Cano - Cerno
Designing with LEDs often lends itself to hiding, or using a low profile light source. The new Cano pendant from Cerno does the opposite; with the lamp an integral part of the design. The solid hardwood faceted body can be enhanced further when paired with a spherical glowing lamp.
Voa Collection - Serip
Available in four sizes and shapes, these handmade glass swallows can exist alone, with or without light and can be applied on a wall or ceiling. If you don’t want to make a composition by yourself, you can choose one of the standard models, which includes two options of wall lamps and three options of suspension lamps
Opera - Sans Souci
This dynamic lighting piece is programmed according to your luminous preference or for a special occasion. Handblown crystal components with soda effects are lit by built-in LED RGB technology programmed into various lighting effects such as colour blower, rays or slings.
To.Be - Pedrali
A suspension light, ironically named to reflect its shape - a tube suspended in the air. An essential lamp, with a narrow cylinder in polycarbonate, white powder coated inside, available in a wide palette of colours outside, with a hole in the upper part of the diffuser that allows light to shine out and illuminate the ceiling.
OMG Collection - Light 4
The OMG collection, acronym of Oh My Glass!, is a tribute to the beauty of moulded glass. A variety of shapes, sizes and finishes create a 'symphony' of suspension and ceiling fixtures. The colour variations in the glass, the finishes in the frame and the forms make various combinations possible. The glass is available transparent or white.
Totems Over Time - Klove Studio
Totems Over Time features four installations in glass and metal, including gold. Enthralling and ‘God-like’ in stature, their construction is an ode to the Laws of Divine Geometry. Their inherent balance and symmetry is an expression of how time keeps everything in Harmonious Order.
Louis Poulsen presents new lamp series
(Denmark) - Louis Poulsen and Bjarke Ingels Group (BIG Ideas) present the Keglen lamp series.
The key pieces in the Keglen series are four pendants (Ø175), (Ø250), (Ø400) and (Ø650) that each provide diffusion of light using a curved glass insert, which is built into and adapted to each version of the shade.
The lamps all have a discreet, uniform opening at the top that allows a little light to flow gently upwards and emphasise the structure of the cord. The new lamp series is a further development of the ‘Tirpitz' Pendant, which was the result of the first collaboration between Louis Poulsen and BIG Ideas. The pendant was created for the Tirpitz Museum in Blåvand, Denmark, which BIG designed for the Varde Museums, in 2017.
“The main feature of the lamp is the organic shaped glass that sits perfectly beneath the cone as a small water droplet shaped by physics and cohesive forces in nature,” says Jakob Lange, Partner, BIG Ideas. "This way the distinctive cone-shaped shades ensure a glare-free downward light – just as the various versions provide the option of countless combinations in any interior, such as for example restaurants and meeting facilities.
Keglen is available with energy-saving LED lights in black and white. The new Keglen family will be available in stores from February 2020.
Geometric - Brokis
Geometric is defined by basic geometric shapes that characterise the overall contours of the lights and instil them with a singular graphic element, achieving a striking contrast with the animate, almost sculptural makeup of the glass. The aesthetics allow the lights to be arranged in a number of shapes either as solitary lights or as jigsaw puzzle.
Konstantin Grcic
Winner of this year's Best Decorative Lighting Fixture at the [d]arc awards - the Noctambule collection from Flos comes to glamorous life at night.
Winner of Best Decorative Lighting Product in the 2019 [d]arc awards, Noctambule – meaning the night owl or reveller – appears mostly invisible during the day but comes to life during the night.
The new collection of lamps from Italian lighting giant Flos has been designed by Konstantin Grcic and is made of see-through blown glass modules, which in turn make the fixtures almost inexistent during the day. But, when you switch them on as it becomes dark, they transform into stunning, illuminated lamps.
The cylindrical glass modules set the basic grammar of the collection; the single module acting as a lantern. When several modules are stacked on top of each other they work together to create a light column, or suspended chandelier inside a stairwell.
Extra elements such a glass dome or cone-shaped head allow for added performance such as a floor-standing uplighter and pendant. From a technological perspective, the carefully calibrated LED technology that powers the lamps is discretely integrated into the junctions between the glass modules; almost absent, but ready to be activated at any time.
