Lamina - Santa & Cole
Antoni Arola has designed Lamina, a line of light and a thin sheet in effective lightness that upholds the virtues of reflected light.
With simple shapes, Lamina offers a wide variety of uses. On its own it provides us with a precise diffused light and, when used in repetition, produces impecable general lighting.
Antonia Arola is considered one of the most interesting European Designers of his generation by experimenting with research into light.
Arola plays as he designs and designs as he plays whilst elevating consumers with his work.
http://www.estudiantoniarola.com/en/info/antoni-arola
Beechmont House, UK
When it came to lighting up Beechmont House, EAB Homes £6.5m residential gem in Beaconsfield, Alexander Joseph’s brief was to produce lamps with traditional influences, yet focus on contemporary style.
The property effortlessly marries contemporary living with state-of-the-art technology, so it was important to ensure this core relationship continued through every facet of design; this meant only luxury cordless lamps would do.
A key objective was to use lamps that could be moved between rooms, giving the owner the ability to create a fresh look whenever they chose, or to provide additional ambiance in key areas when entertaining. A good example of this was creating an oversized Amber lamp for use in the reception hall, that could also be used in the beautiful kitchen, or outdoors to stage an alfresco meal.
One of the most impressive features of Beechmont is the 1,300sqft lavish Master Suite with separate his and hers dressing areas and en suite bath and shower rooms. In the lady’s bathroom a soft Aubergine colour was used to match the décor and linen. In his dressing room a masculine Charcoal lamp takes pride of place on an imposing table and seating area at the centre of the room. Both these lamps could easily be used in the main reception rooms, or in the garden.
The cinema room called for something decadent, so we chose a cordless lamp with an olive glass body, placed upon a brass base, then paired the piece with a bottle green silk lampshade, the inside of the shade was finished with a Pistachio silk.
The formal lounge demanded something unique. The challenge was to create a striking statement lamp with a slender body which didn’t obscure peoples view of each other. The Alexander Joseph design team created a glass lamp that colour matched the coffee table and complimented the soft furnishings, right down to the inlayed marquetry on the chrome lamp sconce.
Ceramic cordless lamps were used throughout the house to add warmth to functional areas such as the coffee bar within the master suite.
Private Residential, Spain
Cameron Design House was appointed by a Spanish homeowner to create a statement, bespoke, sculptural lighting piece to suit the interior of their elegant, newly renovated Finca property, designed by Kirsten Schwalgien Design.
The brief was to create an eye-catching, modern lighting installation that could be seen illuminating upon entry into the home.
“Lighting has one of the most important elements in a room as it has a profound effect on our emotional response to space; it sets the mood and the surrounding atmosphere,” says Ian Cameron, Creative Director of Cameron Design House. “Light naturally draws our eyes in, so what holds that light should be beautiful, interesting to look at and meticulously crafted.”
Working closing with the client, Cameron Design House decided that a simplistic, geometric pendant light suspended effortlessly from the ceiling would make a wonderful centrepiece. Featuring a polished brass finish to complement the design of the home and working in harmony with the shiny, smooth gold dining table, Cameron Design House suggested the iconic Lohja chandelier.
Just off-centre to the entrance door, yet visible through a stunning, vast Crittall interior window, the location for the dramatic focal point was established. Not only does the piece command attention from every position in the grand, open plan room, it also helps to establish specific zones, dividing up the living spaces and creating a dedicated area for entertaining.
Cameron continues: “We treat every project, no matter how large or small, from start to finish with a detailed approach. Each project is unique, we work closely with our clients to deliver a statement piece that they’re proud to have in their home.”
The bespoke piece was manufactured by hand in the Cameron Design House studio in St John’s Wood, London. Inspired by the tranquil, rippling lakes of Lohja in Finland, the distinct design explores space, tranquillity and equilibrium, combining simplicity with geometry, creating the perfect balanced structural form, which offers a different view from every angle. Suspended effortlessly from the ceiling, the hanging Lohja chandelier makes for an impressive sculptural profile, which carefully cascades to any desired length.
Tupila - Pradina
Barcelona-based Studio Khamai has created the Tulipa collection for Italian lighting brand Prandina, which revisits the typical suspended spotlight, giving life to a versatile and modern suspension lamp.
Equipped with an E27 socket, Tulipa gives off downwards directed light, is able to illuminate in an intimate but punchy way and to furnish the surrounding environment. The double metal petals opens slightly giving a glimpse of the internal structure, while the six slits, carved into the central tube, create extra light and reflections.
The eight colour-ways also come with a combination of the internal tubular in gold, copper or black chrome finishes.
