Anglepoise introduces new releases
(UK) - Revisiting a unique patchwork colour scheme created for a unique version of the Land Rover Defender, Paul Smith’s Type 75 Edition Four palette combines deep, earthy burgundy, leaden grey, sky blue, dappled green and rich clay colours with just a dash of fluorescent yellow to add that element of surprise we have come to expect from a designer renowned for his mastery of colour. The new collection comprises a Type 75 desk lamp in standard and Mini sizes, also a Type 75 floor lamp, which is included for the first time in the Anglepoise and Paul Smith collection.
Type 80 Collection: Designed by Sir Kenneth Grange
The Type 80 lighting collection is designed by Sir Kenneth Grange. Distinguished by a striking, graphic profile, the design is further enhanced by an attractive ‘halo’ light-escape feature in the conical shade, adding an extra dimension in low light environments. The collection includes desk, wall and pendant lights and comes in four sophisticated, ultra-matte colour choices: Rose Pink, Pistachio, Grey Mist and Matte Black.
90 Mini Mini Desk Lamp
Launched this time last year, Anglepoise’s smallest desk light, the 90 Mini Mini, now comes in a of Berry Red. At just 40cm powered by USB, this highly portable light is your flexible friend. Take it where you like, then plug into a wall socket, portable charger or laptop and you’re good to go.
Anglepoise + Margaret Howell: Sienna Edition
Available now at the Margaret Howell store, is Margaret Howell’s new Type 75 Sienna Edition. The rich, clay colour chosen by Howell adds a new dimension to the colour palette and acts as perfect complement to existing Yellow Ochre and Saxon Blue desk lamp editions. Floor standing Type 75 lamps in all three colours have also been added, expanding the Anglepoise + Margaret Howell collection to six pieces.
IQlight - Halo Design
(Denmark) - In connection with Halo Design's 25th anniversary, designer Holger Strøm has assembled three different variation of his classic IQ light. The special edition will be available in limited numbers.
In 1972, Holger Strøm was asked to design a modular lamp construction - a cylindrical, and a round shape. The lamps were to be used as a decorative element at a Christmas exhibition in Ireland, where he was living at the time. The result was the invention of a whole new 'assemble-yourself system' and the lamp created a lot of interest and demand.
After the exhibition, Strøm could not get the lamp and the new system he had invented out of his mind. So he began the adjustments and the redevelopment of the lamp, and it was eventually put into production. IQlight became incredibly popular and millions were sold worldwide.
The lamp consists of identical soft plastic modules that are put together and transformed into a lamp with many different looks. An IQlight kit consists of 30 modules, and with these modules, you can make 22 different lamp variations. With just one package, you can either assemble three small lamps, two medium-sized lamps or one large lamp.
The lamp modules are made of soft white plastic and, when turned on, creates a warm and soft light.
Illuminata Glass Art Design awarded at LIT Design awards
(USA) - Glass artist and lighting designer Julie Conway of Illuminata Glass Art Design was awarded four distinctions in the Light in Theory (LIT) Design Awards.
The winners, announced March 7, 2019, include designers and manufacturers from around the world such as Flos, Studio Roosegaarde, and Lasvit. The global jury consisted of recognised professionals from the lighting design industry, the press, and academia. Conway is the first solo Seattle-based designer to be recognised in the awards. LIT Awards has just printed and distributed the 2018 photo catalogues including Conway’s awarded “FracTure(ed)” illuminated glass installation.
Conway was awarded the following:
- Artisan Glass Blown Lighting, Designer of the Year: FracTur(ed), 2018
- Honorable Mention: Gabbietta chandelier
- Honorable Mention: Navicella pendant light
- Honorable Mention: Raven project
"FracTur(ed) is a statement on finding ourselves in our modern society,'' said Conway, "It is challenging to find our reflection in the mirror, pulled in many directions, focused on many angles, and feeling like we are on a tight wire. Finding peace and tranquility in our ever demanding world is a challenge. I say follow the light.”
www.litawards.com
Registration open for SBID 'Meet the Buyer' event
(UK) - The Society of British and International Design’s annual networking event returns on 24 October 2019.
Set to be the biggest to date, the one-day event will feature a new series of business seminars, new manufacturers and a new home – Grosvenor House, Park Lane in London.
The SBID Meet The Buyer event brings together interior designers, architects and specifiers to meet face to face with the products and suppliers from around the world. Complete with networking opportunities, face to face contact with decision making, the event also presents a new series of business seminars for designers and manufacturers to gain valuable advice as well as engage in discussions about challenges the industry faces.