Born in 1965, Konstantin Grcic began his career in design training as a cabinet maker at The John Makepeace School for Craftsmen in Wood, before studying Design at the Royal College of Art in London. Having initially set up his own studio in Munich, Germany in 1991, today Grcic Design is based in Berlin, with the office active in several fields ranging from industrial design projects, exhibition design and architectural collaborations. Alongside Flos, some of Grcic’s renowned clients include: Aeance, Authentics, Cassina, ClassiCon, Flötotto, Galerie Kreo, Kettal, Laufen, Magis, Muji, Nespresso, Plank, Smart and Vitra.
The recipient of numerous awards such as the Compasso d`Oro for his MAYDAY lamp (Flos, 2001), the MYTO chair (Plank, 2011) and the OK lamp (Flos 2016), Grcic’s work also forms part of the permanent collections of the world´s most important design museums (a.o. MoMA/New York, Centre Georges Pompidou/Paris).
Grcic defines function in human terms, combining formal strictness with considerable mental acuity and humour. His work is characterised by careful research into the history of art, design and architecture and his passion for technology and materials.
Having collaborated with Flos for the past 20 years, Grcic talks darc through the Noctambule project: “At the very beginning we had the idea for a chandelier that would make use of LED technology, producing a more modern, contemporary form of chandelier. The classic chandelier, made of crystal glass, uses very little light, but instead light potentiates through the reflections of the many glass pieces.
“In our design for Noctambule, the pieces of glass have now translated into larger cylinders that are completed at the top and bottom with an LED ring – so each has its own light source. The glass reflects the light creating the illusion that it is shining by itself.”
For Grcic, the modularity of the lamp provided some challenges during the design phase – requiring great precision. “The mouthblown glass bodies are in a certain contradiction to this,” he continues. “The challenge was to overcome precisely this conflict; together with the technical team at Flos we worked closely with a glass manufacturer. The highlight lies in the combination of the individual modules; we succeeded in making it possible to plug the individual parts together like Lego bricks, with connections that conduct the current.”
Due to its modular nature, Noctambule can be used in almost any setting. One can combine the glass modules in a variety of configurations.
“Noctambule is a functional lamp and sculpture at the same time. It can perfectly illuminate a space while having an impressive physical presence,” adds Grcic.
Commenting on the [d]arc awards win, Ulysse Dormoy, Managing Director of Atrium, exclusive distributor of Flos in the UK, commented: “We’re all thrilled that Noctambule has won this prestigious award. Noctambule is a truly unique and exciting collection of lamps made of handblown glass modules punctuated by circles of light. Suspended or floor standing in an almost unlimited variety of configurations, the simplicity and transparency of Noctambule presents the design as a powerful glass sculpture in daylight, but when switched on at night, it comes alive like some nocturnal creature - as the name might suggest.
These stunning cylindrical glass forms transform into the most wonderful illuminated lanterns, chandeliers or epic light columns. A glass dome and cone-shaped head create a final elegant flourish for pendant or uplighter, while the carefully calibrated LED technology that powers the lamps is discreetly integrated into the junctions between the modules, forming glowing rings in each structure. With Noctambule, Flos demonstrates, yet again, that by combining the creative vision of leading designers with its own technical leadership ensures the company remains at the very forefront of lighting innovation.”
Holloways of Ludlow appointed UK distributors of studio davidpompa
(UK) - Holloways of Ludlow appointed exclusive UK distributor of studio davidpompa stock ins its latest products across the four UK stores.
studio davidpompa works with unusual materials such as black clay and volcano rock to create new aspects of lighting. Its aim is to have a deeper understanding of our history expressed in the transformation of the materials. The team also challenge materials to unwrap their nature and show the beauty of imperfection.
Holloways of Ludlow CEO, Mark Holloway, said: “My team and I are continually looking for new and inspiring designers. studio davidpompa creates unique objects with a strong commitment to honest materials. It is on a constant journey to discover new aspects of Mexican culture. I have seen nothing to compare to the originality and pure joy of davidpompa’s designs and that is why I feel very proud to be the exclusive stockist of studio davidpompa in the UK.”
The studio's range includes the Samam wood and brass pendant lamp, named Amelia which explores the elegance of balance between two hand crafted materials with its smooth finish. The tubular shape with its edged terrace combines two materials that give a slight flavour of the 1950's.
The Handwoven PVC wall lamp, Caleta is a handcrafted game of lights and shadows reflected on the wall. Caleta wall light creates a light flare through the hand woven structure. The series is available in two colours in order to fit to different settings.
Meta Ochre brings colour and contrast to the wider Meta collection. Quarried in Puebla, Mexico, Travertino is a natural stone with an ochre tone, containing mineral inclusions in white, light and dark grey; its patterns are elegant and refined. The visual contrast between materials creates a new composition with a Mexican flavour. A match adding life to neutral spaces, complementing an earth palette.
