers often prioritise design over the technical aspects.”
Overall, Colli deems the project a success that fully met her client’s brief. “I am very satisfied with the project’s outcome, and we undoubtedly exceeded both our own and their expectations. Tako is an immersive space where customers can freely express themselves, entering a fairy tale - a magical and whimsical environment for imaginative journeys.
“I dreamed to create a place where you can feel free to express yourself, to detach yourself from the concreteness of everyday life, to enter a fairy tale, a magical and extravagant environment in which people of all ages can travel with their imagination. When you enter Tako you are captivated by the colours, the lights, the details, everything is emotion and amazement.”
The Kitin
Hong Kong-based M.R. Studio collaborated with Cundall to create a Chinese French-inspired dining experience for The Kitin restaurant located in Hong Kong’s tallest skyscraper. darc chats with both to discover more about their approach to the lighting design.
The Kitin is a luxurious Chinese restaurant located within the International Commerce Centre (ICC), the tallest skyscraper in Hong Kong. M.R. Studio was brought on to the project by the client, who’s brief was to create a dining experience that had a contemporary oriental atmosphere yet blended with western elements. The overarching concept for the restaurant was Chinese French fusion.
Cundall was responsible for implementing the lighting scheme in the restaurant. darc spoke with Pete Shing Lighting Design Principal at the firm, along with M.R. Studio’s founder Myron Kwan to find out more about their approaches to bringing the interior scheme to life through the lighting.
“I have developed a strong relationship with the founder of M.R Studio, Myron Kwan through collaborating on several hospitality projects in recent years,” reflects Shing. “He mentioned an opportunity to work on the lighting for a high-end, fine dining restaurant in the ICC, Hong Kong’s tallest building. For us, this was a chance to showcase our creativity in decorative lighting design for a restaurant in a magnificent skyscraper. Having worked with Myron previously, there was a level of trust and confidence in our lighting expertise that he and the client had in us. Therefore, we were given enormous latitude to express our creativity in meeting the client’s desire that the outcome be ‘Instagram-worthy’. Of course, there are many ways to interpret this, so our emphasis was on utilising decorative lighting in a unique manner and exploring unconventional approaches to ensuring the aesthetic experience would also deliver on practical necessities. We commenced design work in July 2022 and the project was completed within six months.”
As with any project, the team faced a handful of challenges when developing their schemes for the dining space. Notably for Kwan it was budget constraints, which impacted material choices and forced strategical decisions to work around existing structures.
Shing adds: “One of the key challenges that arose in this project was around the lighting control system. The client wished to re-use the lighting control system from their previous restaurant (which is now closed) as they found that system worked particularly well. More importantly, re-using the previous lighting control system reduced waste. We needed to carefully ensure every new luminaire we specified was compatible with the legacy lighting control system. This meant we had to gain a thorough understanding of it and allocate considerable time investigating which luminaires would be suitable.
“Another challenge arose from resolving interaction between the lights around the chandelier in the private dining hall and the feature light itself. The supplementary lights were trimless dim lights, which look much nicer, but are generally more difficult to install. To achieve the desired sleek effect, the ceilings are ideally painted with the same colour as the fixtures that the luminaires were attached to. Furthermore, the ceiling must be designed and completed with incredible precision to ensure the lights do not protrude or become skewed in the process of installing them. This required considerable collaboration also with the contractor who painted the ceilings and, as a result, we ultimately achieved the desired sleek finish.”
For Cundall, the brief and vision for the lighting design remained the same throughout the project. The aim to create an “aesthetic dining venue with a premium look and feel” was achievable. “The client envisioned the space as an integral part of the dining experience. Similarly, with the lighting design, we wanted to take people on a journey – from the entry corridor to the main dining area and the private dining room. To create this journey, we had to consider what elements in the space required subtlety, and which would be highlighted. Ultimately, the lighting design aims to work in unison with the interiors to complement them,” says Shing.
On the other hand, Kwan’s design had to be a little more adaptable because of a Feng Shui master who recommended changes to the layout. “This impacted the overall design by ensuring a harmonious flow and energy throughout the space,” says Kwan.
Decorative lighting was key to achieving Kitin’s luxurious design. “The client specifically requested unique and visually captivating lighting designs. For us, it was crucial to create bespoke lighting fixtures that became focal points within each area of the restaurant. This helped to compensate for the simplicity of the wall and floor finishes,” says Kwan. Shing adds: “The focus is often on ensuring the lamp source brightness is appropriate for the design intent. However, since the decorative lighting in Kitin played a significantly important role within the space, alongside lamp source brightness, we also carefully considered the light orientation, where the light was installed and the mounting height. Our team also used layering of light in this project to create a specific mood and ambience in the restaurant. This added depth in the design and enhances the overall sensory experience of the restaurant for diners. A lot of designers shy away from light layering as it is extremely nuanced and requires considerable thought, care, and precision to achieve successfully. The outcome at Kitin shows this effort was entirely worthwhile.