This year’s seminars will include talks about AI in design and what makes a ‘super brand’ as well as a panel discussion about challenges the industry faces from the experts in their field.
Speaking about the event, SBID’s CEO Dr Vanessa Brady OBE comments: “Meeting a designer from a prestigious practice is what most manufacturers spend years trying to achieve. At this event we provide it in one day. We connect manufacturers with designers from countries all over the world. It also provides a chance to meet the industry’s most celebrated experts and international designers who have travelled from around the world for the announcement of SBID’s International Design Award winners the following day.”
The all-day event is open to all designers, architects and manufacturers. Organisers are anticipating spaces will become booked quickly; to secure your space or find out more visit:
The Draycott, USA
Fettle Design provides Los Angeles with a European-inspired brasserie with a Californian twist. Combining vintage pieces with off-the-shelf lighting, the space delivers a warm and lived-in atmosphere.
The Draycott is a European-inspired brasserie with a California twist situated in Pacific Palisades, Los Angeles. The flagship restaurant, by acclaimed restaurateurs Matt and Marisa Hermer, evokes a sense of nostalgia of a grand European brasserie, balanced with the flair of its Californian location.
Designed by Fettle design studio, The Draycott is an exercise in bespoke design and all of the furniture has been meticulously custom-designed – including a marble-topped jewel-box like bar in the heart of the space, with other elements of the dining room symmetrically positioned to create a strong sense of uniformity and organisation. Other design features include the ornate ceiling, bespoke marble mosaic floor on the outside terrace and the dramatic patinated brass back bar.
Fettle used a fresh and bold colour palette to create a Californian ambience throughout the space, including a coral-coloured coffered pink ceiling with detailed cornice-work, that sits alongside striking leather upholstery in mustard and rich green. Fettle has married various textures together and in several areas of the restaurant used tone-on-tone finishes with the same piece of furniture. For example, the bar stool seat is upholstered in leather and the back pad in mohair in similar colours, to add a sense of playfulness and depth to the design. The simple white walls of the Draycott form a canvas for the mixture of local and European art on display.
The hidden gem of the design scheme is ‘The Queen’s Room’, a 26-seat private dining room adorned with two huge vintage gold frame French mirrors and two vintage glass chandeliers. A bespoke dining chair upholstered in yellow mohair provides a restrained pop of colour.
Moving to the outdoors, the elegant terrace overlooks Palisades Village Park and is covered in a vast canopy to allow for year-round outdoor dining. Fettle oriented the Riviera café style seating to look out over the terrace from the interior. Within the restaurant every seat has a great view, either of the impressive bar, terrace or the park beyond.
Fettle founders Andy Goodwin and Tom Parker talked darc through the design process for Draycott: “The initial brief was to design an English brasserie that also represented its Californian location. It was intended to be family-friendly and welcoming and at the same time refined and elegant. The restaurant was to be quite luxurious with a central feature bar that would provide a great late-night drinks spot.”
The Fettle founders were introduced to the clients Matt and Marisa by interior designer Martin Brudnizki, whom they both used to work for. “He designed their townhouse in London before they moved out to LA,” the designers tell darc. “The biggest challenge on this project was the timeline. The owners of the centre, which was a whole ground up new build, are Caruso Affiliated, and they had an opening deadline that had to be met. To work with this timeline, we were very upfront with the clients and informed them every time a tweak or change would affect the delivery date.
“This was one of those rare projects where the brief stayed fixed throughout. We feel that actually manifests itself in the resulting scheme, which is very firmly an English Brasserie with Californian flair.”
Decorative lighting was key for this project. The restaurant is lit using diffused lighting and includes statement frosted globe pendants with antique brass and blackened steel fixtures. Fettle also sourced decorative floor and table lamps from flea markets and vintage shops across Los Angeles, giving the restaurant a lived-in feel.
One of the main considerations, however, was California’s very strict green energy code – Title 24. This meant the overall lighting power consumption needed to fall below a certain wattage per square foot ratio and entailed the use of low wattage LED lamps to meet the stringent criteria. “That said, the grand European brasseries always have stunning age-old decorative lighting, so the key was to source remarkable off the shelf and vintage lights and refit low energy lamps and lamp holders where required,” said the design duo. “We used several layers of decorative lighting including main and secondary pendants, wall lights and rechargeable battery-operated table lights, as well as hedge lights on the terrace perimeter, which all tied back into the main dimmer to give complete control and flexibility throughout the day. The other element worth mentioning with the lighting was that – as with all of our projects – we aimed to keep all colour temperatures on the lighting between 2200-2400K to give a consistent, cosy feel throughout.