The external petal, white or black, is accompanied by a self-supporting fabric cable and a ceiling rose of the same colour.
New releases from Ingo Maurer
(Germany) – Ingo Maurer presents b.blub, Tubular and ‘Flames is all I see’ at imm Cologne.
Presented as part of the Design Post Cologne, b.bulb extends the existing ‘bulb’ family, with a small battery version of the luminaire. Maurer’s first lamp, ‘Bulb’ from 1966 was the basis for the creative work of the late lighting designer and the icon from the Pop Art era changed the perception of the light bulb – with the oversized light bulb fixture added to the MOMA collection in New York in 1969.
The 20cm tall b.bulb is a battery-variant of the Bulb family, meets mobile requirements and thanks to Dim to Warm technology, the right light can be used in any environment. The battery can be easily replaced, the shatterproof glass diffuser is available as a spare part and elements of the fixture, such as the chrome-plated aluminium base and glass diffuser can be disassembled and recycled.
Free-floating and delicate, the glass tube luminaire Tubular features LEDs that unfold along the glass diffuser like threaded pearls. Making use of an uprocessed borosilicate glass tube, which is placed in loops with its open fire-polished ends softly embedded, inside the fixture, a graceful construction of lamellas reflects the light in all directions. The light source is hidden behind the luminous structure and the countless points of light appear like a mystical reflection in the glass.
A soft textile cable wraps around the tube and works as the suspension point, but also as the point for the alignment of the light. The curved loop of the textile cable creates a contrast to the straight-line look of the tube. It is a design element, but also a functional one. In a second, more puristic version, the cable is not looped around the tube, but sinks straight into the glass tube. A versatile product, Tubular can be rotated 360° and is suitable as downlight, uplight or wallwasher. The luminaire is dimmable and customers can choose the colour of the textile cable.
The chandelier "Flames is all I see" was created in cooperation with Buschfeld Design. The popular ‘Flying Flames’, previously designed by Moritz Waldemeyer for Ingo Maurer, are mounted on Buschfeld light rails. As modern chandeliers they form an extraordinary lighting installation, which was designed for the entrance hall of the Design Post during imm Cologne.
The Silver Lining Diner, USA
The Silver Lining Diner is a group project, with interior design headed by Jeffrey Beers International, to restore the 1957 diner to its former glory.
The Silver Lining Diner located on Montauk Highway, framed against the rising sun, has occupied an iconic diner space in Southampton, US since 1957. Jeffrey Beers International, lead architectural firm on the project, explains to darc the history of the diner and hope for the site's future: “The restaurant was a long standing destination in the community but had lost its appeal. The goal was to bring a fresh, bright and modern take on what people feel a diner should be.”
Route 27 was formerly known as the Sunshine Highway, thanks to its position with regards to the sunrise, and the ‘Silver Lining’ name is a nod to this old moniker as well as, perhaps, the optimism invested in the diner’s rebirth.
The intent was to shape the Silver Lining Diner around the customer, and to imbue it with the ideology of the American Diner: an egalitarian, unpretentious place, where guests can be welcomed at any time, whatever the occasion. This has been fundamental to each aspect of the design. The menu stretches from $10 burgers to $58 steaks, providing something for everyone at every price point, while the drinks menu is adapted to ‘spirited’ and ‘spirit-free’ versions of cocktails so anyone of any age can partake.
In close collaboration with Beers, MT Carney, the co-founder of Plan A, led the re-imagining of the diner’s interior space in addition to its overall identity, both visual and conceptual. Carney tied together the overall design of the space, from the restaurant logo and jumpsuit uniform, to the branded coffee mugs, napkins and customised neon sign above the bar.
This egalitarian philosophy is reflected in the design of the bar’s coffee section, which is shaped like a horseshoe and intended to induce communication and intimacy amongst the diners. This atmosphere is created by the Louis Poulsen Panthella table lamps interspersed across the countertops, provided by Ylighting.
Carney’s concept of utilising a crisp and light palate of sunshine yellow, warm whites, stainless steel, and light hued woods allows the various spaces to feel simultaneously contemporary, light and optimistic, decorative lighting was key in creating the modern diner experience, as Beers explains: “We wanted the decorative lighting to be memorable and tie into the overall look; the booth globe fixtures provide light at the tables but also reflect other design elements on the mirror globe surface.”
There is a marked difference in the choices of decorative lighting and the fixtures themselves: all the decorative lighting has polished stainless steel or a chrome finish, a traditional metal used in diners, while the fixtures were specifically chosen to reflect the modern diner concept.