“The client was inspired in part by their own memories of an opulent hospitality experience that left a lasting impression. This sense of the luxurious lifestyle and unique ambience infused the whole approach for Kitin as they wanted it to have a similar feel. We then had to devise the best way to integrate those key decorative lighting features throughout the restaurant, as it is not sufficient to simply place decorative lighting in areas with little consideration. For example, the chandelier in the main dining room is positioned in that specific ceiling space to ensure there is no light that spills over – achieving a sublime lighting aesthetic for the space.”
All the decorative fixtures were supplied by Ricardo Lighting, while architectural pieces were specified from Vis Lighting, Effect Meji Corp., and controls from Lutron. “The bespoke decorative lighting elements were all inspired by traditional Chinese lantern designs,” explains Kwan. “We primarily utilised bronze materials paired with wavy glass to achieve a simple yet luxurious effect.
“Given the ceiling height limitations, we strategically placed the decorative lighting elements in the highest part of the ceiling to maximise their impact and create a stunning visual effect.
“The decorative lighting elements act as the primary focus, while the architectural lighting supports and enhances the overall mood of the space. The architectural lighting is designed to highlight the tables and create a backdrop that allows the decorative lighting to shine.
“The lighting design brings different atmospheres and settings to the space throughout the day. It transitions from a tea drinking mode during daylight hours (12am to 3pm) to a dinner mode from 6pm to 9pm, and finally a lounge mode from 9pm to 12am. The lighting plays a crucial role in establishing these varying moods and enhances the overall interior design concept.”
Shing continues: “Considering the overall interior is incredibly richly detailed, we tried to minimise any intrusiveness of architectural lighting whilst ensuring the light will create emphasis on elements within the interiors which should be highlighted. Alongside this, illumination levels needed to be strong enough to make the whole space visible. This is another instance where layering of light worked well – as opposed to using strong and bright lights, we deployed multiple, more subtle decorative lights.
“Another special feature of the project was our consideration of spatial lighting, which is not a standard approach. This is a way of considering light and how it can be strategically designed to draw the occupant’s eye to specific features while subtly backgrounding elements of the space, which are less aesthetically strong. This approach helped the restaurant achieve the ambience and aesthetic the client was after.”
The finished project was deemed an all-round success by both parties involved. “Overall, we are extremely satisfied with the final design and how it aligns with our initial plan and ideas,” reflects Kwan. “The positive feedback from both guests and the client confirms that our focus on simplicity and comfort, while highlighting the stunning view, was successful in creating an exceptional dining experience.
“I would like to highlight my favourite aspect of the restaurant, which is the stunning main entrance designed with inspiration from Chinese stone bridges. Imagine guests passing through a tunnel-like bridge to enter the restaurant creates a unique and memorable experience. The strategic placement of wall sconces throughout the entrance illuminates the entire interior, resulting in an aesthetically pleasing and Instagram-worthy area that captivates visitors.”
Shing adds: “This was a smooth project to work on mainly due to high levels of collaboration and effective communication with the client and the interior designers. The level of trust endowed in us as lighting designers meant this was very much a “get on board and start working on it” kind of project.
“What the client was aiming for was also very different given it was a high-end restaurant. Working with workplace clients there is more of a focus on functionality in lighting whereas, here, decorative lighting was at the heart of the project. I think the client appreciated that we focused on making the lighting in the space deliver a seamless integration between aesthetics and pragmatic considerations, as opposed to just finding the best-looking lights to install.
“While Kitin has already been a great opportunity to express our creativity, I do believe there was further scope to think outside the box and be more daring in our design. When we were given expansive leeway in design decisions, it opens up so much possibility for unique ideas that elevate the role of lighting to its full creative potential for enhancing both interior spaces and the experiences of those who spend time in them.
“When I saw the project completed, I was incredibly satisfied with what we had achieved as lighting designers. The decorative lighting integrates itself into the interiors incredibly well while also complimenting the space’s interior design. Another thing that stood out in the entire design experience was the collaboration with M.R. Studio, something which played a key role in delivering this project successfully,” he concludes.
www.cundall.com | www.mrstudio.hk
Iain Watson
To mark his 35 years at David Collins Studio, darc’s editor Sarah Cullen sits down with Iain Watson, CEO, to discuss his time at the company and how it has remained a consistent name in the interior design world - producing some of the UK’s most iconic retail and hospitality venues.