“We were very aware that, although we were designing a relatively traditional looking space, the location was a new build high-end shopping centre. In order to balance these two elements, we used a mix of reclaimed vintage and off-the-shelf items. The lights in the private dining room are vintage, whereas those in the main restaurant space come from Circa Lighting, Lumens and Modern Lantern. The main pendant in the restaurant space is more layered, intricate and a slightly more modern fitting, this is complemented by the simple globe pendants with arm detail. The wall and table lights from Kelly Wearstler, remain the same throughout the restaurant and private dining room to keep the overall design continuity. One other point worth noting is that all the lighting in the space is diffuse. There are no exposed lamps, and this means that there is a consistent soft glow throughout the space.”
While the decorative lighting takes centre-stage in the space, architectural lighting is used as a background to set the stage. For the Fettle designers, a great example of this, is the ceiling coffer lights throughout the space where concealed 2400K LED illuminates the coral painted coffers from which the decorative lights hang. In the daytime, the coffer lights are set to be bright, raising the focal point up towards the ceiling. During evening service, the timer on the dimmer turns the lights right down and the pendants are even more noticeable as the main source of illumination at high level.
“In all schemes, lighting is what really makes the difference between a good space and a truly magical space,” the designers continue. “Setting up all of the lights on separate circuits is key to this and allows us to control the two types of pendants, all lights, hedge lights, concealed bar LED and ceiling coffer LEDs completely separately. We then set this to a variety of settings to be used throughout the day – from breakfast settings into late dining and lastly late-night bar settings. This translates into a space that changes throughout the day, and these setting are in-turn amended as the seasons change throughout the year – meaning we can source and custom-design great lights and know we will be able to find a lighting level that makes them the centrepiece of the space.”
For Fettle, one of the main things that made this project unique was the incredible site. Four-metre high ceilings, with a terrace overlooking a great park, within a very high-end development don’t come around too often. The site provided the designers with a great canvas to work with. The Draycott is Fettle’s first project to open in the US and is destined to become a popular neighbourhood destination.
Clarges Mayfair, UK
Clarges Mayfair brings high-end living to the heart of London. Layered lighting from StudioFractal complements a blend of traditional and contemporary materials - the result, super-prime luxury.
Clarges Mayfair is a super-prime luxury residential development in London, comprising 34 apartments, a private wellness spa with 25-metre swimming pool, fully equipped gymnasium, private cinema and underground garaging.
Architects Squire & Partners created classical architectural rhythm and proportions, fine quality craftsmanship and Martin Kemp Design developed an interior aesthetic with a blend of timeless Britishness and influences of both Art Deco and Classicism. Lighting designers StudioFractal worked closely with the client British Land and the design team to craft a carefully layered lighting strategy that links the various interior spaces and accentuates the materials and details across both the interiors and exteriors.
The lighting was developed to create a series of layers of light that helped reduce contrast by day and reveals the architectural forms, volumes and sumptuous materials and details throughout. Lines of light accentuate stepped forms in the ceilings, stone walls, and provide discrete levels of illumination, while accent lighting illuminates a curated art collection and bespoke wall lights draw the eye and provide rhythmic accent to the public spaces. Integrated lighting within the bespoke cabinetry highlights the wall displays and combined with table lights and artwork lighting, creates a relaxing lounge environment for residents. Configurable meeting rooms and a private cinema benefit from a dedicated lighting approach that provides appropriate illumination for working or relaxing.
“As the client and interior design team wanted a visually captivating scheme that showcased the blend of Deco and Classicism styling, it became clear early in the concept stage that light sources needed to be either completely hidden or decorative to establish a balanced ambience between the texture, tone and appearance of the materials and the volume of the architectural spaces,” says StudioFractal’s Tim Downey. “The main lighting considerations were all focused on the quality of light. To ensure quality in each space we balanced the technical aspects of the light source – colour temperature, colour perception, output, distribution and so on – with the materials and surfaces that were being illuminated. We created a carefully nuanced background layer of amenity and detail lighting that allowed the decorative fittings to take centre stage.