Beers continues: “The goal was not to over light the space and use the decorative lighting as the main feature, using accent lighting when needed.” Examples of these are the Edendale Angled Semi-flush ceiling fixtures, which adopt a modern, bubbled design, and the understated West Elm mobile ceiling lamp with a handblown, spherical shade and an angled cut opening.
Carney describes her design plan as such: “A diner has always been more than a restaurant; it’s a barometer where a seat at the counter or in a booth has offered a front row view of American life. There is nothing elitist about a diner; it’s a welcoming egalitarian place. We hope to recreate that experience at Silver Lining Diner, making it a staple for the community who live in the Hamptons and those who visit throughout the year.”
jeffreybeers.com
www.plan-a-ww.com
Rosewood Hotel, Bangkok
Interior designer Celia Chu worked alongside lighting design studio UnoLai Design to bring the new Rosewood Hotel in Bangkok to life. Making use of one-off, sculptural lighting pieces to ensure each space within the hotel is full of meaning and communicates with its clients.
Rosewood Bangkok is a 30-storey, visually stunning architectural marvel. Its form is inspired by the ‘wai’ - a famous Thai gesture of greeting - while the modern silhouette is a creative expression of the Thai spirit. Rich Thai culture is also emphasised by interior design elements and the exquisite water features within the hotel that are a tribute to Bangkok, a city built on water.
Destined to establish a new design icon for the Kingdom’s capital and the world stage, Rosewood Bangkok’s contemporary residential styling allows each guest to be welcomed and treated with personalised attention just as if they were entering their own manor home - a true tribute to the Rosewood brand’s philosophy.
The hotel offers an intimate, secure and private ambience in the heart of Bangkok and features unique, specialty suites and houses with private pools and terraces, reinforcing an exclusive residential feel. The sense of staying in a fine private home is complemented by warm hospitality, delivered by a team dedicated to creating lasting memories for guests. Located in Bangkok’s central business embassy and upscale retail district, the property is a new gateway for Rosewood in Southeast Asia.
Celia Chu Design, together with lighting designers UnoLai Design, worked to bring the Rosewood interiors to life, making sure strong decorative lighting played a key role at every stage of the project.
“To me (when working on a hotel project), it is important to first understand what kind of a story you want to tell and how you want the guest to feel,” Celia Chu tells darc. “Each space within Rosewood Bangkok is full of meaning, which we believe creates strong connections with the guests.
“I like to work with high-end hotel chains that give us the freedom and space to do our job – to design. We do have to keep in mind that each hotel has its own DNA and standards, but we are still able to present the story we are looking to tell. We wanted to create a hotel that becomes a home from home for both local clients and international travellers. The way international visitors view Thai culture and what they expect to see from the design approach of the hotel is completely different to local people.”
For Chu, decorative lighting is always a highlight of any space she works on, considering it the 'lead performance'. “Decorative lighting expresses each chapter of the story we are telling and becomes the spotlight that shows off the design concept,” she says.
“We like to make sure the entire space works fluidly and design the lighting layer by layer. As early as the pick-up / drop-off point we created a homely and welcoming vibe, which is the most important concept of the design.”
“For the general lighting design of the Rosewood hotel we used warm coloured lights to reinforce this residential impression for the travellers, rather than bright, dazzling lights,” adds Uno Lai, founder of UnoLai Design & Associates. “We carried this throughout the project, consistently using the same lighting tones in the lobby and lounge, which is more comforting and provides an even warmer touch for guests. The lighting – together with the art collections – in the hallway, heading towards the guestrooms, is even more subdued and intimate than from where guests first enter the hotel.
“In the guest rooms themselves, instead of using many downlights, we utilised more decorative lighting to balance the atmosphere of private, comfortable surroundings, By using floor lamps, table lamps and wall lamps, as well as reading lamps with adjustable dimming controls, we hoped to bring a sense of calm to the rooms. By doing so, the lighting also fits the needs of different scene settings from day to night, from holidaymaker to businessman.”
Elsewhere in the hotel, the public spaces continue with this ‘warm and cozy’ lighting feel – with the spa in particular creating a wonderland for the guests to enjoy and truly relax. In the restaurant and bar, the lighting can also be changed in order to suit the mood depending on the time of day and related events taking place in the space.
“We have used a couple of feature lights within this project,” continues Chu. “Such as the bespoke crystal light fixture in the Pavilion function rooms and residential ballroom space, inspired by traditional Thai dancing. The shape of the piece is inspired by the spinning dancing gesture, while the composition of crystal pieces and the decorative metal sheet shows the harmonious balance between female and male or ying and yang.
