Audi HQ, Germany
Luxury car brand Audi, brings its headquarters to life with bespoke light installation by Catellani & Smith.
Since last December, cascades of light by Italian lighting brand Catellani & Smith have been shining on the façade of the main building of Audi headquarters in Ingolstadt, Germany. Located in the heart of Bavaria, the huge complex is the largest production site of the renowned car manufacturer.
It houses the factory (founded in 1949), the headquarters, the technical development division and the amazing Audi Forum. Devoted to entertainment and a sought-after destination for many visitors, the Forum includes the remarkable Audi Museum Mobile, focused on the brand history.
The main building of the headquarters stands out in the Audi Piazza, at the centre of the complex, and features glass facades that allow people to see the working spaces inside it.
During the winter months, the transparent large windows were enhanced by Fil de Fer lights from Catellani & Smith, specially made in a custom ‘cascade’ outdoor version. Fastened to the windows’ frame and set on the façade following an irregular design scheme, the bright cascades, entirely handmade in aluminium wire and equipped with IP65 LED light sources, are able to create a surprising lighting effect.In fact, the intertwined and luminous structure of Fil de Fer lamps are amplified by effects of reflection on the glass façade and interact in various ways with the different materials, creating cascades of falling light that flows and and merges into a suggestive setting.
Peter Joehnk
Hamburg’s Peter Joehnk, co-founder of award-winning design firm JOI-Design, sits down with Maria Elena Oberti to discuss the evolution of interior design in Germany and his steady rise to international hotel stardom.
“I grew up in two places in Germany. I was born in northern Bavaria, in a small medieval town called Kronach. Then, when I was about ten-years-old or so, we moved west to Neustadt an der Weinstrasse. That was also roughly around the time when I discovered interior design.
“My father was a big influence in the beginning. He was an engineer, but his real passion was furniture making. He was always busy making different types of furniture. He didn’t do it for money, it was purely a hobby for him. My first lessons in interior design were from watching him work.
“When it came to having to choose a career, I was very undecided at first. I was interested in craftsmanship and art, like my father, but was also aware that the life of an artist was an insecure one. So, I tried to explore some of my other interests. For example, I loved working on my motorbike. I was always trying to make it faster than my friends’. I decided to enrol at the university for mechanical engineering hoping to develop this hobby further. I quickly realised that tuning motorbikes wasn’t what they did there and promptly dropped out two weeks later.
“From there I decided to try my hand at interior design. I thought it would be a good compromise between my technical and creative sides. It turned out to be a perfect fit. I had never been a good student in the past. Then, in design school, I was suddenly a star student. I was very happy, it was exactly what I wanted to do.
“I began my studies in Kaiserslautern, in southwest Germany, close to where my parents lived. Then, I met a girl. She lived in Mainz, which is a bit further north. Girls were very important back then, so I decided to change schools and study in Mainz instead.
“After graduating, I moved to Hamburg - again following the same girl - to begin architecture school. I had to work alongside my studies to pay for tuition and, well, at some point it all became too much. I decided not to finish the architecture degree and instead went on to become a very happy interior designer.
“I moved to Hamburg in 1982 and opened my studio there two years later, in 1984. Interior design as a profession was unknown back then. When I told people that I studied interior design they were very confused. They’d always ask, “what can you do with that?” They thought all I’d ever do is work as a salesperson at a furniture shop.
“Instead, I was very lucky and found a job with a company that specialised in hotel design. I didn’t know it then, but that job would set the foundation for the rest of my career. I worked for the company for two years then went on to open my own practice. I started out like everyone else at first, entering competitions and working on small projects for private clients. Then, I got my first big project: a hotel for Pentahotels. I was introduced to the Pentahotels group through some British connections. It was a great moment for the studio, which at the time was just three of us. The hotel was a four-star hotel with 200 rooms in Lübeck. It was our big break.
“Our main office is still in Hamburg, only today it’s made up of 40 people. We also have two smaller offices in Munich and Mumbai. The Hamburg office is located in an old villa just outside the city in a residential area next to a big canal. I’ve always enjoyed working in Hamburg, the only downside is the weather. It’s very… British.
“I just happened to fall into the hospitality industry, it could have been anything else. Of course, a lot has changed since I started. Back then hotels were designed to be completely accident-proof. Hotel owners wanted to prepare for any kind of scenario. They thought that guests polished their shoes with the drapes. Everything had to be very functional.