“The decorative lights were all specified in conjunction with Martin Kemp Design and reinforce a visual consistency with the materials; they have been designed and specified to work alongside the architectural lighting. Material finishes, lighting colour temperatures and output were all balanced during the specification process.”
The decorative fixtures were provided, in-part, by UK-based Dernier & Hamlyn, which produced 70 bespoke wall lights for the project. The unique fittings required a range of specialist metalworking techniques, including knurling, casting, machining and spinning. The bespoke lighting studio also provided four beautiful wall-mounted floor lamps for Clarges Mayfair that feature hand-turned vertical rods and silk shades with handmade Tudor ruff style trims, giving playful reference to London’s history.
“The final lighting scheme is stunning and exactly what’s needed for this very high-end residential development,” Dernier & Hamlyn’s Managing Director Jeremy Quantrill tells darc. “Everything we do is high quality bespoke so it was ‘business as usual’ for us, but I think what made the project stand out was the combination of craft techniques employed and the keenness of the design team to participate first-hand by talking to the people making their lighting and then watching it actually happen on the shop floor.
“There were natural challenges associated with producing the high quality required - the fixtures needed specialist, very labour-intensive techniques such as hand cutting glass and we worked closely with both Martin Kemp Design and Studio Fractal to ensure that aesthetic, practical and cost considerations were met to everyone’s satisfaction.”
Oliver Davies, Associate at Martin Kemp Design, commented on the collaboration with Dernier & Hamlyn: “At Clarges Mayfair we were keen to keep everything British. The bespoke lighting is a key element of our design so selecting a UK manufacturer that has a reputation for high quality and we could trust was essential. Our team worked closely with theirs to produce light fittings that met the brief in ways that were practical and cost conscious, whilst maintaining the intricacy of the design. Working with Dernier & Hamlyn was a real pleasure and seeing our lights develop from drawings to reality at its UK-based factory, reinforced the legacy we have instilled in the project.”
One area that is particularly striking at Clarges Mayfair, is the atrium, where a sweeping stone staircase, with illuminated treads, descends to the lower ground where lines of light from StudioFractal in ceilings, columns and walls continue to accentuate changes in surfaces and draw the eye up to the triple height Amaranthyne light sculpture created by British lighting installation specialists Haberdashery. Located within the dome ceiling of the atrium space, it is a fitting view for residents and visitors to the Clarges Mayfair address.
The name Amaranthyne is derived from a Greek word meaning ‘immortal or unfading’. Haberdashery's Ben Rigby talks darc through the sculpture's development: “We wanted to create a sculpture that was a constantly evolving, never-ending world of colour. This story with light slowly evolves throughout the year, revealing nine sections of illustrations across 32 panel sections, across which, thousands of tiny hand-adjusted metal tabs interplay with light and shadow, and in turn, are flushed with colour.
“The range of hues represent colour ranges we identified in the different seasons of the year – celebrating cool morning tones, rich sunsets, mists and rain, all choreographed in sync with the real rising and setting sun outside – both in time and orientation.
“Across the decorative surfaces, the artisanal history of Mayfair was researched then interpreted into graphic form; details from brogue shoes, watch mechanics, hands of playing cards and fine umbrella handles for instance are laid across details taken from a historical map of the area.”
All of these details are revealed then hidden again as the lighting cycles evolve every hour of the day, reflecting off the 250,000+ individually-positioned tabs across the 32 decorative panels. A faceted collar detail inspired by an Elizabethan ruff surrounds the perimeter, anodised in gold to frame the sculpture when viewed from below, acting as a defined boundary against the stone façades of the atrium.
“Nestled within the centre of the sculpture is the Oculus; a convex mirrored surface that reflects the space below and allows the viewer to become part of the sculpture,” continues Rigby. “Various lighting effects can be projected out from its perimeter giving an additional means of transforming the look of the sculpture with light.”
Tim Downey adds: “The atrium light installation is spectacular and a testament to the vision and hard work of Haberdashery. British Land wanted us to make the atrium light feature blend with the rest of the project – so we paid particular attention to the colours and levels of light emitted and made sure the lighting across the adjoining spaces complemented the visual effect. Direct light sources were avoided and the lines of light within the atrium walls draw the eye up to the roof installation.”