“Another example is the lighting fixture in the Sky lobby, which is inspired by the traditional fan used to battle against the hot weather in Bangkok. For both of these bespoke fixtures we worked together with Lasvit.
“We also worked with local Thai lighting firm Ango on a bespoke feature, which can be seen as you enter the Lakron all-day dining European brasserie - a western dining venue that offers stunning views and elegant cuisine. The customised Ango jewellery series of lighting was uniquely created for the Rosewood project.”
“We have been delighted to receive so much positive feedback from the hotel owners and guests on the interior design at Rosewood,” continues Chu. “In all of our designs we carefully consider both decorative and architectural lighting – the two cannot be separated. Often in projects you will find the lighting designer only working on the architectural lighting elements, whereas I don’t believe this is a good idea as there is a balancing act between the two, which makes a big difference to the final result.”
“For some, decorative lighting feels like a small part of an interior design,” adds Lai, “but it actually plays a big role. Contrast and balance are key to working with architectural lighting. We direct different expressions between decorative and architectural lighting during the day / night and in each space. There are two major ideas behind the lighting design at Rosewood; first of all we arranged more accessible lighting in guest rooms that can affect guests’ emotions and perceptions or can even be controlled by themselves – such as the table lamps, floor lamps and pendants.
"Secondly, there are the collaborations with Lasvit and Ango for the bespoke lighting features – creating a lavish, modern and luxurious atmosphere. With these two ideas the lighting designs show hospitality with luxurious atmospheres at the Rosewood.
“For a commercial space we used quite a large amount of pendants and chandelier-like pendants at Rosewood. It was a challenge for us but we managed to avoid any additional construction requirements in this project.”
Reflecting on the project, for Chu – while each and every project is unique and designed from the heart, for this particular project the most special part was the fact that the owners of Rosewood are female.
As such, she “wanted to create a hotel with the sense of a ‘female’s perspective’ – developing a sense of beauty and elegance and I feel we achieved this, without the hotel being too feminine. This project has innumerable good memories for me. I have already taken aspects of this journey forward on new hotel projects underway in Taiwan.”
And on working with Unolai Design on this project, Chu tells darc: “They have been our lighting partner for thirteen years – we share a friendship, vision and passion for design. I always believe each speciality has its own skills – there’s no way for interior designers to control the mood of a space without a lighting designer. I believe, it is only by working together, that we can make the most accurate and most profound design result for our clients."
www.celiachu.com
www.unolai.com
Fujiwara Yoshi, Ukraine
Sergey Makhno Architects brings the taste of Japanese culture to the forefront of Ukranian hospitality with its latest restaurant project - Fujiwara Yoshi. Striking lighting design helps zone the labyrinth-like restaurant space.
Standing at 800sqm, Fujiwara Yoshi is the largest Japanese restaurant in Ukraine. Designed by Sergey Makhno Architects at the request of chef Fujiwara Yoshihiro, the restaurant is a maze-like space that promotes the culture of Japan, with the aim for its guests to ‘get lost’ in its greatness.
The labyrinth stretches past a terraced garden, with panoramic windows filling it with a flood of daylight and lighting pieces by Makhno floating seamlessly underneath the black ceiling. Fixtures including the minimalist Gemini, the ceramic Runa, and the Lakuna floor lamps - made in the form of the chasen (a whisk for matcha tea), project light directly to the guests’ dinner plates.
The garden throws shadows around the seating area, while the alley of Bonsai trees – introduced from a small town near Tokyo – lead to sea-life and freshwater aquariums with a bulky table for tuna processing behind.
The space also encompasses a sushi bar - designed by the Makhno team and featuring large Fuji pendants. Ordinary lighting was not an option for this space, instead there are chimneys in one tatami-room and a plump copper flower in another. For business lunches, there is a separate dining space with wooden walls, floor and ceiling for the perfect acoustics, while in the large banquet hall, under the poppy-heads of lights, a table threads across the room.
In yet another area of the restaurant, sitting under bamboo chasen sprout-like fixtures, soften-cream sofas and chairs line the tables. Everything in this restaurant has been specifically made for the space. Next to them, the tempura and robata grill zones can be found and in tatami-room #3 the sky stretches out on the wall and chairs, while ikebana tickle guests with flower branches.
As most Japanese restaurants are low-key, small and cozy, the Makhno team paid a lot of attention to the layout in order to be able to host 250 guests at the same time. And yet, for the chief architect, Illia Tovstonog, “there is an atmosphere of coziness and peace of mind.”
