Frankie Boyle's Intra-spectrum to feature at LiGHT 24
(UK) - Intra-spectrum, Frankie Boyle’s latest creation will shine at LiGHT 24. The artwork, powered by formalighting, invites all to embrace wisdom through light and colour.
The installation will take place at the Business Design Centre in London from 20 - 21 November 2024.
Combining scientific inquiry with creative expression, Boyle’s’s work is distinguished by her mastery of physics, colour theory, and the psychology of perception. Her installations explore the intricate interplay of light and emotion, creating immersive environments that prompt introspection and self-discovery.
Cultivating her heightened sensitivity to light and deep understanding of human behaviour, her latest upcoming installation, titled Intra-spectrum, has taken inspiration from her recent explorations of the narrative of consciousness and subconscious within her body of work through the harmony of reflection and refraction.
Boyle says: “I want people to immerse themselves within the light that we shine and the light that we hold within through an array of beautiful invigorating colours. This installation is all about eliciting introspection and connection.”
This relationship with colour is something that Boyle wanted to particularly focus on during Intra-spectrum. Colour theory is a fundamental concept in art, design, and psychology that helps explain how colours interact, how they can be harmonised, and how they affect human perception and emotions.
Boyle believes that as children we are attracted to colour as our eyes are more sensitive and stimulated by brighter colours, yet as we grow older, we start to eliminate colour from our lives because we associate it with immaturity and youth. Her work aims to “reignite those rich emotional experiences that influenced how we felt, thought and behaved through play when we were younger”.
To create the kaleidoscope of various colours in this artwork, Boyle is using dichroic film; a material that exhibits different colours when viewed from different angles due to interference of light waves - creating a colour-shifting effect. This phenomenon occurs because the film selectively reflects and transmits certain wavelengths of light while others pass through, creating a multi-colour appearance depending on the observer's position.
The concept of light has heavily influenced Boyle’s work as an artist. She has shared her experiences of growing up as a neurodivergent person, who used light as a communication tool from a very early age.
Boyle adds, “Light and human behaviour were definitely the first languages I understood. That is why I am so interested in the human response to my work, physically, psychologically and emotionally. Ultimately, light is a language that everyone speaks that taps into the subconscious, connecting us to a space.”
Visitors to LiGHT 24 will be able to view the exclusively created art installation ‘Intra-spectrum’ by Frankie Boyle, which is powered by formalighting. The installation will be found in the space between the main exhibition and the conference hall, where it will aim to ignite and resurface memories and emotions as visitors move through this space.
Discover more about Frankie’s work here: https://www.frankieboylestudio.com/Find out more and register free for LiGHT 24 here: https://www.lightexpo.london/
Slamp continues fight against breast cancer
(Italy) - Slamp supports the fight against breast cancer by working with Komen Italia, a leading group in women's health, for its 4th year.
Slamp turns Pink to bring hope: their donations and light creations, along with support for the Pink Tie Balls in Rome and Naples, have helped Komen Italia increase its efforts. This includes more Prevention Days to promote women's health. Komen Italia is a volunteer-driven group active nationwide, raising funds for breast cancer projects.
Since 2000, it has invested over 26 million Euros into:
- 180 research grants for young doctors in Italy and abroad.
- 1,200 Women's Health Days, offering free exams to 265,000 women in 17 regions.
- Support for 350 associations promoting health projects across Italy.
Founded in Rome, Komen Italia now operates in seven regions and collaborates with over 100 cities through a network of volunteers and "Friendly Associations." Celebrities like Maria Grazia Cucinotta and Rosanna Banfi are among those who passionately support the group.
Komen Italia is also a founding member of Think Pink Europe, a network of nonprofits that organises the Race for the Cure programme across Europe.
[d]arc session Asia 2024
This year marked [d]arc media’s first venture across to the tropics of Thailand for the inaugural [d]arc sessions Asia, located at the beautiful Le Méridien Phuket Beach Resort.
Situated a short drive from the infamous hustle and bustle of Patong (more on that later), Le Méridien is a contrasting tranquil destination sat on the shores of the warm Andaman Sea.
Following the success of the previous six editions of our exclusive networking event, the seventh [d]arc sessions did not disappoint. With suppliers and specifiers traveling from far and wide to the Thai island, this event was positively buzzing with new connections being formed and old friends reuniting.
This September, a total of 120 delegates came together to exchange product designs and projects for specifying from across Asia, the Middle East, Australia, and New Zealand.
Across the three days, the event followed its usual format of interspersing its speed dating-style meetings between lighting designers, interior designers, and architects with suppliers, with informal panel discussions where audience members were encouraged to participate and share thoughts and questions with the room. Topics for these sustenance sessions included “Justifying the cost of high-end European fixtures in a client centric design in Asia: The challenges of justifying the high cost of light fixtures from prestigious brands in a market increasingly dominated by budget-conscious clients” with panellists Maneck Tandon, ATPL Architects; Courtney Mark, Studio Mark; Regina Santos, Lightfusion, and David Skelley, DJCoalition. Secondly was “The impact of international partnerships and global standards on lighting design in Asia: The challenges and opportunities of aligning with international norms and studios while respecting regional differences”, with panellists Amornrit Pituck, Gooodlux; Said Sawaf, Umaya; Surbhi Jindal, Da Light Hub, and Momena Saleem, Worktecht. And thirdly, “Tackling light pollution in Asia: The role of lighting designers in urban and public illumination”, with panellists Yusuke Hattori, Ambiguous; Mohannad Al-Salkhadi; Cyril Lamy, Scenolight Atelier, and Jinkie De Jesus, Light Plan Inc.
Our Keynote session was delivered by Eugenia Cheng of LightOrigin Studio. She discussed her fascinating project, the Artifact Bar in Hong Kong, which won this year’s Best of the Best [d]arc award. The unique hospitality venue brought many challenges with it, such as very low ceilings and no natural daylight. Cheng and her team worked closely with the project’s interior designers NC Design + Architecture and leant into the space’s cave-like atmosphere to create contrasting and dynamic lighting effects.
At the end of each day’s intense yet productive meetings, delegates had time to recoup by the poolside or soak up the evening sun on the resort’s white, sandy beach. Then, everyone gathered to continue conversations and networking across the evening meals and drinks receptions, set in picturesque locations across the resort.