“Attitudes have shifted since then. Residential and office designers now look to us for inspiration, not the other way around. There are still limitations, of course, budget being the biggest one. Everything you put into the design has to have a return in investment. This often means having to adjust your choice of materials, you can’t always spec everything you want.
“The project I’m most proud of is one of our latest, the Fraser Suites in Hamburg, which is housed in an old tax office building from 1910. The original building was very dark and formal, very Prussian. When you walked into the building, you felt like a small mouse. It was overwhelming. The British would call it royal, but in Germany we would probably describe it as fascist.
“We used light to offset the oppressive atmosphere and create a more cheerful environment. The main focal point is a playful crystal structure that cascades from the lobby ceiling. We designed it with a lighting designer, but it isn’t a lighting fixture per se. It’s more of an art installation.
“We try to custom design most of the lighting fixtures in our projects. After colour and form, light is the third most important element in a space. It’s so important to creating the right kind of atmosphere. I’ve always found it very helpful to work with lighting designers. In fact, we hire a lighting designer for almost all our projects. We have a network of freelance lighting designers that we’ve been working with for many years. I’ve always enjoyed the collaboration, we inspire each other.
“Design is always evolving, it’s never still. Especially in the hospitality industry, things move very fast, which means that designs can look out-of-date very quickly. To think that we used to have to put bottle openers and clothes lines in hotel bathrooms!
“Every trend develops a counter-trend. The only long-term trend that I see, which is really much more than a trend, is the sustainability trend. It’s not only limited to Germany, of course, it’s a worldwide trend. It’s something that we try to bring into all of our projects, but it’s still very often a cost issue.
“People have been talking about sustainability and sustainable design for years, but it has taken some time for the hospitality industry to really believe in it. Sustainability was used as a marketing tool in the past, but now things are starting to change, it’s on everybody’s mind. We aren’t running through open doors just yet, as designers we still have limitations when it comes to budget. When there’s a choice between a ‘green’ parquet that costs €100 and a vinyl plank that costs 20% less, investors still get weak.
“Business in Germany is very good. There are always ups and downs no matter where you are. We had some rough times in 2003, but we’ve only really had happy times since then. I think the design business is similar across Europe. Things have been difficult in Spain for the last few years, but generally design work has become increasingly more important in Europe.
“In terms of style, there are still nuances between us. You can see the differences, particularly in the colours and patterns. It’s difficult to explain, but there is a difference between Scandinavian design and, say, French or British design. We Germans are somewhere in the middle. I don’t think there is a specific German style, but whenever we appear somewhere, you know it. I think we are still seen as very technical.
“From a process perspective, there can be significant differences in design scope from one country to the next. In the UK, for example, the designer does the design and then hands over the drawings to a purchasing agent, whereas in Germany we have interior architects who oversee the entire project, from start to finish.
“The scope of the designer in Germany is much broader, we have more control of our projects. I prefer it this way, it also helps us learn from one project to the next. It can be especially beneficial for young designers to see what really goes on on-site.
“Things start to get very different when you go to places like Russia or India. Often, in these developing countries, clients want to appear very successful or rich, so they ask for designs that are overloaded with gold. They probably didn’t hire a German designer for those reasons, but at the end of the day, when you finally sit with them, that’s still the picture they have in their mind.
“Where is the design capital of Germany? Berlin. Hamburg is the centre of ship design, but Berlin is where the younger, crazy guys go. Things are starting to level out, though. You don’t have to go to Berlin to make it. Hamburg is very creative, but Berlin is bigger.
“In terms of design education, I think the best place to study in Germany is FH Detmold, which is where my wife, Corinna, went to school. It’s in a small city, but it has the largest interior design department in Germany at the university level. What makes it so good is that it has specialists of each kind teaching each subject. Lighting design is taught by a lighting designer, architecture by an architect, and so on. That’s what makes the difference in my opinion. Size matters in this case.”
New Light + Building dates confirmed
(Germany) - Messe Frankfurt postpones Light + Building amid coronavirus concerns and stand cancellations.
The world’s leading trade fair for lighting and building-services technology will now be held in Frankfurt am Main from 27 September to 2 October.
The announcement of the show's postponement came quickly after one of its biggest exhibitors Signify announced it would not take part in this year's event due to health risks associated with coronavirus.
The organisers have said the unexpected appearance of Covid-19 in Italy demanded a new analysis of the situation in close cooperation with the public-health authorities of the City of Frankfurt. After Germany, the largest groups of exhibitors and visitors come from China and Italy.