Interior design practice David Collins Studio (DCS) was founded in 1985 by the late David Collins. The London-based studio, and its team of 60 interior designers and architects, works globally across hospitality, residential and retail projects as well as maritime in the last five years, designing parts of Cunard’s latest ship Queen Anne.
Iain Watson joined Collins’ team in 1988, following a summer helping for a few months during a busy period where they worked from Collins’ living room. This successful experience evolved into Watson becoming a business partner and co-founder of the studio we know today. Sadly, Collins passed away in 2013 and it was then that Watson stepped into the role of Chief Executive Officer, supported by Simon Rawlings who heads the studio’s creative vision as Chief Creative Officer, David Goodman as Chief Operating Officer, and Design Directors Lewis Taylor and Ros Keet.
Keet leads the FF&E department, and a dedicated residential design team is led by Associate Director Siobhan Kelly. In addition to the interior designers, the studio also employs several architects, furniture and product designers, and a business team with in-house PR and marketing.
This August, Watson celebrated his 35th anniversary at David Collins Studio. darc’s editor Sarah Cullen sat down with the CEO to find out more about his career journey and how he has seen the world of design and decorative lighting evolve over the last three decades.
“I grew up in Glasgow, on the West Coast of Scotland. I moved down to London to study Business and Economics, but I’ve always had a great passion for design, art, architecture, and fashion – I’m still obsessed with fashion – and all manner of creative things,” he says. “When I was younger, I was encouraged to choose a commercial degree rather than an arts degree. But as it’s played out, I’ve ended up where I belong and love.
“Glasgow is a cultural city and famous for architect Charles Rennie Macintosh. Not only was he known for creating incredible buildings, but he also did interiors, designing everything down to the last spoon, teacup, and curtain. I was always taken by this wonderful world of detail he was creating.
“As a teenager, during my holidays I worked at my father’s factory where he made leather goods. It was interesting to see the processes of how things are designed, built, printed, stitched together, manufactured, and distributed.”
Watson tells darc how he was also exposed to the textile industry during the late 70s and early 80s, when he lived in the Outer Hebrides of Scotland with his grandparents. His grandmother made traditional Harris tweed by hand using the original foot-pedalled techniques at home.
During his time studying in London, Watson became well versed with – as he refers to it – ‘his triangle route’, walking along Sloane Square and down to the Habitat store, where he would study everything in the shops along his route, learning prices of items off by heart and developing his love for luxury items and interiors.
“I first met David Collins by chance,” he tells us. “He was wearing the same Dries Van Noten jacket as me, and at that time you could only buy them in a specific shop in Glasgow. It was a total fluke!
“David was a trained architect, and he had worked in commercial practices, but his passion was for interior architecture. He had designed famous London restaurant La Tante Claire in 1985, as well as private homes and a men’s fashion store. These collective experiences on projects from different sectors were the foundations the studio was built on.
“That continues today, albeit now on a global scale with an incredible range of projects. We might be designing retail spaces in Harrods London and a Nobu Hotel Portman Square in Marylebone. Private homes are also part of the mix along with commercial residential developments.
“Wellness is a bit of a personal passion of mine, and I’ve seen it increase in popularity in the interiors’ world. Wellness is more than having a gym at the end of the corridor. It’s about the quality of the air, the lighting, paint hues, what the paint is made of, and materiality. It’s interesting to see this wellness brief entering projects more.”
In the early days of the studio, Watson spent a lot of time in Paris with Collins, visiting flea markets and auction houses sourcing furniture and artwork. The design process for projects would always involve research into local cultures, materials, and craftsmanship as well as higher levels of inspiration from galleries, for example, to give the project a sense of place.
“David loved all things Art Deco, 1920s, and Hollywood. Spaces that were elaborate, overscale and generally over the top like a film set.
“The studio has worked in more than 25 countries, which is inspiring in itself,” continues Watson. “You embrace all the experience you’ve gathered, find local craftsman and artisans.
“In our studio of sixty-five people, we currently have 12 different nationalities, which enriches our understanding and appreciation of cultures and continues to inspire us and our work.
“Something we feared as a repercussion of Brexit was the potential that our cultural mix in the office would gradually be eroded over time, with less international students coming to study, live and work in the UK. But we hope this isn’t the case.”
Looking a little closer at the studio’s aesthetic and approach to projects, Watson explains that they steer away from trends and instead blend a unique mix of references, whether through historic periods, techniques, or theories. “Obviously, we are inspired by the architecture of a space and its sense of place,” he explains. “Often, people refer to our interiors as timeless and I feel as a studio we demonstrate this very well. We did an assessment of the lifespan of our bar and restaurant projects, and the average is currently 18 years. The Wolseley will celebrate its 20th anniversary later this year, one of the most successful restaurants in London, and it’s still serving 1,200 covers a day. The Connaught Bar, also in London, is 15 years old and is still winning awards for best bar in the world. I like to say that we are the antidote to ‘being on trend’ – longevity and quality are at the centre of all our designs.