Our final evening was spent at the beautiful Fuga beach club and restaurant in Patong, where guests were treated to a spectacular fire art show and even had the opportunity to dabble in the flames themselves.
As the busses arrived to shuttle guests back to the hotel, there was an optional stop half way at Bangla Road, for those who wanted one final hurrah in the clubbing district. However, the first bus continued past the party streets and headed home. Nevertheless, the party spirit had not gone to bed just yet, as we were treated to a karaoke rendition of A Whole New World by Nicholas Ong-Lewis of Delta Light, which got (almost) all of the passengers singing their Disney hearts out together. darc magazine’s editor Sarah Cullen has video evidence for those that want to see…
The next [d]arc sessions events have been announced for Europe 6 - 9 May 2025 at the Melia Hotel, Ibiza, and Asia 14 - 17 October 2025 at the Pelangi Beach Resort + Spa Langkawi, Malaysia.
darc’s editor hosts panel discussion at Decorex
(UK) – Decorex completed its 46th edition of its show held at Olympia Events, London, between 6-9 October.
This year’s event hosted a packed schedule of design talks and sustainability discussions, offering a wealth of knowledge from over 85 speakers. darc’s editor Sarah Cullen was invited to host a panel discussion in the VIP lounge this year. The VIP Lounge was designed by paint brand YesColours around the concept Synesthetic Studio. Featured throughout the space were lighting pieces from Curiousa and Houseof studios.
Titled ‘Illuminating Spaces: The Power of Lighting in Crafting Mood and Atmosphere’, Cullen was joined by her panel Helen White, Co-Founder of Houseof, Esther Patterson, Founder of Curiousa, and Matteo Bianchi, Founder of Daruma Studio.
The discussion incorporated Bianchi’s expertise in interior design and Patterson and White’s experience in product design to address approaches and challenges to lighting various types of space, along with techniques used to create atmosphere. Some of the questions touched on approaches to colour temperature, lighting intensities, product placement, product flexibility and user-friendliness. Taking a couple of segways into the topic of sustainability, the 1-hour discussion touched on numerous ideas within the subject of lighting and interior design while also considering conscious design choices for people and the planet.
Cullen also encouraged audience members to get involved throughout the session, opening the discussion to the floor to pose questions to the panel and share experiences they have encountered.
The next edition of Decorex will return to Olympia Events 12-15 October 2025.
Henge opens London flagship store
(UK) - Italian high-end furniture and accessories brand opened the doors to its new flagship store in Chelsea, London coinciding London Design Festival.
The 600sqm flagship perfectly embodies the Henge style, with a curated showcase of the latest collections and iconic pieces of the brand. The space, featuring four living areas, includes two kitchens, sculptural lights, and several boiseries.
The opening marks a further step in the global expansion of the brand and thus becomes a corporate space on the same level as the Milan showroom, serving as a new Henge hub for architects and clients around central and northern Europe.
Key Novelties showcased in the show include the new exclusive Floyds Lights Series in collaboration with Venini and designed by Ugo Cacciatori and composed of four blown glass lights produced in Murano; Opera by Massimo Castagna, the latest sculptural kitchen elegantly embellished with a marble stone that plays with volumes. The Sapiens and Sirius systems and the Spectre modular bookcase by Massimo Castagna.
Paolo Tormena, CEO of Henge, says: “This opening marks a major milestone in Henge's consolidation in the international market. London is an important hub in the design world and also holds significant value as a key link to our esteemed clientele on a global scale.”
www.henge.com
Terence Woodgate
Iconic product and furniture designer Terence Woodgate sits down with darc’s editor Sarah Cullen to chat about his career, design inspirations, and memorable collections that he has created over the last 21 years as an official Royal Designer for Industry.
Terence Woodgate is a well-respected British industrial designer who obtained Royal Designer for Industry (RDI) status in 2003. However, being a furniture and product designer was not on his initial career path.
Speaking with Sarah Cullen, she discovers more about the designer’s past, creative influences, and future endeavors.
Woodgate grew up in the beautiful Parliament Hill area in Highgate, London. Here, he attended the Gospel Oak primary school where he majored in art. At the end of his primary education, he failed his 11+ exams and went on to attend Holloway Comprehensive School, which upon reflection was something he sees as a positive outcome: “It was probably for the best as I would not have enjoyed grammar school”. For context, secondary modern schools were a type of secondary school that existed throughout England, Wales and Northern Ireland from 1944 until the 1970s under the Tripartite System. Secondary modern schools were designed for most pupils between the ages 11 and 15; those who achieved the highest scores in the 11+ were allowed to go to a selective grammar school, which offered education beyond 15. It wasn’t until a little later in life in his 30s that Woodgate was diagnosed with Dyslexia, which could have been a possible influencing factor on his educational direction.
Post secondary school, Woodgate went on to study engineering at Westminster College before beginning work as a petrochemical design engineer in Belgium, creating oil rigs and nuclear power plants. “While in Belgium, I visited an exhibition on The Bauhaus at the Stedelijk Museum in Amsterdam, which had a massive influence on me. The Grand Comfort chair by Charles-Édouard Jeanneret, known as Le Corbusier, blew me away. The idea of having an exterior structure in polished steel tube, holding soft leather cushions was exciting. It was totally different from what I grew up with and I wanted to create work like that myself. Also, the Lights by Walter Gropius were wonderful, stunning and still relevant today.
“Visiting an art gallery continues to have the same effect on me; after a while I want to run back to the studio and create new work!”
Following his stroke of inspiration attending art galleries in Belgium, in the mid-1980s Woodgate retrained as a furniture designer at the London Guildhall University before opening his own studio in East Sussex, UK, 1988.
Since then, blending his technical engineering training with his appreciation for refined aesthetics, Woodgate has established himself as a contemporary designer that describes his aesthetic as “modernist/minimal”. He adds: “I am more interested in subtraction than addition. I don’t add decoration for the sake of decoration, instead preferring to focus on form and texture.
“[When it comes to designing] influences are everywhere for me. When offering advice to design students, I always encourage them to look outside their chosen discipline for inspiration, e.g., architecture, jewellery, racing cars, art. For me, art is probably the most important influence.”
As his studio began to grow, so did the recognition for his designs and his collection of accolades. A mere 15 years after establishing Studio Woodgate, in 2003 he was awarded his RDI as well as the German Red Dot ‘Best of the Best’ Award, IF Ecology Award, and Observer/Elle Decoration Design Award for Furniture. Not long after, in 2008 he also won the Wallpaper* Magazine Design Award.