For various reasons, the project took more than two years to complete, however the designers kept their original vision throughout. “Our main task was to communicate Japanese philosophy but without shouting about it using clichés,” says Tovstonog. “The design reflects Japanese ‘coziness’ but read with a Ukranian soul.
“All the lighting at the restaurant adds exclusivity and authenticity to the interior. We set the right mood for the entire space, keeping a logical chain for the visitors and allowing them to be inspired.
“There are no rules when it comes to being creative; except for one – make it real. For example, on the terrace, the Gemini, Runa and Lakuna light fixtures are placed at different corners to accentuate the importance and individuality of each one. While the Shpon fixture at the sushi bar is used to create an imaginative roof upon the separate part of the restaurant.
“The Dymar and Kvitka light fixtures, located in separate tartami-rooms, have been used to draw the eye and encourage people to notice the beauty around them. We then used the Makivka lamps in the banquet hall to add an exclusive flavour to the celebrations the space will hold – making the space even more special. All of these decisions result in the restaurant giving the feeling of being surrounded by real beauty.”
For Tovstonog, the lighting used for the restaurant is what makes the project so special. “It can dramatically change the space,” he tells darc. “Here, aesthetics waltz with functionality – pipes become lamps, flowers grow from the ceiling and moss from the plates. It is a place to rest your eyes, hold your breath and savour Japan.
“This project was really special to me; Japan is my place of power. I fall in love with the country every time I go and I always want more. As such, I was happy to put a piece of my love for the country into the heart of Ukraine.”
Four Seasons Astir Palace, Athens
With the help of Martin Brudnizki Design Studio and Lighting Design International, the Four Seasons Astir Palace undergoes a complete interiors overhaul as the legendary hotel moves into a new chapter.
On the sophisticated Athens Riviera, at the tip of a pine-clad peninsula, Four Seasons offers the best of both worlds with the Astir Palace: a laid-back seaside escape just 30 minutes from the historical city centre. A pine-clad sanctuary of 75 acres, it features three private beaches, eight exciting restaurants, lounges and bars, upscale retail, and a spa inspired by the teachings of Hippocrates.
Having recently undergone a complete overhaul of what has been a legendary hotel complex for many decades, it is now entering a new chapter and Lighting Design International (LDI) was commissioned to design the lighting scheme for the two renovated hotels: Arion and Nafiska. While the structural elements were retained, the building was completely renovated and LDI worked closely with the project management and design team in order to create a high-end lighting scheme for both hotels.
Understanding and achieving lighting design with the Four Seasons' ethos of ‘a home far away from home’ in mind was key for the success of the project. Having worked with Four Seasons on numerous occasions, LDI thoroughly understood the brand's vision – with the brief this time to design a sophisticated lighting scheme with a residential feel.
One of the main challenges with this project – as is so often the case – was getting the local contractor and project team to understand the value of lighting design and how it is achieved. Fortunately, as with all hotel projects, a mockup room was built and once realised, the contractor and project team fully understood the value of LDI’s design and value of the specified products.
“One of the strengths of this project is that once the lighting brief was defined, it was thoroughly maintained,” Sandra Brookes, Senior Designer at LDI, tells darc. “The final design was an elegant sophisticated ambience with a residential feel, which represented the initial vision agreed with the client.
“The original layout was maintained throughout, but the building services and interiors were totally upgraded. Therefore, we had the opportunity to have a new and more current lighting scheme and control system incorporated within the building, leaving a minimal lighting aesthetic visible. This leaves the guest to enjoy the warm and inviting lighting ambience without knowing where the equipment is located. Bespoke tailored details were developed in conjunction with the interior designers Martin Brudnizki Design Studio and Meyer Davis and incorporated within furniture and the building envelope.”
For Brookes, what makes this project special is that the two hotels were unique with a distinct lighting ambience that defines them. Arion’s look is more sophisticated and aimed at couples and singles, while Nafiska is more relaxed and family orientated, with the lighting working to enhance each hotel’s distinct personality.
Arion’s interior is soft and fresh, and the lighting embraces a distinctly sophisticated atmosphere. The palette of finishes uses sandy hues, while the lighting adopts a minimal approach with all elements integrated within both the joinery and architectural details of the building’s envelope; on arrival, guests are welcomed by the minimal aesthetic of the reception area.
“This space deliberately uses dimmed lighting levels to set a calm and welcoming atmosphere,” says Brookes. “Contrastingly, the lounge lobby, found directly beyond this area boasts a double height, voluminous space with floor-to-ceiling glazing that offers astonishing sea views.”