“The hallmark of our projects is that they are incredibly well resolved from an operations standpoint. We always push to get great quality and integrity in our materials that age beautifully. Hospitality venues work like machines and it’s important to understand exactly how a space is used. It’s that thinking that underpins the experiences, so from the moment you cross the street and approach a building - the signage, the arrival, the lighting, the acoustics - all this needs to be curated.
“Further to this, a project’s timeless quality also relies a lot on its concept and research that goes into each. The sense of place, the customer’s journey, the type of building it’s in, the cuisine or cocktails if it’s a restaurant or bar. Everything is so detail-oriented that it is perfectly placed for where it is needed.”
An example of where theatrics can play a role in DCS’s interior design can be found at the aforementioned Wolseley in London. The client requested a sister venue to be designed using the same theme and concept. However, the location, rather than a grade II listed building, was a blank concrete box. “The perfect complement we received was guests questioning whether the building used to be an old bank. We had created this sense of familiarity using slightly aged marble – not distressed, just softened – which led people to think it was a converted historic building, when in actual fact it was pure theatre.
“Similarly at Harrods department store in London, people were amazed that they had never been to a certain section of the store before, when actually, we had transformed it from the original staff canteen into a 14,000sqft Shoe Heaven that looked like an original Harrods’ store experience. It was just a carefully curated design that felt like it had always been there, drawing heavily on the store’s archives and executing the design to the highest standard.”
It is apparent David Collins Studio prides itself on its close working relationships with clients and end-users. Taking a leaf out of Charles MacIntosh’s book, the dedication to the smallest details in the design scheme are fundamental to a project’s success.
A challenge the team comes across most frequently is ever shortening design programmes, and the short cuts that are suggested as a result of this. But, according to Watson, education is key to the client achieving their goals and them understanding the design needs to go through a process to guarantee the highest level of refinement. Especially when it comes to product design - prototypes are not to be skipped. “We choose our clients based on shared values in terms of commitment to quality, operations and budgets,” he says.
Another challenge the team has had to overcome arose in 2010 when they were commissioned to design the new build Mandarin Oriental hotel in Doha’s Msheireb Downtown. “The hotel had numerous rooms, huge male and female spas, restaurants, and bars – it was an incredible job. But the client wanted to work to LEED platinum certification - a very high standard. LED lights weren’t what they are now and the ones we were given were cold and unflattering that weren’t suitable for a restaurant. In the end, we delivered gold certification, which is still a high standard. It was a bit of a baptism of fire and a big challenge, but in turn we were well placed for future projects that came with LEED or BREEAM certification briefs.”
When it comes to decorative lighting in a DCS project, custom and bespoke plays a big part.
“We have some lighting manufacturers and partners that we specify fittings from, but more often than not we create fully bespoke decorative lighting and furniture for our clients as we believe this adds value to a project.”
Club Lucca in Hong Kong is a recent project that demonstrates some custom lighting the team created using alabaster. The fittings were considered at the initial stages of the concept, during the creation of mood boards with textiles, metal finishes, marble, and alabaster. The outcome was a beautiful family of lighting, with subtle differences depending on the room they were fitted.
Watson reflects on the first project he worked on with Collins, Marco Pierre White’s first restaurant, Harveys, that received three Michelin stars. The interiors followed a 1920s concept with the space realised in a white-on-white palette. “The common thread for the design of this restaurant was plaster. Everything was custom made for the space, from the wet plaster carved wall murals to the wall sconces and chandeliers. It was another challenge for me working with the fiery Pierre White, but we ended up building a continued working relationship with him, completing designs for another 20 of his restaurants.”
As well as having a strong bespoke offering, the team also collaborate with decorative lighting brands to specify off-the-shelf products as well as create pieces. Watson references their partnership with Lobmeyr, which supplied a re-issued vintage chandelier for The Bryanston Show Apartment, London, a project the studio worked on in 2022. Prior to this, they collaborated on a fixture for a villa on the Côte d’Azure in 2006. The challenging aspect of the product’s design was connecting the individual parts of glass and metal for the light fixture without any visible screws. The original design, with 13 lights, combined a nickel finish for the body with plates of dark-nickel brass and smoke-grey glass for the shades. The design went on to feature in the London Hotel in New York as well as in Collins’ own home in the UK.
“For the project in New York, the client bought six floors of an apartment building, with the top four floors made into a quadruplex apartment and the floors below made into a duplex. One of the ideas we had was to make a cubist chandelier, quite geometric, but we made it to go four floors up the building in a central staircase. That’s highly technical in terms of weight, safety, how to clean it, there’s lot to think about. So, certainly Lobmeyr’s skills and how to do that were needed.”