Elsewhere in the Clarges Mayfair building, three levels below ground, archways of light and bespoke wall and pendant fittings lead to a contemporary British spa, featuring a full-length, double parabola illuminated Barrisol ceiling above the 25-metre stainless steel pool. A combination of architectural and feature lighting highlight personal Cabana’s, showers, a hydrotherapy pool and separate sauna and steam rooms as well as a series of personal treatment rooms. Another illuminated Barrisol ceiling is featured in the fully equipped gymnasium.
Moving up to the apartments, a comprehensive lighting strategy was developed for all 34 apartments and associated terraces. Decorative ceiling fixtures, floor lights, wall lights and table lights from Alexander Lamont, Lum Fardo and Otoro are supported by concealed ceiling and wall cove lighting, accent downlights and integrated joinery lighting. All lighting is colour matched and controlled via a discrete lighting control and AV system.
Commenting further on the lighting scheme at Clarges Mayfair, Michael Poots, Partner at Squire & Partners, said: “Our ambitious vision to deliver a new grand house on Piccadilly, that was both luxurious and intimate, utilising a huge selection of luxury materials and intricate crafted detailing was fully embraced and enhanced by StudioFractal, which provided an invaluable contribution to the design, product sourcing and delivery of this project.
“The studio's design team illustrated full understanding of the complicated elements of the design and we had absolute confidence in their judgment in the evolution of the design details to ensure the design intent was delivered at both the macro and micro scales of the project.”
Maria Averkina, Head of Clarges Mayfair, added: “The success of Clarges Mayfair has been in the precision and craftsmanship the whole team has carried out, from beginning to end. Light and lighting are vitally important in making great architecture and intimate spaces and the creative talent and technical expertise has achieved an elegant and sophisticated lighting scheme for the project.”
Images: Gareth Gardner, James Newton & Joakim Blockstrom
Decorex talks programme announced
(UK) - Decorex International returns for exciting new chapter at Olympia London.
For 2019, the show will bring together its most inspiring and inspiring seminar programme to date. Leading interior designers, editors and business people will share their expertise and give insights into topical issues of the moment. Exploring topics from sustainability to launching a new business.
Highlights include a discussion between architect John Allsopp, Sophie Elborne of Kitesgrove and Farrow & Ball’s Joa Studholme on how to design a home that encourages a sense of wellbeing away from the hustle and bustle of everyday life.
In a discussion on how interior designers can increase value in the 21st Century, Giles Kime from Country Life will be leading the conversation between the talented Jonathan Dinnewell of Smallwood Architects, Daniel Hopwood, Emma Sims Hilditch.
At a time where we are all more conscious of the effect our investments can have in the world, throughout the event, Decorex will explore whether sustainability and luxury can coexist. In conversation on this trope is interior designers, Charu Gandhi of Elicyon, Henry Prideaux, Nicola Harding of Harding & Read and Retrouvius’ Maria Speake. Also taking on the subject of sustainability will be Simon Blackley of Ian Mankin, Sebastian Cox, Victoria Meale and Kerryn Harper-Cuss from The English Home, who will be offering insights into the evolving opportunities, innovations and responsibilities of designers.
Residential and commercial interior designers Henrietta Holroyd, Lizzie Tovey of Studio Houghton, Polly Williams from Camberyard, Laura Keith of Nine Yard Club and Sarah Bullen-Webb of interiors brand Iluka London will impart know how on how to launch and market a business within the design industry.
Houzz UK’s Reisa Elden, Amit Malhotra of Aflux Design, Kia Stanford from Kia Design and Staffan Tollgard will offer advice on how to scale your business and set goals for 2020.
For more information on the full schedule, visit: www.decorex.com
Madre - Foscarini
Madre, meaning mother in Italian is a new table lamp designed by Andrea Anastasio for Foscarini. Inspired by ancient fertility vases, the design conveys light's life-giving properties through its form (resembling the silhouette of hips), materials, and functionality. The table lamp serves double duty as a vase as its top integrates a heat-proofed concave that holds and preserves fresh flowers. A hole at the centre gives perspective at the same time reflect light even when the lamp is off.
Michaelis Boyd designs 2019 Sleeper Bar
(UK) - Pop-up Sleeper Bar will be designed this year by Michaelis Boyd, the London and New York-based architecture studio.
Drawing inspiration from The Man Who Planted Trees, a short story by Jean Giono, which celebrates the power of the natural environment, working primarily in timber, the bar will be a study in sustainability; investigating the afterlife of the material through scale, layering, adaptability and recycling leading to creating a space that will cater to all walks of life, adjusting to the needs of each individual, making the bar a rich experience for each visitor.