Over the years, Woodgate’s portfolio of clients has also grown to include brands such as Case, Concord Lighting, Established & Sons, Objekten, Punt Mobles, RVB and SCP. Examples of his work are now held in private and permanent collections such as the Museu d’Arts Decoratives, Barcelona, and the Victoria and Albert Museum, London.
Speaking of some of his most notable moments in his career to date, Woodgate says: “I designed several lights for Concord Lighting that were all speculative, i.e. not commissioned. Notably, Infinite and LED 150 were significant designs. Infinite was a low voltage collection with straight and curved track structures where fittings could be added to the top and bottom. It won various important design awards including the German Red Dot ‘Best of the Best’.”
Ahead of the curve with project circularity, Woodgate’s LED 150 was designed with longevity and flexibility in mind. “LED 150 was a downlight where LED was an acronym for Low Energy Downlight, long before LED light sources were around. It was a holistic design where I focused on benefits for everyone involved be they architects, specifiers, installers, maintenance, or end user. It was flexible in that it could be specified in the knowledge that if the building requirements changed so could the downlight system in terms of optics and aesthetics. The product lit many large projects such as the Petronas Twin Towers and some international airports.
“I would also say my Solid collection for Case is one that I consider notable. The design has now evolved to be portable, which offers wonderful user flexibility.”
When it comes to his approach to designing lighting, Woodgate explains that within all design fields, whether that’s furniture or lighting fixtures, there are particular constraints that need to be considered.
“You need to identify what information you need to start work. When designing an architectural light fitting, you are designing a machine that provides light. Decorative lighting is more about saying ‘look at me’ rather than ‘look at what I do’. And both are valid.
“Lighting can turn a space into something wonderful, be it warm and welcoming like enjoying a whiskey by a log fire, or it can enliven the space and the people within it like a fresh walk in the alps. It can also tell a story and provide a narrative.
“For me, good product design is refinement and engineering beauty either in the design itself or in the effect. It’s the ambiance it produces.”
Looking at the relationship between architectural and decorative lighting, he believes “each has a definitive role to play”. He continues: “Personally, I love the technical challenges of architectural lighting, and I love the freedom/liberty of decorative lighting.”
When it comes to challenges within design, Woodgate is self-proclaimed impatient by nature, stating that the time it takes between design concept to production and finally to reward is the most frustrating part about working in the world of design.
Speaking of one of the best developments in the industry, like many designers who work with lighting, he claims it is the revolutionary introduction of LEDs. “[They] are amazing and have changed the industry. The energy saving aspects and the fact that they are emitting light at such low operating temperatures is excellent. Tuneable white light LEDs are particularly fantastic, but personally, I am not a fan of colour changing LEDs.”
One of Woodgate’s long-standing brand partnerships is with Case, a British furniture, lighting, and home accessories brand established in 2006 by British designer Paul Newman.
“I have known and respected Case for many years and the team has impressed me with their energy and enthusiasm. They have grown and are now a successful international producer with an intention to expand its decorative lighting. Case commissioned me to design a collection of floor and table lights, which is called Soft, due to its soft form of the traditional tapered shade. Made in Poland in mouthblown, three ply opal glass, it provides a beautiful, soft ambient light.”
The Soft collection’s elegant, rounded conic glass shade takes the centre stage, which is acid-etched to produce a diffused, gentle light. With a three-step touch control to dim the light, the collection is versatile and suitable for use in residential, office and commercial environments.
“Working with light is always an exciting experience, because you never really know light and how it will perform.”
What can we expect from the designer next? A new collection of wall lights appears to be on the horizon… “The wall lights are currently a speculative design without a manufacturer in mind; it is one of those designs that has been on my board for a while. As I am now living in Girona, I think I would like to approach a Spanish brand.”
www.studiowoodgate.com
Kevin Chung - AB Concept
Kevin Chung, Design Director at AB Concept, discusses the importance of decorative lighting in an F&B environment, highlighting the considerations to the architecture and referencing recent projects case studies.
Decorative lighting is the soul of a space; without it, the environment can feel lifeless and uninspired. In nearly every project, especially in restaurant and bar designs, we would want to collaborate with a highly skilled and capable lighting designer.
Today, restaurants and bars are more than just places to eat and drink—they are immersive experiences where lighting significantly shapes the overall atmosphere. Consider the effort and creativity a chef invests in crafting a dish that is both visually stunning and delicious. The role of the lighting designer is to enhance and showcase this artistry. Poor lighting would not only fail to do justice to the chef’s work but also detract from the intended dining experience.
In many of our projects, decorative lighting serves as the primary light source throughout the interior. We believe that decorative lighting is a critical component of the overall design, both visually and aesthetically. As a result, we would custom design every piece of lighting within the restaurant to ensure it complements and enhances the space.
In projects involving heritage buildings or those meant to convey a classic narrative, the role of decorative lighting is particularly significant. These spaces demand a lighting approach that both honours the architectural integrity and aligns with the historical context. We are always very careful to avoid the use or hiding of visible architectural lighting, such as downlights, that do not correspond to the architectural era. We believe it is essential to maintain the authenticity of the design by adhering to the lighting conventions of the period.
We deliberately limit the use of architectural downlights, using them only when absolutely necessary for function. This approach often ends up requiring custom design of almost every light fixture in the space, allowing us to create a cohesive narrative that not only respects the building’s history but also enhances its aesthetic integrity. With the sole purpose that the lighting design not only complements but also elevates the overall experience, preserving the character and essence of the original architecture.
One of our recent projects, the all-day dining restaurant, Yun He, at the Four Seasons Hotel Suzhou, is nothing short of an architectural gem. The space is designed with soaring ceilings and expansive window glazing, allowing an abundance of natural light to flood in. This design choice brightens the interior and provides guests with breathtaking views of the hotel’s meticulously landscaped gardens, creating a tranquil and picturesque setting that elevates every dining experience.
The restaurant’s interior lighting has been carefully crafted to adapt to the natural rhythm of the day, ensuring that the ambiance remains inviting and harmonious, whether guests are enjoying breakfast at dawn or dinner at dusk. Lighting transitions are designed to seamlessly shift from one hour to the next, offering a gentle, warm glow that complements the restaurant’s sophisticated décor. The decorative lighting elements are custom designed to subtly weave into the experience, telling a story of timeless elegance, crafting a unique and memorable atmosphere that leaves a lasting impression for visitors.