In addition to product design collaborations, The Studio also works closely with lighting consultants such as Lighting Design International (LDI) for projects that need the elevated technical lighting support. Simon Rawlings gives creative conceptual direction to the team at LDI - as well as other lighting consultants - to ensure certain elements are highlighted. The fresh food hall in Harrods is a prime example of the successful teamwork between DCS and LDI, where technical lighting had to be tested on site with the fresh produce to guarantee colour temperatures, for example, were correct to enhance the look of the fresh produce. “It’s an exacting process, testing and piloting. When I’ve seen some of the technical details in most of these spaces, there are three or four layers of lighting that they must weave together. The lighting is so magical.
“It’s also fundamental to the success of hospitality environments, to aid in daily transitions from breakfast through to evening. The mood and atmosphere need to evolve throughout the day.
“We always push clients to have a lighting consultant. As I said earlier it’s about educating clients, it’s the same with lighting. They might not be aware that it’s such a specialism, and really requires that technical knowledge that we don’t have in-house. Lighting design and consultation needs to be given the importance that it deserves on a project. We’re always championing and putting forward the lighting consultants to work with us.”
One of Watson’s stand out projects in the studio’s portfolio of work is the Criterion Restaurant in London, another for Marco Pierre White, that was completed in 1995.
“The room was so intimidating because of its grandeur. We lined these beautiful Fortuny Italian, hand-painted silk lights down the side of the room, which lowered the lighting levels and made the space feel more intimate. We couldn’t fix anything to the walls, so these lights were freestanding floor lamps that added a touch of magic to the room along with sheer large, draped curtains.”
Another of his favourite projects was for an installation at Kips Bay Decorator Showhouse in New York, where the team created The Collins Room entrance hall based on the studio’s famous Blue Bar at The Berkley Hotel in London, which was completed in 2002. The six-week installation in 2016 featured semi- custom versions of the Lutyens Cardinal Hat pendants that took inspiration from the chandelier used in the original Blue Bar scheme. The original design from the 1920s used plates of glass, which were updated to alabaster in the new installation.
Looking ahead, environmental, social and corporate governance (ESG) is on everyone’s minds at David Collins Studio. Circularity and repairability are avenues the studio are keen to explore, as Watson keeps an eye on other industries to see how they tackle these challenges and what might filter into the interior design world. “As the CEO from Hermes said, ‘luxury is an item that can be repaired’.
“There isn’t so much a system in place for the end of a project’s lifecycle, but more recently we have been made aware of items of David Collins Studio furniture and lighting being sold at auction to give them a second life.”
Technology is also becoming a more prominent focus for decorative lighting and something Watson isn’t convinced by. “For us, technology must be intuitive and discreet. We’ve seen complicated lighting systems, and in the residential market people might want all kinds of bells and whistles, but the reality is sometimes they’re not very easy to use and very expensive to reprogramme.”
It’s evident the experts in design longevity, luxury furniture and bespoke lighting design are quickly making a name for themselves as a British icon in the interior design world. And, if the studio continues to create projects the way they have for the last 38 years, there’s no doubt we will see their designs standing the test of time for many years to come.
Triqis
During this year’s London Design Fair held at the Truman Brewery, London, darc’s editor Sarah Cullen hand-selected some of her favourite designs and new brands to explore a little further. She caught up with new-kids-on-the-block, Triqis to find out more about the studio’s inception.
Triqis is a newly established design studio based in London, with its manufacturing base in the West Midlands. Co-founded by Kwaku Boateng and Erwan Louis, the pair first met while studying industrial product design at university. darc first came across the new studio during London Design Fair and were impressed with the level of standards and finishes the duo were producing as young product designers.
“After being in London for some years we noticed that in the world of design there were many leaders producing high quality furniture and lighting from many other countries, however little to no British representation,” says Boateng.
“Another thing that we noticed was the lack of diversity in the space,” adds Louis.
“This is what drove us to found Triqis, as well as providing an outlet to express ourselves through design,” says Boateng.
The two designers come from very different walks of life. Boateng was born and raised in London before moving to Trinidad for 13 years of his childhood then returning to the UK. Louis on the other hand is originally from Brittany in France but emigrated to Iceland with his family during his teenage years before heading to the UK for university.
“Kwaku’s years of experience in contemporary design and leading growth for some of London’s most successful tech companies, has played a massive role in our design, processes and growth of the studio,” observes Louis.
Whereas Louis brings a wealth of experience with some of Italy’s top lighting brands, which Boateng believes gives them “the edge that shines through the execution of our designs”.
“Our solid education in industrial design for manufacture, mixed with our immersion into the contemporary design world is what really sets us apart,” he adds.