The unique and different approach taken to lighting Nafiska’s interior lighting is dramatic and modern, with bold decorative gestures highlighting its livelier atmosphere. Unlike many traditional hotels, Nafiska’s lobby is on the top floor, providing unrivalled views over the Mediterranean. On arrival, guests are welcomed by a lit water feature and an Antony Gormley sculpture with a backdrop that resembles a forest of illuminated pillars.
Guests are encouraged to descend from the top floor to the swimming pool area below, following a journey through spaces that are interlaced with each other via a cohesive yet distinctive lighting atmosphere.
“Throughout both hotels there is a true balance between the architectural and decorative lighting,” continues Brookes. “Good examples of this are within the restaurants at both hotels (worked on alongside Martin Brudnizki Design Studio). The jewel-like pendants in the Avra lounge take centre stage as you enter the reception area, creating a visual impact, while oversized bespoke decorative luminaires with integral spotlights help to retain a clean soffit and introduce drama.
"The space presents floor to ceiling windows and seamless lighting integration with indoor-outdoor spaces was key; the warm and welcoming atmosphere is provided mainly through decorative fittings and soft lighting integrated within the furniture and building fabric.”
With the two restaurants located in very distinctive buildings, the Martin Brudnizki Design Studio (MBDS) team was mindful of ensuring they retained distinctive looks yet still worked in harmony with each other and the rest of the hotel. They found that sharing a design language between the two spaces helped to ensure the restaurants felt connected, but through introducing different colour palettes and finishes, were able to create two distinct and unique restaurants, all of which would cater to guests.
As with LDI, MBDS has worked with Four Seasons for a number of years on projects from the US, to Dubai, to Canada and so it was a natural fit for them to also work on the new-look Astir Palace.
Both restaurants have very high ceilings, meaning MBDS could have a lot of fun with the decorative lighting elements. In the Pelagos restaurant the ceiling is panelled in timber, miming the shape of a boat’s hull. From the ceiling, the design team commissioned oversized chandeliers crafted from Murano glass, creating a bold and glamorous result.
Over the Avra lounge and adjoining Mercato restaurant, the team designed a more contemporary, abstract light fitting crafted from brass. There were three in total, hanging above the central bar – the light reflecting perfectly in the surrounding antique mirror detailing, which helped ensure the ambience was bright and welcoming.
Using a mixture of bespoke and off-the-shelf decorative lighting pieces from manufacturers including And Object, Charles Edwards, Collier Webb and Porta Romana to name just a few, a mixture of low-level lighting and main, overhead lighting was used throughout the two restaurants to ensure the ambience created was ‘just right’.
Since Avra and Mercato offer hospitality from breakfast through to dinner, MBDS needed to make sure the lighting would work for all situations. Smaller, table lamps provide the perfect way to introduce a different ambience for evening situations; this was also the case for Pelagos, which is only used from lunch through to dinner. In Pelagos, MBDS utilised large glass chandeliers, which helps elevate the restaurant, ensuring the distinction between Mercato and Pelagos was retained.
For both hotel interiors at Four Seasons Astir, low-glare and concealed architectural lighting discreetly illuminates the spaces throughout, while decorative fixtures provide warmth at a more domestic scale. The luminaires specified use either warm or tuneable white (2200K – 2700K) LED sources, while the decorative fixtures are specified with 2200K lamps. A Lutron lighting control system has been used to allow the lit canvas of the restaurants to be adjusted using scene setting capabilities.
Reflecting on the projects, MBDS tells darc: “We are really pleased with how we ensured the two spaces had distinctive identities yet worked in harmony with one another. This was achieved through a shared use of similar materiality and colour palette; the result is two restaurant concepts that hang together in harmony yet retain distinct identity.
“This was our first project in Greece, so it was exciting to make our mark in a new territory. As with all projects, we researched the area to seek inspiration. As Greece has such a rich history, we found there was plenty to draw from to help create a rich and interesting narrative for the two new restaurants.”
www.lightingdesigninternational.com
mbds.com
Victoria Dockside, Hong Kong
AB Concept's new studio offers cooperative work spaces and a thoughtfully curated collection of materials, as well as stunning light pieces that immediately catch the eye.
Renowned for their refined projects, meticulous attention to detail and narrative driven interiors, design and architecture duo Ed Ng and Terence Ngan have built their practice AB Concept into an international design powerhouse; one that has established a well-respected name in the hospitality, retail and commercial sectors. This year, the studio has moved its headquarters to one of Hong Kong’s most prestigious buildings – Victoria Dockside.
Part of K11 Atelier – the innovative next-generation workspace inside the Victoria Dockside building – AB Concept’s studio benefits from spectacular views of the harbour in a modern, inspiring setting. The new office thus features more cooperative spaces and a more thoughtfully curated collection of materials.