In another of our projects, the Mei Li, which is an award-winning restaurant within the Grand Hyatt Hotel, Kuwait, we pushed the boundaries of interior design to create a space that is both visually stunning and culturally resonant. Drawing inspiration from the rich traditions of the Peking Opera, the restaurant features intricate designs and towering ceilings that evoke a sense of grandeur. Central to the experience is the dramatic decorative lighting, which plays a crucial role in highlighting the exquisite details of the space. The lighting casts a captivating glow, accentuating the artistry and craftsmanship that define Mei Li. The abundance of decorative lighting not only enhances the presentation of the Asian culinary delights but also immerses guests in a sensory journey, where each meal is transformed into an unforgettable experience of taste, culture, and artistry.
London Design Festival Review
darc’s Junior Journalist, Ellie Walton, reviews her week of exploring what the light industry had to offer at London Design Festival (LDF).
LDF returned for another September to celebrate the UK’s capital as well as the city’s central design hub. Sadly, the event’s exhibition London Design Fair didn’t make a comeback for the 2024 edition. Nevertheless, the event wasn’t short of things to see and once again drew in some of the country’s greatest designers, retailers and artists for a celebration of design. The lighting community came to the forefront with showroom openings, exhibitions and the latest products that are making waves in the market.
Starting our week off with an evening party, our first showroom drop off was at Lee Broom in Shoreditch. On arrival, we were greeted with a glass of champagne and a glorious cheese board, - I had learned the hard way from last year to not get to the party late or else the cheese will be gone! This party was dedicated to Broom’s London launch of the award-winning collection, Alchemist. The King Chandelier hung in all its glory displaying tapered multiple tiered rings, while illuminated the light envelopes the golden spikes, casting shadows and light. In addition, the Mythos collection was also on display with its wall sconce taking a proud position next the Broom’s iconic swing chair.
The following day took us to Westminster for the Ligne Roset showroom party, where an evening of cocktails accompanied the debut of its revised collection from Pierre Guariche, an iconic figure in French design. Guariche’s collection seamlessly coexists with Ligne Roset’s models, with the standout piece being the G30 floor lamp. Known as the “kite lamp”, Guariche named it for its sail-like shade made of white perforated metal, held by two brass wires, evoking the image of a boat’s sail caught in the wind. True to Guariche’s minimalist style, the lamp is as much a striking ornament as it is a functional piece of lighting.
Speaking of nostalgic pieces, we visited Joe Armitage, a London-based product designer known for his contemporary designs and creations for brands such as Tala, released his own revised lighting collection of his grandfather’s floor lamp. Showcasing at the SCP in Shoreditch, the Armitage lamp collection, completed in 2021, is Armitage’s contemporary twist on his grandfather’s elegant concept, showcasing an iconic conical shade and consists of a floor lamp, desk lamp, wall lamp, accent lamp and two suspension lamps. Armitage also debuted new additions to his Modernist collection, which first made waves with his Modernist desk lamp, taking design inspirations from contemporary jazz, dance music and modernist architecture. The design of the shade emerged from a form-finding process that explores the unique properties of recycled PET parchment. The flexible material arches between two straight supports, securing its position - this method results in a distinctive U-shaped shade that features throughout the collection. The latest editions showcased at LDF included a linear pendant lamp and wall lamp.
darc couldn’t make a visit to London without seeing Occhio, a brand known for its decadent showroom parties as well as lighting known for its minimalist elegance and technology. The South Kensington showroom had a recent refurbishment, adopting its ethos of “Culture of Light”, the idea of allowing people to design their own light in their living spaces. The lower level of the building has been transformed into an apartment style showroom, with a kitchen, dining and living space where clients can experience how Occhio lighting can transform their homes. Customers can try products such as the Luna and discover its Fireball light technology and how it’s atmospheric settings can conduct a space.
LDF wasn't just for big brands; it showcased a vibrant mix of creatives and artists. Sustainability was at the heart of the event, with the Material Matters exhibition spotlighting innovative materials like seaweed, grass root, and contact lens cases. Returning to the Bargehouse at OXO Tower Wharf, it explored how these materials shape our world. A highlight was seeing the return of Mushlume, a New York-based lighting brand that grows lampshades from mycelium. This year, the brand unveiled two new wall sconces: the Outward Journey and Inward Journey. Elsewhere in the exhibition, Hydro, a Norwegian aluminium company, also collaborated with designers like Max Lamb to create the first industrial-scale aluminium lamps from post-consumer scrap.
As well as products, London Design Festival offers a whole host of design inspiration from installations and art exhibitions. The "Light in Motion" exhibition, presented by Acrylicize, explores light's transformative power, celebrating its fluid relationship with space, movement, and time. Showcasing in Bethnal Green’s The Art House, it features works from 12 artists and engineers. Curated by Sean Malikides and Jessie Temple, the exhibition showcases light as a sculptural form, evolving over time to reshape environments and challenge viewers to engage with light spatiality. Exhibits like Duncan Carter’s "10,000 Tiny Suns", Sophie Mei Birkin’s "Biomatter Submersion", and Will Laslett’s "Falling Light" used light in innovative ways to evoke natural phenomena like time or material transformation. The work of light artist James Turrell was heavily mirrored throughout the exhibition, aiming to project his idea that light is not just a tool of revelation but a revelation itself.
Overall, the 2024 London Design Festival successfully showcased the diverse and innovative spirit of the UK's design community, despite the absence of its traditional fair. From showroom events to thought-provoking exhibitions, the week-long celebration drew attention to cutting-edge designs and emerging trends. As always, darc remains eager to see what new advancements the lighting industry will bring to the next edition in 2025.
San Carlo - Fettle
Fettle brings a new atmosphere to the already well-respected San Carlo restaurant in Liverpool, UK, utilising layered light with beautiful decorative fixtures.
In the heart of the UK’s northern city, Liverpool is the iconic San Carlo restaurant, which has recently undergone a stunning renovation by London and LA-based interior and architecture studio, Fettle.