“Design for me has always been my happy place where I can create and express myself freely, so the vision was always to start my own studio.”
Something Louis agrees with: “Yes, I’ve also always wanted to start my own studio, however I also wanted to gather some industry experience to figure out what I wanted to focus on as well as get a taste of what the world of contemporary design was like as it differs from industrial.”
Boateng adds: “I guess you can say it was always in the plan, it was only a matter of time.”
Bringing products to the design industry that are proudly British made is key to the studio’s ethos. “Having spent years residing and working in the design industry, most of my experience being in Italian lighting, along with our different walks of life was something we believed should be part of the studio,” says Louis. “We also identified the pure need for high quality uncompromised British, and moreover local products, and this was one of the main driving points towards owning aspects of our manufacturing and operating here in the UK.
“Developing our own manufacturer was a logical step, first for the transparency in terms of product provenance and the benefit it has on our socio-economic surroundings. As well, it helps in developing local know-how and enhancing our clientele’s experience in dealing with us on projects.
“Our polar opposite backgrounds could also be considered a key characteristic of Triqis, which is something we want to express through our current and future designs. This is what design is about, storytelling.
“Quality of product and light specification is what we are proposing with no compromise. We aim at covering the entire interaction with light, whether it is the quality of the light itself, how it interacts with spaces and the way the user interacts with it. This can be as simple as the way it is switched on, such as on the Lorraine lamp.”
Boateng adds: “We want to provide the industry with something new in the 21st century, something fresh, high-quality and exciting yet sophisticated, considered and well-designed out of the United Kingdom.”
Despite the duo’s unwavering enthusiasm, starting a new business is never easy and they have faced a number of challenges along the way. This, however, is what has helped build the foundations of who the designers and the brand are today.
“What went wrong? In the beginning… so much!” reflects Boateng. “But that is a part of the journey you just can’t avoid, especially when developing a high-quality product and brand. It took us some time to figure out how our design styles and processes complimented each other as well as defining our processes. Logistical, supply and design problem solving, resulting in many sleepless nights in the studio that have all been crucial aspects towards the Triqis you see today.
“In the early days of running the studio from affordable artist spaces, we’ve had nightmares where the studios have been requested to be evacuated with little to no notice in the middle of projects and operations.”
“We laugh about them now, but at the time it was anything but funny,” adds Louis.
“Off the back of all that, our manufacturing capabilities are something that have come a long way and that I’m proud of, as it allows us to ensure the quality, sustainability, and ethical practices that we provide.”
What can we expect from the young studio over the next year? More lighting! “During the show, we unveiled our collection of decorative lighting pieces. Moreover, you can anticipate the addition of some innovative technical lighting options to our range in the upcoming year,” explains Louis.
Boateng concludes: “We’ve been thrilled by the industry’s positive response since launching our products at the London Design Fair. Currently, we’re working on some exciting interior projects too, so stay tuned.”
Italian brand Henge unveils sculptural lights collection
(Italy) - Henge reveals its new collection of lights created through long-standing collaborations with esteemed designers Massimo Castagna, Ugo Cacciatori and Yabu Pushelberg. Each designer has created new pieces through combining historically sought-after ‘Made in Italy’ craftsmanship with modern technology.
During Milan Design Week, Castagna presented ‘Spyder X’. The pendant lamp consists of a set of fluted borosilicate glass cylinders, finished at the ends by rounded bumps in burnished brass, arranged horizontally and vertically.
The collection also includes Cacciatori’s design ‘He-She”, a hybrid table and light crafted from marble blocks, revealing the alchemy of hidden textures and veins through the soft beam of light.
The ‘Maple’, designed by duo George Yabu and Glenn Pushelberg, mirrors the seeds of a maple tree expanding its stems. The pendant lamp expands its stems in black burnished brass, sprouting blown glass buds creating refined plays of light.
‘Chrystal Evo’, by Castagna features long rods that move through the air displaying choreographic compositions, alchemies of light and arabesque textures. Castagna also designed the ‘Superb-All Horizontal’, made from fibreglass spheres creating interplay of geometry and gravity via tapered stems of burnished brass and metal.
Decorex 2023 highlights
Decorex, one of Europe’s leading high-end design shows, made its return for the 2023 edition on the 8 - 11 October. darc’s newest member of the editorial team, online content creator Ellie Walton, attended the show for the first time to soak up the latest the design industry has to offer. She walks us through her full day at the event.
Upon arrival was a maze of new products and innovative brands beckoning its visitors in every direction with a spectrum of colours and materials. I was positively giddy about the innovative and stunning decorative lighting I discovered. But no need to fret if you couldn't make it, because I've cooked up a nifty highlight reel of our favourite exhibitors for darc’s Instagram (you can catch it on @darc_mag). Plus, here’s a round-up of some of my favourites from the show.