“Ever since AB Concept was founded in 1999 it has been a quest of ours to find a comfortable workplace that helps our designers communicate with each other, where everyone feels at ease and is inspired by the space, while remaining engaged in complicated design work,” Ed Ng tells darc.
“Prior to moving to the new studio at K11 Atelier, we actually had a much bigger studio, but after experimenting with numerous layouts we have learnt that a lot of space can in fact create an inefficient workflow, with a lot of time actually spent just walking from one end of the studio to another in order to retrieve something, or even just discuss projects with a colleague.
“We have also eliminated the ‘Principal’s Desk’, so Terence and I will just walk around the office in order to work with our designers at their custom-made hexagonal workstation – it’s much more efficient.
“When we first saw the K11 Atelier space we felt it was almost the perfect space – equipped with spectacular 270º views of the harbour, with plenty of natural light and most of all, the unparalleled arts community around Victoria Dockside that enables our colleagues to gain easy access to not just our own library of references, but almost all aspects of the K11 complex.”
Thanks to the views of the harbour and an abundance of natural light, the design duo found that a lot less architectural and support light was needed to illuminate the space; in turn they decided to place several decorative lighting pieces throughout the office.
“Besides wanting to create a relaxed yet dynamic workspace, we always wanted to include decorative lighting elements – not just for their lighting qualities but to act almost as items of furniture as well. We wanted them to be a source of inspiration for our team, hence why we have included fixtures from our personal collection, such as the Flux Collection – a collaboration we worked on with Lasvit, which is the first piece you see when you enter the studio.
“There is also a Frank Lloyd Wright ‘Taliesin II’ floor lamp in our conference room, while an ‘Oh Mei Ma Weiss’ chandelier by Ingo Maurer decorates the pantry room, which provides a nice contrast to the Victoria Harbour view. This amazing lamp is both substantial yet light; you can only see the reflected light, which gives it a beautiful radiance and enhances the room. We also used Ingo Maurer ‘Maru’ lamps above the workstations – these are made of Japanese paper and iron, with the height adjustable using the red iron ring.
“We are very happy with the design of our new office… for now! We are constantly experimenting with new designs as and when we sense they are needed. The space is intended to be organic, if along the way we see that something isn’t working, then we will change it.”
25hours Hotel, Paris
Design studio Dreimeta worked to turn the latest 25hours hotel at Paris Terminus Nord, into a declaration of love for the lively spirit of the surrounding district and its inhabitants.
The 25hours hotel group develops hotels whose designs alone are reason enough to travel. Guests with a cosmopolitan and urban flair appreciate and value the thirteen hotels that make it their mission to embody and reflect the essence of a city through creative design. Sparking imagination in their guests during an overnight stay, with highly individual, functional, beautiful and unique designs, the hotels are best described by their claim, ‘you know one, you know none’.
Each hotel is always different – but consistently great – created with both the guests and surrounding location in mind. As a result, since 2003, the four partners of 25hours have been met with great success and have strongly influenced the development of the hotel branch as a whole.
The 25hours Hotel Paris Terminus Nord, located opposite the central train station Gare du Nord, is a declaration of love for the lively spirit of this district and its inhabitants. Local heroes serve as inspiration, with design studio Dreimeta bringing the wild bustle of the 10th arrondissement directly into the house. A playful jumble of colourful street art-style murals decorate the various spaces and public areas, while the rooms are retreats in African and Asian inspired colours and shapes. The pulsing heart of the house is the restaurant Neni, with Israeli-Mediterranean cuisine and the Sape bar.
Having worked on 25hours hotels since the brand’s inception, Dreimeta is well versed in the hotel group’s design aesthetic and is usually involved at a very early stage – taking part in the conceptual process fairly early on. For this particular hotel, the team first came on board in 2016 with the hotel opening split into two phases – January 2019 and summer 2019.
Dreimeta Interior Designer Leandra Burke explains the design process to darc: “The starting point for our design was an inspiring tour through the surrounding neighbourhood, with its buzzing streets and multi-cultural population. It is a true melting pot of vastly different cultures from all over the world – people from Sri Lanka, Ivory Coast, Algeria, Senegal and Pakistan bring a vibrant spirit to the streets of the 10th arrondissement, straight to the doorstep of the hotel. The interior reflects these rich cultures and brings the flair of the lively streets into the hotel.”
One of the main challenges for the design team on this particular project, came about due to the nature of the building – a renovation project.