Fettle’s brief for the project was to refresh and reinvigorate the existing, well-established space, an all-day dining restaurant, which offers an opulent and contemporary take on traditional Italian dining with elegant interiors inspired by Grand Milanese villas and gardens. Fettle also drew from the architecture of Piero Portaluppi, creating a space that has an alluring ambience and timeless sophistication.
Speaking with darc on their involvement in the project is Andy Goodwin, Co-Founder and Creative Director at Fettle. “San Carlo was an existing client of ours and we had already successfully worked with the company on two London restaurants. San Carlo Liverpool was an existing site in their portfolio that they wanted to completely renovate and re-design. Having previously worked with the San Carlo brand, we were excited to embark on this new, large scale refurbishment project. Our brief was to reimagine the space including the bar, restaurant, private dining room and wine room. We stripped back the existing space to a shell, completely renovating and re-designing each element of the building.
“Altogether, the project took 14 months to complete.”
The design studio employed a rich and dramatic palette of marble, high gloss, timber and brass detailing throughout the venue. These are softened by layered mohair, leather and patterned fabric upholstery.
The furniture has been designed specifically for the project, including marble and timber tables, fluted oak bar stools with brass bases and green leather seats, elegant curved legged dining chairs and burnt orange leather and velvet banquette seating.
According to Goodwin, the project brief remained consistent throughout, with minor developments only occurring when the team discovered more about the site following its strip-out, and they were able to add a wine room to the basement corridor as requested by San Carlo.
The biggest challenge Fettle overcame was simply the process of re-designing an already successful site. Goodwin elaborates: “Our job was to retain the spirit of the existing space while totally reviewing and revising the aesthetic.”
When it came to lighting the space, Fettle introduced an array of decorative fixtures in colours and tones that beautifully blend with the overall design.
“Decorative lighting was a key component of the scheme and worked cohesively with other elements of the design to create a sophisticated ambience and timeless space,” explains Goodwin.
“We used a mixture of high-level chandeliers and pendant fittings to give an overall softness, as well as a range of wall lights and table lamps to give a more focused glow to each area of the bar and restaurant.
“Key pieces of the design have also been highlighted with concealed recessed LED lighting such as the back bar, planting and wine displays.
“We used a combination of bespoke and off the shelf lighting for the project. Bespoke Murano chandeliers were made in Italy by Sogni Di Cristallo, and these sit alongside a range of Visual Comfort wall and table lamps.
“We also used lights by Pure White Lines, Lion Iron Lighting, Northern Lights, Neoz, Humber, and bespoke lampshades by Yately Papers.
“Overall, we used a wide variety of types of lighting throughout each space, enabling us to dim everything down to create a comfortable and intimate atmosphere. We try to add as many layers of lighting as possible in order to give us and the client maximum flexibility in terms of light levels and dimming.
“Lighting is always a vital part of the design and helps inform the overall atmosphere of the space.
In San Carlo Liverpool’s case, it creates an elegant, intimate and playful ambience, working seamlessly with the interior design as a whole.
“The lighting scheme is broadly residential and layered in its approach. Architectural lighting was typically used to highlight details in joinery such as bars / back bars and planters, as well as providing more functional lighting over waiter stations and within coffers.
“By using a mixture of pendants, wall lights and table lights we were then able to create atmosphere by keeping these fittings dimmed to a low level throughout.
“Lighting is always a vital part of the design and in San Carlo Liverpool’s case, it creates an elegant, intimate and playful ambience, working seamlessly with the interior design as a whole.”
Lighting designers from engineering consultancy Hoare Lea were brought onto the project to collaborate with Fettle due the client’s specific requests to have balanced light throughout the venue. “This isn’t something we would typically do on a restaurant scale project and is normally reserved for larger hotel projects,” says Goodwin. “However, the client team were very keen for the light levels to be absolutely right, and that compatibility was ensured between the high number of different fittings, the lamps and the overall dimming system.”
Ben Acton, Associate at Hoare Lea tells darc about his participation in achieving these desires from the client: “We had previously collaborated with Fettle Design on a hotel project that was highly successful. Following that, Fettle recommended us to the San Carlo team, believing we could contribute significant value to their project. Fettle’s strong understanding of the importance of lighting played a key role in our collaboration. Our task was to work alongside Fettle to develop a lighting scheme that seamlessly complemented their decorative lighting choices with architectural lighting, resulting in a harmonious overall design. Coordination was crucial to ensure that each lighting element was discreetly integrated into the interior.
“Communication is the most important aspect to a successful project, and we have an excellent working relationship with Fettle. Initially we reviewed their design concepts, then, with multiple workshops together, we developed a detailed lighting scheme that offers layers of lighting that complemented their beautiful interior.
“Designing a restaurant that functions equally well during the day and night is a significant challenge. The goal is to ensure the space feels bright and inviting during the day while creating a warm and intimate atmosphere in the evening. Achieving this required a careful selection of luminaires and a sophisticated lighting control system. Since evenings are the restaurant’s busiest time, this was our primary focus. Our key approach to fostering intimacy was to create pools of light on the dining tables, allowing the surrounding areas to remain relatively dark. This effect was complemented by soft background illumination and the use of very warm, 2200K lighting along the perimeter, achieving the ambiance the client desired.
“To maintain the restaurant’s appeal during the day, we needed to provide relatively high lighting levels. While the restaurant benefits from ample daylight along one elevation, the deeper areas towards the rear risked feeling gloomy by comparison. To enhance the overall ambiance, large decorative globe pendants were used to deliver the necessary lighting, ensuring the space remained vibrant and inviting throughout the day.”
Due to the nature of the project, Acton goes on to explain the challenges they faced when tackling an already existing space: “This often presents unexpected challenges, especially when you start opening ceilings and seeing what you have to work with. In some areas, finding suitable locations to conceal drivers was challenging. However, by utilising custom joinery and strategically placed access panels, we were able to accomplish this discreetly and effectively.”
He continues, describing the various decorative lighting layers and how they worked alongside the architectural lighting: “The decorative lighting within the restaurant is a big part of its identity, complementing the interior design with a wide selection of chandeliers, pendants, wall lights and table lights working in combination. These elements add a lot of sparkle and contrast that add to the overall ambiance and character and identity of the spaces. Battery powered table lights are also positioned to all tables, which provide functional illumination, but all importantly provide focused accent light throughout the restaurant.”