Curiousa, a tribute to the allure of Vanessa Belle
Starting off strong with Decorex’s trail winner is, Curiousa. Esther Patterson, founder of the British-based company, has established an iconic brand over the last 13 years. In her lighting pieces she pursues colourful textiles and bubble-like shapes in her bone china lighting. Amongst the eye-catching glass blown pendants and lamps was the Maya collection making its debut. The collection marked Patterson’s return to her ceramicist roots to create a fusion of light and ceramic in a playful and design-led collection of table lamps.
Inspired by Aztec and Mayan graphic fabric patterns and architectural motifs, the stepped geometric shapes of the Maya collection evoke the silhouette of iconic ancient Mayan temples. These shapes were translated into bone china components through a creative and organic process from clay on the wheel to slip-casting before being carefully curated with glass. The Luna lamp pieces on display at Decorex were hand painted by Esther as an ode to the Bloomsbury Group and painter Vanessa Belle, whom hand painted everything from their walls, tables, and curtains in their Sussex home, Charleston House, in a freestyle poetic way that Patterson wanted to imitate. Patterson discussed that she would be looking into selling the hand painted versions as a limited edition of the collection.
Soho Lighting’s recycled sea waste pendants
Established in Soho London, but originally hailing from Cornwall, Soho Lighting showcased two eco-friendly collections each with compelling conservation narratives behind them. One being The Ocean Collection, which ingeniously repurposes discarded material gathered from Cornwall’s coastlines. These pendants are made from salvaged or broken fishing nets and various shoreline detritus such as plastic bottles, bottle caps and straws due to beachcombing efforts involving the local community. Students are collaborating with Soho Lighting taking part in beach combing and are then tasked with designing their own lamp shade. The winners will have their design added to the collection.
Soho Lighting take plastic waste and melt it down into pallets before creating pendants via 3D printing. The resulting colours depend on what kind of plastic is salvaged from the shores – making each one-of-a-kind. The dark green shades for instance, are especially rare as they come from waste that has made its way from India, while the teal shade is created from the fishing nets.
Soho Lighting also offered a second sustainable collection, ‘The linen Collection’ which was the winner of sustainable product of the Year at Decoex’s. This is collaboration with Salvation Army’s waste. The product was a huge success and risk for Soho as they weren’t sure how the lamp would look on arrival to the show, according to one of Soho’s founders Jason, however the shade created a beautiful diffusion of light and even looked like porcelain when stood further away.
Soho Lighting also offered a second sustainable range, The Linen Collection, which was the winner of Sustainable Product of the Year at Decorex. This is a collaboration with Salvation Army’s waste. The product was a huge success despite being a risk for Soho as it wasn’t sure how the lamp would look on arrival to the show however, the shade created a “beautiful diffusion of light” and even looked like porcelain when stood at a distance.
Lutron’s dimmer installation
Neighbouring the Boudoir exhibition Lutron had a dreamy installation on its intelligent dimming system. Founder of Lutron, Joe Spira, is the creator of the first rotary dimmer for homes in the 1950s. Its Decorex installation presented how Lutron controls and adapts to light whether that’s artificial light or natural light from the sun through automated window treatments.
The tour featured a cluster of bubble-like pendants, all hanging at various lengths creating an almost cloud like feature. The piece demonstrated Lutron’s perspective that instead of lights switching on and off, they should dim down, however not in the way where dimming simply lowers the illumination. When white tuneable lighting is dimmed just by its illumination it feels unnatural and unnerving for our bodies. Therefore, instead the light not only dims its light but also its colour temperature to warm. The system is meant to represent the circadian rhythm of the day starting with dim warm lighting and as the day gradually progresses it glows to a brighter shade.
The Lutron system features intelligence to know where you are in the world and what time of day it is, and therefore also reflects the colour temperature and light according to that geographical daylight rhythm. Alternatively, the light can adjust to improve circadian rhythm for countries such as the UK, when the seasons change, and the days get shorter so that the body isn’t subjected to harsh LED lighting but instead creates an illumination that mimics those longer and brighter days.
J.Adams & Co’s synergy of sophistication and artistry
A notable mention goes to J.Adams & Co’s Strata collection, a minimalistic yet stunning design that plays with light refraction. This remarkable product features two slender reeded glass tubes running parallel, linked by rounded brass endcaps crafting the illusion of a continuous loop. Suspended from a brass core, the 1.5-metre pendant dazzled as it hung at the centre of the exhibitor’s stand above its working desk, casting inspiration for the beholders.