The Origo is a geometric interaction between volcanic rock and opal glass diffuser. Two geometrical spheres of contrasting materials. The smooth dimmer allows the Origo to shift from sculpture to table lamp. The new composition complements both pendant and wall version, bringing its aesthetic to a more personal space. The Origo floor version elevates the opal glass and the volcanic rock to a new perspective.
The tubular shape of the Barro negro pendant lamp, with its edged terrace combines heritage and tradition with a modern twist. Barro negro is a special clay from Oaxaca characterised by its black colour that comes from the smoke during the firing process.
Model F - Luke Roberts
Luke Roberts’ new product the Model F is a smart lamp with unique directional lighting technology and AI to provide lighting for any occasion.
The smart lamp connects via Bluetooth LE and allows users to light up their walls with different colours or highlight specific areas by painting in the app.
The lamp is powered by artificial intelligence to provide users with the perfect light mood as soon as the lamp is switched on. Model F can also be controlled by a traditional light switch or by switching the lamp off and quickly on again to change the light scenes.
Constance Guisset
Paris-based industrial designer and scenographer Constance Guisset chats with Maria Elena Oberti about how the open-mindedness of her fellow Frenchmen helped her become the boundless creative she is today.
A self-professed professional neophyte, French designer Constance Guisset has made a name for herself, both at home and abroad, with her whimsical objects and spaces. Rather than relying on what she knows, she continuously challenges herself, taking on projects that require her to delve into new disciplines, forever putting her skills to the test. With more than two decades of design work under her belt, she’s mastered the art of being a perpetual beginner. From sculptural lamps to ethereal stage designs, her creativity knows no limits, and, as we learn, it’s all thanks to her native France.
“I became a designer quite late, I was 25 when I decided to study design,” she tells darc. “I wasn’t exactly sure what I wanted to do at that time, I just knew I wanted to do something creative that would also allow me to work independently, as my own boss. I considered a lot of different careers, like becoming an artist or a surgeon, anything that would allow me to work with my hands. I knew very little about what it was to be a designer before I decided to become one.
“The decision to study design in France was a natural one for me. I’d worked in Japan for a period in my early 20’s, but by the time I decided to switch to design I was already back in Paris, so it made sense for me to do my studies here. I still had some doubts going into it, but I submitted my application to ENSCI and, to my surprise, got in. I thought, OK, if they think I’m good enough to be a designer, then why not try it?
“I spent about four years at ENSCI. I remember those days as being very, very busy. The program was meant to be full-time, but I also had a part-time job at Studio Bouroullec, where I worked as an administrator, so time was precious.
“I worked with the Bouroullecs for roughly seven years before launching on my own. I officially opened my studio in 2009, which is around the time I found out that I was pregnant with my daughter. Juggling two things at once is manageable, but three is when it becomes complicated. So, about six months after having my daughter, I left the Bouroullecs to open my studio.
“I personally didn’t feel the crisis in France when I started out. It all sort of snowballed, from one project to the next. I worked hard but was also very lucky. I won some French design competitions, like the Grand Prix du Design de la Ville de Paris and the Prix du Public at Design Parade de la Villa Noailles, which got me attention in the press very early on. That helped me a lot, looking back. I was also very fortunate to have found loyal clients, who continuously gave me work.
“Light has been a focus for me since the start, it’s one of the things I like most. I’m fascinated by light, perhaps more than any other type of material or object. There’s something magical about it. I like the idea of sculpting it like a material, because that’s what it is, an immaterial material.
“Angelin Preljocaj, the French dancer and choreographer, was one of my first clients. He’d read an article about me and asked me if I’d be interested in working on one of his performances, which was four months away. He wanted me to start immediately. I had no experience in scenography but decided to go for it anyway. I think my daughter was just three weeks old at the time.
“In addition to being my first project for the stage, it was also my first time working closely with light. Light is essential to scenography, but at the time I knew nothing about it. I didn’t even know where to begin. I clearly remember the conversation I had with Angelin, when he asked me whether I thought the light was too hot or too cold. I had no idea what he was talking about. I really was a beginner at that moment. It’s the basics of the basics, but I had to be taught. It’s a bit like colour. I had to train my eye. When I discovered how to work with colour, I also discovered that I was able to see colour, which isn’t the case for everyone.