Reflecting on the completed project, Goodwin explains how their designed remained consistent with the team’s initial plans: “We approach every project with a detailed design narrative and each space is unique. Stand out features for this project include the oversized, contemporary murals by artist Jesslyn Brooks, statement chandeliers, and the rich and dramatic palette of marble, high gloss, timber and brass detailing, softened by layered mohair, leather and patterned fabric upholstery.
“We wanted to develop a clear identity for the restaurant while retaining an aesthetic commonality with San Carlo’s sister restaurants. We feel we have created a truly elegant space with design details, lighting and material finishes utilised to offer a sophisticated yet relaxed dining experience.”
Acton adds: “I’m extremely pleased with the final lighting scheme and how the layering of different elements creates a flexible and adaptable space. The way the lighting interacts with the mirrors throughout the restaurant adds a sense of dynamism, offering new and intriguing perspectives as you move through the space. I’m particularly delighted with the bar backlighting, which makes a stunning first impression as you enter the restaurant and creates an eye-catching display visible from the street.
“The client for this project places a strong emphasis on lighting and has a deeper understanding of its importance than most I’ve worked with. This was especially evident during the commissioning of the lighting scenes, where he was very hands-on as we collaborated to create an ambiance that perfectly complemented the dining experience. It was incredibly rewarding to work with a client who truly appreciates the intricate details of a successful lighting scheme.
“The decorative and joinery-integrated lighting is a very warm 2200K, which effectively creates mood and intimacy throughout the space. The few downlights we’ve used are at 2700K, which works well for highlighting artwork, especially during daytime dining. However, in the evening, the contrast between these lighting elements becomes more noticeable. To achieve greater cohesion, I would like to have explored the possibility of using filters to warm up the downlights.”
Simon Mayhew: Celebrating one year of TXTURED
darc's Junior Journalist, Ellie Walton, recently sat down with Simon Mayhew, interior designer and founder of Manchester-based studio Txtured to celebrate the one-year anniversary of his creative venture. Early this summer, Txtured marked the milestone by officially opening its physical studio space in Manchester. In this interview, Mayhew shares his personal journey into the world of interior design, the challenges of launching his own studio, and the pivotal role that lighting plays in Txtured’s design philosophy.
Originally hailing from the quaint town of Felixstowe in East Suffolk, Mayhew had a love for the arts and a sense of creativity for his whole life. In his late teens he moved to London where he pursued a successful career as a dancer, gracing the stages of the West End, the Royal Opera House, and touring globally with renowned groups like the Osmonds and the 12 Tenors. During his time as a dancer in London, his passion for interior design grew to become a constant interest that was quietly nurtured alongside his other pursuits.
“I’ve always loved interiors.” says Mayhew, “Between the ages of 18 and 21, while I was in dance college I had a retail job in the perfume department at Harrods that I would do in between auditioning for roles. What I loved about Harrod's was the interiors, - the marble, the lighting, the Egyptian escalators, everything was very inspiring.”
After his career as a dancer Mayhew shifted gears, venturing into the business side by establishing a successful theatre agency, which continues to thrive today. It was during this time Mayhew became a Soho House member, whose inimitable aesthetic and uses of textures became the final catalyst for Mayhew’s design dreams. After 13 years of running the agency, Mayhew decided to take the plunge into the design world.
“When I became a Soho House member, my obsession for interiors eventually overtook my love for what I was doing at the time. I exhausted everything I could do within the theatre industry and my love for interior just became increasingly overcoming.”
Mayhew describes himself as “a bit of an anomaly,” in the sense that he never took the stereotypical route in his career paths. At 18, he opted for stage school over university, diving into show business as an agent without formal training — relying solely on his drive and passion for the industry. His approach to entering interior design followed a similar pattern. Rather than pursuing a traditional university degree, Mayhew took online courses and immersed himself in personal research and talking to other seasoned designers.
Jumping from the performing arts realm to interior design may seem like a radical career change to some people; however, Mayhew found that his previous career provided him with the skills and knowledge that set the company up for success. In addition to the business skills he gathered, Mayhew also referenced how his performing experience prepared him for the presentation side of being an interior designer. "You've got to have confidence," he explains. "Being a performer, although it has its downfalls such as a lot of self-criticisms, also provided me with the confidence to really put myself out there.”
When starting Txtured, Mayhew’s vision was to create an interiors studio that captured all five senses, integrating a blend of materials, colours, and scents. The inspiration for the studio’s name harks back to his time in London’s Soho House; Mayhew was particularly drawn to Soho House's masterful use of fabrics, admiring how the layering and variation of materials create depth, warmth, and evoke emotion in a space. However, when it comes to style, Mayhew has a real sense of direction on how his studio focuses on residential, commercial or hospitality with timeless designs to create one off spaces that feed the imagination. “I want to be versatile,” says Mayhew. “I don't want to get put into box of being just a high-end, Mid-Century, Modern, and so on.”
His foray into interior design was not the only change in his life. After the COVID-19 pandemic Mayhew and his partner decided to start a new life in the North’s unofficial capital, Manchester. The decision was made after seeing promising residential projects, so they purchased their first property in the Castle Wharf Apartments. Despite leaving the hustle and bustle of London, Mayhew's design ambitions remained undeterred, proving that opportunities extend beyond the capital. Embracing life in the North with open arms, Mayhew is determined to invigorate the region's design scene with his unique vision and creativity.
“I believe that I bring something different to Manchester’s design scene. I would like to see Manchester be a bit braver and step out of its comfort zone because there is a lot of repetition and looking back on the past instead of setting an example for the future,” says Mayhew. “A great example of that is Fenix [a Mediterranean restaurant in Spinningfields, Manchester] it is so unique to other places in the city, and I hope to see it make an impact on projects up here, whether it be residential or commercial. I also want to try and make something that really stands out and is unique. However, the thought behind the Fenix design is to last a long time in a timeless sort of way, which is also what I am hoping to achieve.”
The first year of Txtured has faced both challenges and triumphs, which is typical for any new business. Despite the hurdles, it has been a remarkable year for the studio, with projects spanning the country. A notable project included a conversion of a three-story townhouse in Islington, London. The client specifically sought out Txtured for its distinct design philosophy and aesthetic sensibilities. Reflecting on the project, Mayhew shares: “My favourite part of the project was in the living room, which has a glass mezzanine where you can peer into the lounge. We are creating an office space on the mezzanine and then installing this gorgeous lighting fixture, which will run from the mezzanine into the living room with these gorgeous double height ceiling fabric curtains. This is my first full renovation, so a big milestone for the studio. however, I have some exciting project potentially on the horizon.”