“We are both really looking forward to designing the Sleeper Bar," said Alex Michaelis and Tim Boyd, founders of Michaelis Boyd. "On our previous visits to Sleep & Eat we have been very impressed by the strength of the designs and the themes and we are excited to be adding our own spin this year. The theme of Social FlexAbility means we will be designing a dynamic and social hub for all this year’s visitors.”
Sleep & Eat, is one of Europe’s leading design and innovation events for the hospitality sector. Across two days from 19-20 November, at Olympia London, Sleep & Eat brings together hospitality leaders with Europe's foremost designers, architects and emerging talent across hotels, restaurants and bars.
Arturo Álvarez inspired by the seas
(Spain) - 2019 has been a year for social concern around the health of the seas. This consideration and concern has guided the latest work of Arturo Álvarez through new decorative lighting proposals Mytilus and Aimei.
Experimentation, design, research, innovation and all handmade. Mytilus and Aimei join the philosophy of Arturo Álvarez, sculptural luminaries that build bridges between the two facets of the designer. These two proposals are the result of research, exploration and experimentation of new materials and processes. With the aim of improving the sustainability of designs as their background, Arturo Álvarez presents these new creations inspired by the seas and, through their names, calls to consider the problem of plastic in the oceans.
Aimei sees delicate spines that expand and protect the light. Flexibility and curves are cradled. This design made of ash wood, has infinite possibilities. Each perspective makes the light shine in a different way. This large luminaire has a light source made by artisans that blends with an organic and light wood form.
Mytilus is nostalgic and calm. It represents the sea in movement, waves, ocean currents, sinuous and rhythmic forms. It is movement, it is life, it is mystery and hidden treasures. This new collection has three proposals for all types of spaces. Handmade with stainless steel mesh, Mytilus features a light source wrapped in a handmade glass tulip. These pieces are worked by hand with great delicacy obtaining, thus, an organic form that flows with the space. The Mytilus collection is presented as a wall and pendant lamp.
These two new proposals continue with the representation of a business philosophy that emerged in 1994. For more than 20 years, the inspiration in nature has guided the handmade designs of Arturo Álvarez. Forms, materials, textures… All are treated with extreme care, delicacy and with high attention to detail in order to define the personality of the designs.
SBID Design Awards finalists announced
(UK) - Finalists of the SBID International Design Awards 2019 have now been revealed.
Among the impressive number of contenders this year, finalists include world renowned practices such as G.A group, Concorde BGW Group, Scott Browrigg and Clive Wilkinson Architects.
Notable projects include SJP by Sarah Jessica Parker, RHS Garden, Redbull Offices, Warner Music Group as well as hotel brands such as Hilton, Belmond, Mandarin Oriental, InterContinental and more. Entries were received from 48 countries including the UK, Switzerland, Qatar, Poland, Barbados, Monaco, Japan, Indonesia, Brazil, Australia and more.
Finalists were selected by a technical panel of judges in the first stage of the process and the public are now invited to vote for their favourite projects, which will account for 30% of the final results.
Speaking about the finalists, Founder and CEO of SBID, Dr Vanessa Brady OBE says: "The SBID International Design Awards continue to grow from strength to strength with more submissions received, more countries represented and this year we have an additional category. It is known across the design industry as the premier design award to win and for that, we are quite rightly very proud to present it, as much as our entrants are to win it.
"The SBID Awards were recently accredited as the first interior design awards scheme to achieve GOLD standard by The Independent Awards Standards Council and were commended as 'exemplar in how awards should be operated'."
The SBID International Design Awards are awarded purely on the quality of the design, innovation, aesthetic and value-added to the project. Each entry undergoes an exhaustive two-tier judging process by panels of leading industry experts for both technical content and aesthetic creativity. Evaluating essential elements such as compliance with the brief, budget, health & safety and fit-for-purpose design.
This year brings brand new Creative Directors to the esteemed panel of judges from brands such as Nike, MAC Cosmetics; Universal Studios and the Solomon R. Guggenheim Museum and Foundation.
Public voting will close on 9 September at 5pm (UK time) and a captivating awards ceremony planned at the event’s new venue: Grosvenor House in London on Friday 25 October.
Kate Sweater
As part of our annual ‘darc designers’ feature, this year we take a closer look at some of the emerging talents in lighting. darc first met lighting and product designer Kate Sweater at Wanted Design in New York.