“My first object was a light fixture called Vertigo. It isn’t a very good light, from a functional perspective. When you think of a good lamp, you think of diffusion and things like that. Vertigo is very simple, it’s really just a light source. What makes it unique is its form, it creates a special atmosphere, like a kind of shelter. The light itself is what you decide it to be, because you pick the type of light source. It’s an object that the customer can choose to use as a light.
“The concept for Vertigo came to me while working on a school project. When I launched my studio, I went around looking for someone to manufacturer it. I’d been speaking with a number of different retailers and brands that were interested in Vertigo. Many told me that it wasn’t commercial enough, which is quite funny now that I think about it.
“In the end I partnered with Parisian furniture company Petite Friture. I met the owner, Amélie du Passage, and had an instant connection. She had just launched her company, so we had a lot in common, we were both just starting out. I thought that was interesting, to both be at the beginning.
“I’m a perpetual beginner, everything I’ve ever done has been for the first time. I’ve never done a project that I’d been taught how to do. Even to this day - I just started a project that is completely new, in an area where I have no previous experience. It’s like an experiment each time.
“I think being a beginner is very interesting because you do things differently. It can be very exciting, but sometimes it’s also important to know where your limits are. There are things that I know just aren’t for me, that I simply can’t do. I prefer to collaborate in these instances.
“Vertigo is very special, but out of all my light fixtures, Cape is the most important to me. It’s an expression of all the things I like in terms of shape and sensuality. I also really love Angelin, which follows the same idea of something that is very generous and present. It’s a real sculpture with paper.
“I also love what I’m working on now, which is a collection of lamps that will be released this spring in Milan. All I can say for now is that it’s a play on tension, between something that is very soft and very strong. I think this is a common theme in my work, this search for balance and equilibrium.
“Generally, I think that people are quite open in France. I’d say that’s one of the biggest benefits of working here. We have a lot of competitions and opportunities for designers. There’s a lot of public work and support available. But, then again, in Sweden designers are also very supported. Honestly, there are advantages everywhere.
“Paris is still at the heart of the design industry in France, but I think Lille could be the next hub. Particularly after this year, since it’s the 2020 World Design Capital. It’s true that I have worked mostly in France and with French clients, but this is more of a coincidence than a conscious choice. It’s always easier to work within a culture you know, but I don’t have a bias for the French. I enjoy working with Italians, the Spanish, the Swedes, and so on.
“Everyone has a different way of working. We don’t work the same way in France as they do in Sweden. I wouldn’t say there is a big difference, though. Maybe when it comes to schedules, but even then, I think the biggest differences are between people and companies, not so much between countries.
“There are a lot of great design companies in France, the ones that come to mind are Ligne Roset and Petite Friture. Amélie and her team are very energetic. There are also a lot of young design companies in France that are doing very well, Alki, for example, or family-run companies like Ibride. Things take longer with these smaller companies, but they all work very hard and really believe in their projects. Then there are larger companies like Moustache, which can take more risks. Each company is different, with its own story and spirit.
“The design industry in France is much more open than it was in the past. People are more open to design, they are expecting something that’s different. When I began, people were less interested in objects. Not in the sense of possession, but in that they didn’t pay attention to what they were buying. They were filling their homes with all the same things. People today are paying more attention to smaller companies and to how objects are being made.
“I think that we have a better balance between craft and industry now in France. People are interested in craftsmanship, they accept - and even look for - objects that have so-called faults. Sustainability is also more of a focus, but it’s a process. We’re moving in the right direction, but we’re still not totally there yet. The public is ready for it, at least in France, but the manufacturers aren’t. Mostly for economic reasons, but also because of laziness or habit. Change is never easy.
“Do you remember when the organic trend began? It tasted terrible, but we ate it because it was good for us. I see the same now with sustainable design. I’m not saying that all products that are sustainable are ugly, but it’s more difficult to make a fantastic project using only sustainable products. Beauty and sustainability aren’t totally synonymous yet.
“I try to push a lot as a designer, but ultimately it’s up to the manufacturers. As designers, we need to be responsible, but there’s only so much we can do. It’s different if you’re Philippe Starck or the Bouroullecs. People will listen. Some designers can say it’s either this or nothing, but not everyone has the luxury or status to do that.
“Sometimes I will say no to a project if it really goes against my principles, but then there are times when you find yourself working with a great company, one that is making progress in terms of sustainability and recyclability, but that isn’t completely there yet. Sometimes you have to accept it, that this is the best we can do right now. Not working with companies that are making real efforts but that aren’t completely sustainable yet, would be a shame. We need to work together. We’re moving in the right direction, we just need time.”