The reeded glass surfaces created a delicate glow complimented with a practical strip of lighting at the bottom of the pendant making it versatile for residential projects such as hanging over kitchen islands, dining tables or, for more commercial projects over bars or counter tops. The Strata pendant offers flexible arrangements in rows or grouping, with the added bonus of bespoke options in length, and it comes with four different metal finishes to choose from.
For a more subtle touch, the Strata is also available in 600mm or 900mm wall lights, illuminating a warm decorative light from a singular tube of reeded glass. This design is said to have bathrooms and bedrooms in mind for its use. According to J.Adams & Co. the Strata is already being well received especially from Decorex with interest from some exciting projects on the horizon.
Pooky’s preview’s
As expected, Pooky did not disappoint those of us who love quirky lamps and chandeliers. The majority of the Pooky stand was a treasure trove of unreleased products making their debut at the show. One eye-catching piece was the Old Field Chandelier, made of crystalline clear tubular glass, creating an almost trifle-like shape. The one that caught my eye at first was in a magnificent peach colour; however, its sister came in crystal clear, offering a more neutral option. The Old Field is yet to be launched, but Pooky has hinted for admirers to keep an eye out around Christmas, with suggestions of a variety of other colours to be offered, with amber being a potential contender.
A shout-out should also go to Pooky's fabulous range of cordless portable lamps. Many featured the recent lampshade range with GP and J Baker, a design paying homage to the classic Ikat weave, in style with the Baker’s recognisable touch of colour and geometry. Hiding among the lamps was an unreleased piece named the Puffer, small and aptly named with its spiky round stand. The Puffer offered a rock’n’roll edge to its mostly cutesy counterparts.
CSI Design Expo Europe releases CPD- certified curated programme
(UK) – CSI Design Expo Europe has released its full schedule of content for its event held on 29 – 30 November at London ExCeL. Design leaders from Europe’s esteemed cruise lines and design firms will be sharing their knowledge, insights, and experience through a series of CPD-certified panel talks and discussions.
The programme, curated around today’s ocean, river, and expedition cruise market, delivers a range of topics and case studies covering concepts and inspiration behind designs, project management, storytelling through design and brand identity, the future of marine interior design, and designing for adventure.
The speaker line-up includes Gianluca Gugliotta, Director, Vessel Refurbishment - Norwegian Cruise Line; Aida Lora, Senior Design Associate - Royal Caribbean Group; Bob McGowan, Head of Operations - Ambassador Cruise Line; Sandra Correia da Silva, Architect - Mystic Cruises; Alexander W. Höfling, Managing Director - Meyer Re; and Kristian Englund, Senior Architect - YSA Design and CEO - Ship Planner.
The conference and workshop programme is CPD-certified allowing professionals across disciplines to further their learning activities and gain developmental hours from attending each accredited session. CSI will also be debuting new formats with keynotes and workshop sessions taking place predominantly on the second day and held on exhibitor stands around the show floor.
Stand-out sessions include the opening keynote, ‘Inspiration for beautiful design: Case studies in materials & spaces’ delivered by leading interior designers and attendees will be guided through a showcase of projects across newbuild and refurbishment portfolios.
Those looking to gain insight into the changing shape of expedition cruising, CSI recommends ‘Designing for adventure: Spotlight on expedition cruise interiors’. This session sees industry experts dive into the impact the sector’s growth has had on designing for functionality, while still giving guests an authentic and luxurious experience.
Alongside these curated panel discussions, the event offers visitors additional learning opportunities at the Meet the Brand Q&As and Project Management Lunch. These focused sessions give attendees the chance to get to know the design and procurement professionals and learn how to navigate a successful project from concept to delivery.
Register for a free pass www.CSIDExpo.com
Original BTC launches Blossom at Decorex
(UK) - Original BTC, has launched a new lighting fixture ‘Blossom’, making its first appearance at the 2023 Decorex Show in London. This is the British manufacturer’s first ever portable and cordless fixture.
Developed with functionality and flexibility in mind, the compact design allows it to be transported from room to room, while its versatility means it is suitable for any environment in the home from living room, hallway, garden, or in a restaurant or hotel lobby.
The design is inspired by the national flower of Taiwan, the plum blossom, hence its fluted bone china shade offers petal-like outlines topped by a satin brass detail. Offering three brightness levels allows a choice of illumination: from a soft, warm glow to sufficient light to dine or entertain. The solid and powder coated stem with a metal base comes in three different colours: olive green, puty grey and rusty red.
While the shade is crafted by hand in Original BTC's Stoke-on-Trent pottery, the LED light source is designed and engineered in Oxford by Beadlight. Charged via USB-C, Blossom has seven-hour run time on full brightness, extending to 20 hours on the lowest setting.
The Blossom is now available online, discover more about the fixture at at www.originalbtc.com