Having graduated from Rhode Island School of Design with a degree in Furniture Design, and an interest in metal work, blacksmithing and sculpture, Kate Sweater ‘accidentally’ stumbled into her first lighting job at Aurora Lampworks – a lighting restoration, replication and custom fabrication shop in Brooklyn, New York.
Initially hired to help remove some gigantic pendants from a cathedral and catalogue the parts as they were dissembled, Sweater stayed on and eventually started working with customers on lighting fixture modifications, as well as designing and engineering new custom fixtures. Sweater recalls learning so much about metalwork, restoration, wiring and electricity, finding herself completely hooked.
“The work was creative and hands-on, design-based but technical and there was so much to learn and explore,” she tells darc. “I have worked in lighting ever since, either as a fixture designer / engineer, architectural lighting designer, or in lighting research.
“After graduating from college I had a lot of ideas about possible career directions and worked in a wide variety of odd jobs before landing in lighting. Looking back on my trajectory though, it seems I would have found lighting eventually because it suits me so well.”
Sweater’s next career move was to Focus Lighting in Manhattan where she learnt a lot about architectural lighting design on the job. “I loved this work,” she says. “It opened a whole new world of architectural design. I loved meeting with clients, learning about drafting, and working on large-scale projects. Since then I’ve had a short stint at a light fixture engineering firm, worked at Moooi in the Netherlands and then Tillett Lighting Design in Manhattan before starting my own company Dwaal Lighting Design in December 2016.
“Dwaal is a Dutch word meaning ‘to wander’ – as an architectural lighting design firm we have had the pleasure of working on a variety of projects including private residences, colleges and even an eclectic recording studio. We also recently started a branch of the company called Ozzy & Wes that focuses on custom lighting fixture design projects.
“Ozzy & Wes were the names of my grandfathers; one spent his career working on power and light, the other on sound and communication. We have a couple of fixture lines currently in the works including a line of acoustic lighting fixtures.
“The core of my design philosophy is that understanding the end-user is critical to achieving a successful design. I try to maintain perspective on the broader goals of the spaces I design and I value the voices of those who are directly impacted by the application of my design process.
“I try to design for equitable use, whether that is creating outdoor spaces that don’t stigmatise any group of users or creating interior lighting that won’t disturb plant and animal life near the residence. If I am designing fixtures I consider where the materials come from and who is making the components for me.
“Regardless of the client and end-user, I consider sustainability in the design process. I think about the lifetime of the project and of the lighting fixtures I either make or specify.
“When I work in the role of an architectural lighting designer I think about what the client or end-user wants to see in the room. The best compliment for an architectural lighting designer is when someone doesn’t notice the actual fixtures, but they see all the best elements in the room and feel comfortable and supported inside the space.
“I work hard to understand how the client and end-user will view and use all the spaces I’m designing. In most cases the design style of the project depends on the client or the location. I have some preferred lighting brands that I return to over time because I like the quality but I do keep an open mind and open palette for each project. I love getting suggestions from clients because it helps me to understand their design language."
Quick Fire Questions:
Lighting Hero Dawn Ladd, owner of Aurora Lampworks. She is a real force of nature and is a determined business owner, designer and all-round creative person. She works hard to create beautiful lighting fixtures. Howard Brandston and Jean Paul Freyssinier are also lighting heroes to me.
If I could have worked on Lighting for a science museum – this is something I’ve always wanted to do. When I was at Focus Lighting one of the other teams did the lighting design for the Science Storms exhibit at the Museum of Science and Industry in Chicago. It would be such a great challenge to tell a story both overtly and covertly using light.
Stand out project I’m currently working as a lighting fellow for ‘Opening the Edge’ a project of the Design Trust for Public Space in partnership with the New York City Housing Authority. It seeks to design a new green space to facilitate interaction between residents in NYC’s public housing developments and the larger neighbourhood of the Lower East Side, Manhattan.
Decorative lighting Is more about the object itself, the aesthetic interpretation around the lighting source. Some fixtures are more design forward, however some cross over into architectural lighting when they provide substantial light for the users.
Moving forward I look forward to seeing how Dwaal Lighting Design grows and changes over the next few years. I would like to grow the office, but want to maintain the flexibility to be selective about the types of projects we take on. I’m very excited about the work we’re doing at Ozzy & Wes too!
Working with light Is everything I could want it to be.
“This is my morning, even outside my city window a cicada sings, light, it seems, as a miracle.” – An except of a poem by David Riggle.