Burke explains how historic structures are always a challenge: “In terms of functionality, it was crucial to renovate the building to meet current fire safety regulations and escape route requirements, but also to update technical features to meet modern standards.
“Another area of design that proved challenging was the 237 rooms – they all have different layouts and by different, I mean really different. We had to come up with flexible / adaptable solutions in terms of the built-in furniture in order to give the rooms a very individual feel, while taking into account that costs didn't spiral by having too many variations of furniture types.”
In addition to the 237 rooms, the hotel features a reception and snack kiosk on the ground floor, as well as a co-working area, a bar and restaurant on the first floor. Adjacent to the restaurant, two private dining rooms offer more exclusive areas to host parties or meetings.
“The public areas in particular have experienced some of the most notable changes,” continues Burke. “The entrance area, housing the lobby and reception, was opened up significantly and a spacious new stairway was built to connect the ground floor with the public areas on the first floor, leading guests to the bar and restaurant, as well as to the rooms.
“As this entire area is declared as one of the main escape routes of the building, one of the main challenges was to furnish and decorate the area in-line with the overall concept, while meeting the strict fire safety regulations.
“On top of redesigning the space to meet functional requirements for the operation of the hotel, it was important for the design team to incorporate the history of the building. During the early stages of the renovation, original ornate ceilings with elegant crown moulding were discovered and preserved, adding a great touch of the original spirit of the building to the rooms.”
The overall storyline of the hotel is the surrounding neighbourhood, with its eclectic mixture of different cultures. As such, it was important to the design team that elements chosen complemented the overall concept, or the specific concept of a certain space.
In terms of lighting, there wasn’t a specific brief given, but as Dreimeta has partnered with 25hours on a number of hotels, it is aware of the crucial role decorative lighting plays in all of the hotel group’s projects. Burke explains further: “They prefer a very cosy and warm atmosphere with particularly low dimming levels,” she says. “For us, as interior designers, decorative lighting is a very important element; different light sources add warmth and depth to a space and it’s definitely one of the factors of vital importance in whether someone feels at ease in a space or not.”
In the hotel bedrooms, Dreimeta chose pendants made out of recycled PET plastic bottles that combine traditional weaving techniques from different corners of the world, complementing the vibrant rooms.
“In some of the rooms we found ornate ceilings with crown mouldings and as we didn’t want to impede the ceilings with electrical wiring, we hung the pendants from the ceiling and instead of connecting them to a ceiling outlet, we equipped them with long colourful textile cables that were then connected to a socket next to the bed,” says Burke. “Further to this, we custom-designed bedside lamps that integrated a reading light – orientated downwards – and two light sources pointing towards the ceiling, to add more general light to the room. These were executed and supplied by Baulmann.”
Moving to the main public spaces, one of the main feature lights is a huge copper chandelier from Luxxu, positioned right after the entrance door, while moving to the bar, La Sape, (a movement of Congolese dandies, well-dressed men who appropriated and transformed European formal clothing) was decisive in determining the style. Both the Societe des Ambianceurs et des Personnes Elegantes (Sape) and African record labels have strong roots in the neighbourhoods around the Gare du Nord. Thus, the interior is also inspired by African music from the 1960s -1980s. Old album covers and art revolving around the Sape movement are on display; in keeping with this, the bar is masculine and elegant, embellished with patterned fabrics reminiscent of the Sapeurs’ suits and clothing.
“We custom-designed table lamps that are arranged in a row on top of the countertop,” says Burke. “These feature lamp shades from Baulmann, with various patterned fabrics – some African wax fabrics – also allude to the Sapeurs’ clothing.”
While the bar focuses on the male world, the restaurant is a tribute to women from a wide range of cultures. The colours in this area are softer and the art in the space features more feminine themes. “Cosy lounge chairs upholstered with velvet in pastel tones, pink marble and copper, paired with oak parquet flooring and vintage kilims with floral motifs are featured.
“We wanted the space to have an Asian feel, mixed with a Parisian boudoir atmosphere. As such, various glass lights in soft tones were combined with patterned textile lights from Ebb & Flow.”
Reflecting on the project, for Burke, the concept came to life just as the team had planned. “Our aim is to always translate the values of our clients into material and form, through which we provide them with a unique profile that is sound and reliable,” she says. “We are not architects or designers with a signature style that must be represented in every project; instead we produce and develop every project individually in order to find the best solutions for our clients, with the goal of creating spaces with identity and personality.
“Our approach is to add an emotional dimension to the room – with interior design that tells tales and inspires the senses. Nonetheless, functionality is always part of the concept and often leads to unexpected and creative design solutions.”
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