Mayhew’s sense of style and taste is immediately apparent; his presentation and energy alone inspire confidence in his ability to craft chic interiors. As an interior designer whose philosophies centre around sensory experience, lighting is therefore taken into careful consideration. He sees decorative lighting as more than accessories and believes it can conduct a room’s personality and the people within it.
“Lighting significantly impacts how you feel,” tells Mayhew. “An example of how I look at it in a project is from my own living room. I had a gorgeous light that was freestanding, it looked aesthetically gorgeous and was dimmable. However, it didn't dim low enough. I had it for about a year and every time I sat on the sofa, I felt disturbed and agitated and therefore I couldn’t feel relaxed. The reality was the light was far too bright. So, I changed it to another lamp but instead focused on the type of lighting it would bring. This transformed the whole feeling of the space in the evening.”
Mayhew appreciates even the subtle nuances of light and design, noting the significant impact that something as simple as a dimmer switch can have on a space. He acknowledges how slight changes in lighting can dramatically alter a room's atmosphere. Among his favorite brands to work with are North-West-based Tyson Lighting and J. Adam & Co., whose blend of classic and modern styles serves as a major inspiration for Txtured.
Mayhew adds: “I'm always think about lighting, and how it differs for every project. If you are in a grand entrance hall and there's loads of natural light and loads of natural space, then you need to embrace what you have already got. If you are in an office environment or a boardroom, for example, or a living space, you want to bring a light that will channel a calmer atmosphere. Sometimes, I see lighting that is too bright and therefore I will add a dimmer or shadows. Alternatively, in some places, like Dubai for example, they will make lighting a statement piece. It totally depends on the space.”
Sustainability is also a key consideration in the studio’s lighting choices, reflecting a growing trend among designers to prioritise responsible design. During a recent trip to Clerkenwell Design Week, Mayhew was particularly inspired by the range of upcycled products, highlighting Spark & Bell's wall and pendant lights made from recycled CD cases. He hopes to incorporate similar sustainable ideas into larger hospitality projects in the future.
Before this interview Mayhew had just returned from a trip to Dubai with his partner as a celebration for the studio’s 1-year anniversary and Mayhew’s birthday. Mayhew says that travelling is one of the ways he seeks out new inspiration for his design. During the interview Mayhew pulls out a beautiful, large stone lamp with both Arabic inspired styles on the base and a Grecian-style lamp shade.
“This is inspired by Dubai and by Mykonos. I like the idea of taking design elements from various places because lighting in Dubai, in Mykonos, or in Marrakesh, are all going to be quite different and can be incorporated in a cool way. So, travel is a huge inspiration for me.
“Magazines are also a huge source of inspiration. I like social media, but I would much rather sit down with a coffee and a magazine, because it is less overstimulating” he explains.
Despite Mayhew’s preference to detox from social media for work time inspiration, he first started as an influencer account for amateur interior design called My Home in the City. Mayhew explained the Instagram account started purely as a fun way of documenting their new home’s transformation while experimenting with social media. However, this creative side project grew more demanding in time and content as the page grew in popularity. Today, the account is now the social media home of Txtured and Mayhew admits he has taken a backseat from influencing life while he completes projects and runs the company.
“I just haven’t had time. Although, I'm currently working on a marketing strategy for the next 12 months. I want to try and do more content now I have my studio space where I will have a little content corner. I had an idea to do product focuses such as on lighting products or different paints. I have to say social media is a big commitment and is not an easy task; the algorithm can really ware people down because it is challenging to overcome.”
It's fair to say Txtured has come a long way for a first-year studio; from humble beginnings as an influencer account to a full-time interior designer with his own studio and successful projects all across the country. Mayhew is one to pick the road less travelled, from successful theatre agent to interior designer, he has proven that taking a U-turn in life is worth the risk if it is something you are willing to work hard at. After the official opening of his own studio space in Manchester, he has ambitions to expand the team and the brand’s horizons – it will be exciting to see where Txtured will be in another year's time. When reflecting on his journey so far Mayhew finished with one piece of advice, he would have given himself at the start of his journey. He says: “Things are not going to happen quickly, so just be patient, which is a quality I lack. My advice to anyone would be you just have to do it and take the plunge. It takes time, but don’t give up. Keep building those connections, learn from your mistakes, and keep going because, despite what social media tells you, things don’t happen overnight.”
Irene Mazzei on responsible design
In addition to Hollingsbee’s Lighting Guide, Mazzei discusses what to look for when specifying products for a sustainable criteria, and expands on additional assesments to be aware of.
Specifying truly sustainable products is not as easy as it seems. The market is full of green labels and images of leaves stamped on products, often used to cover unsustainable practices – in other words, greenwashing.
It is important that specifiers look for clues and evidence of real sustainable efforts from companies, such as verification from respected agencies and assessment results reported using common metrics. Ideally everybody should be using the same metrics to assess environmental impacts, so it is important to follow advice from industry organisations on the best actions to take and methodology options to adopt.
We are currently seeing manufacturers investing efforts into publishing environmental impact information at product level, in different ways:
- Using CIBSE TM66, to assess a product’s circular economy performance
- Using CIBSE TM65, to estimate a product’s embodied carbon
- Using Life Cycle Assessment to create Environmental Product Declarations, for a comprehensive range of impacts.
- CIBSE TM65 and TM66 are industry-led assessment methods which have been developed to help companies assess and report environmental aspects of products – embodied carbon and circular economy performance, respectively.
TM66 was developed specifically for the lighting industry and is based on a detailed questionnaire investigating characteristics such as repairability, easy disassembly, availability of spare parts and information for luminaires. Evidence of these and several other features are also required to be able to assign a circularity score to a product – from 0 to 4 – to categorise its circularity from low to excellent. Being able to easily evaluate luminaires this way allows to assess whether products on the market are able to support the development of a circular economy in the lighting industry, and it also helps manufacturers understand which aspects of their products they can change to achieve a higher circularity score for their luminaires.
TM65’s embodied carbon assessment method was initially developed for the wider MEP (mechanical, electrical and public health) sector, however in 2023 an update was published that contained lighting-specific information: TM65.2. The objective of TM65 is to give manufacturers a way to estimate the embodied carbon of their products in the absence of an Environmental Product Declaration (EPD). TM65’s assessment method was created to be easily understandable and applicable by any manufacturer, as it is an accessible and straightforward calculation methodology based on some assumptions and simplifications and not as granular as a full Life Cycle Assessment (LCA). For this reason, although an alignment can be observed, often the results of the TM65 calculations are not as accurate as the results of a full LCA, due to the trade-off between accuracy and simplicity of the approach. The TM65.2 lighting update is able to capture some aspects of products that were overlooked in the original version, and contribute to achieve more accurate results.
Life Cycle Assessment is a robust and globally recognised environmental assessment methodology, regulated by specific standards. For commercial communications, it is often preferred to report LCA results as third-party verified declarations, such as EPDs. These documents are published by organisations called Programme Operators, which, in addition to the standard rules of LCA, can develop Product Category Rules (PCRs) and Product Specific Rules (PSRs). These are useful to be able to adapt LCA to a type of product with specific characteristics, such as luminaires. It is important that the rules developed by different Programme Operators are aligned: this is why LightingEurope decided to endorse the PSR0014 by PEP Ecopassport as the most comprehensive set of rules for lighting products.
What is important for specifiers is to be careful when comparing impacts when they were obtained using different methodologies; this is why getting familiar with the different types of assessment schemes and methodologies available is now becoming crucial in the industry.
Companies can also communicate their efforts to be more sustainable through company-level assessment schemes, for example looking at Scope 1, 2 and 3 emissions and Net Zero ambitions, or focused on the wider meaning of sustainability – including also social and economic wellbeing – through schemes like B Corp or EcoVadis. The B Corp badge is the result of an assessment measuring a company’s performance against features that ensure inclusive, equitable and regenerative development, also supported by the company’s transparency and commitment. Similarly, EcoVadis is a platform that provides sustainability rating for businesses, looking at environment, labour and human rights, ethics and sustainable procurement, plus a dedicated section for carbon emissions.
Independently on the type of environmental assessment a company chooses to adopt, it is pivotal that the results are communicated transparently to the public. This is the only way we can truly support sustainability and empower people to make the right choices.
Dave Hollingsbee on responsible design
Hollingsbee provides a breakdown of various certifications and accreditations that aim to guide manufacturers and designers to create and specify responsible products.
1. B lab
Used by: Patagonia, Ben and Jerry’s, Stoane Lighting, Anglepoise
B Lab is the not-for-profit organisation set up to measure a company’s entire social and environmental impact. B Corp Certification is a designation that a business is meeting high standards of verified performance, accountability, and transparency on factors from employee benefits and charitable giving to supply chain practices and input materials. In order to achieve certification, a company must:
- Demonstrate high social and environmental performance by achieving a B Impact Assessment score of 80 or above and passing their risk review. Multinational corporations must also meet baseline requirement standards.
- Make a legal commitment by changing their corporate governance structure to be accountable to all stakeholders, not just shareholders, and achieve benefit corporation status if available in their jurisdiction.
- Exhibit transparency by allowing information about their performance measured against B Lab’s standards to be publicly available on their B Corp profile on B Lab’s website.
www.bcorporation.net
2. Eco Vadis
Used by: Ledvance, Signify, Zumtobel, Lucent
The EcoVadis platform helps you manage ESG risk and compliance, meet corporate sustainability goals, and drive impact at scale by guiding the sustainability performance improvement of your company and your value chain. By submitting to their EcoVadis assessment process, their assessors award medals dependent on the applicants scores relative to others on the EV database. eg. Platinum= top 1%, Gold = top 5% Silver = top 15% etc.
www.ecovadis.com
3. Declare
Used by: David Chipperfield Architects, Haworth Tomkins
Architects Declare is free to join. Many signatories use the simplicity and clarity of the shared declaration as a catalyst to drive effective change within their organisations. Many also use it as a tool to demonstrate their commitment to combatting the climate and biodiversity emergency in discussion with their clients and project partners.
www.uk.architectsdeclare.com
4. BREEAM
BREEAM is used to specify and measure the sustainability performance of buildings. Using this framework helps projects to meet their sustainability goals and achieve optimal performance over time. The BREEAM framework provides solutions to many of the key challenges facing the built environment, from working towards net zero carbon to addressing health and social impacts
www.breeam.com
5. LEED
Used by: The Empire State Building. Apple Park (aka “Campus 2]
LEED categories can contribute toward meeting the SDGs, not only by saving water, increasing energy efficiency, minimising of carbon emissions (GHGs) and significantly reducing harmful air pollutants, etc. but also by promoting education, creating jobs, improving health and wellbeing, enhancing community resilience, and much more. Policymakers, planners, and builders can use LEED and sustainable building practices as strategies for achieving the UN SDGs. There are many synergies between LEED and the SDGs. Explore the synergies between LEED and the SDGs on their website, to identify strategies to achieve specific SDGs through LEED certification.
www.usgbc.org
6. International Living Future Institute
The International Living Future Institute’s mission is to cultivate a society that is socially just, culturally rich, and ecologically restorative.
Its work is driven by a belief that a compelling vision for the future is needed to reconcile humanity’s relationship with the natural world. Of the many initiatives that come under ILFI’s umbrella, perhaps the most pertinent to this article is their “Declare” label. An easy-to-read ‘nutrition label’ for products with online resources to promote, share, and find healthier building materials.
Also, under the ILFI’s umbrella (see above) is the Red List. The Red List is a list of chemicals representing the “worst in class” substances prevalent in the building industry that pose serious risks to human health and the environment. The Red List is organised by chemical class and lists individual chemicals by Chemical Abstract Registry Number (CASRN). Since its inception in 2006, the Red List has been an intuitive tool for communicating the need to stop using chemicals that cause harm. Building projects (particularly in USA) may ask suppliers to provide assurances of their absence in their products or declare presence where that may apply.
www.living-future.org
7. Science based Targets
Used by: Whitecroft Lighting
Science-based targets provide a clearly defined pathway for companies to reduce greenhouse gas (GHG) emissions, helping prevent the worst impacts of climate change and future-proof business growth. Science-based targets provide companies with a clearly defined path to reduce emissions in line with the Paris Agreement goals. More than 5,000 businesses around the world are already working with the Science Based Targets initiative (SBTi).
www.sciencebasedtargets.org