A multi-stage health check on guests from China has been called for, the implementation of which would be extremely challenging for Messe Frankfurt. Additionally, more and more travel restrictions are being put into place thus making it difficult for both visitors and exhibitors to attend the fair.
The decision is supported by the cooperation partners of Light + Building, the Electrical Installation Systems and the Light Working Groups of the Central Association of the German Electrical and Electronic Engineering Industry (ZVEI) and the Central Association of German Electricians (ZVEH). The foremost Italian associations also back this decision.
With only two weeks to go before the six-day event was due to take place, many visitors will have already confirmed travel plans for March - many of which will now be non-refundable. The postponement at such a late stage raises the question of how the news will impact attendance figures for Light + Building in September.
light-building.messefrankfurt.com
Signify pulls out of Light + Building
(Netherlands) - Signify decides to not participate in Light + Building 2020 due to Coronavirus concerns.
After careful consideration, Signify has decided to not participate in Light + Building 2020, due to the health risks posed by the Coronavirus (COVID-19).
“Although we were looking forward to meeting our customers and presenting our newest innovations at Light + Building, we must contribute to helping to contain the issue,” said Eric Rondolat, CEO of Signify. “The health, safety and wellbeing of our employees, customers and partners is and remains our number one priority.”
Signify has said it will continue to inform its stakeholders about new innovations through a series of press releases in the coming weeks.
New Board of Governors at Dallas Lighting Show
(US) - Dallas International Lighting Show announces election results and appointments for the Lighting Board of Governors, including a new Chair.
The Board serves as a governing body to consult and
advise Dallas Market Centre, represent the views of the Lightovation
exhibitors, promote the industry and supervise programs for lighting trade
events at Dallas Market Centre.
The new Board Chair is Nathan Frampton, President and CEO of Fanimation, who will serve in the role until January 2022 before becoming Past Chair until January 2024. Outgoing Chair Tim Flannery, Executive Vice President of Sales for the Minka Group, will now serve as Past Chair until January 2022.
New Board members whose terms commenced this month until January 2024 are:
· Kellee Hollenback Hammond, Hudson Valley Lighting
Group
· Troy Lee, Savoy House
· Matt Sonneman, Sonneman – A Way of Light
· Jess Wiedemer, Hinkley
Quoizel’s Rick Seidman was also appointed to
another four-year term on the Board, joining these executives currently in
term: Cathy Choi, Bulbrite; Wayne Falk, Kalco/Allegri; Lyn Schulz, Schonbek;
Naomi Sperling Goldman, Maxim Lighting; Irene Tasi, Kichler; Colleen Visage,
Progress Lighting; Matt Volmer, Visual Comfort Group; and Tony Zitoli,
Eurofase.
Board members who concluded their four-year terms
after January 2020 include Ron Henderson, Varaluz; Brad Kleinberg, Crystorama;
and Steve Nadell, Hudson Valley Lighting Group.
The Lighting Board of Governors can have up to fifteen members at one time, with five members elected by the current Board, five members elected by the Lightovation exhibitor base, and five members appointed by Dallas Market Centre. Nominations for exhibitor and Board election candidates are accepted in the autumn each year from Lightovation exhibitors. The Lighting Board of Governors meets four times each year.
Atelier Anaka - 2020 Collection
Montreal-based Atelier Anaka presents its 2020 collection of bespoke lighting. Each piece is assembled by hand at its Montreal atelier. The glass pieces are mouthblown and hand-cut in Quebec’s Eastern townships by master craftspeople.
Crafted from materials that are designed to bring out the inherent beauty found in the natural textures of glass, stone and metals, industrial solid brass components lend a sculptural feel to the modern design of each fixture and complement the delicate surfaces of the glass.
The new collection introduces hues of rose, peony and olive which blend perfectly with the classic shades of smoke, alabaster and amber. Atelier Anaka has also introduced new glass shapes: The rounded-edge rectangle of the Lilianne and flattened oval of the Lennox exemplify the technical evolution of this collection. The Martin Dome, in luxurious leather finished marble is another new addition to the collection. The collection is inspired by lunar surfaces and astral bodies.
The 2020 collection also includes the Paulina and Elaine pendants, two perfect 12-15mm thick, hand cut blown glass globes. The Paulina features a classic Battuto cut over 50% of the surface, the Elaine features the Battuto as well as a frosted honeycomb cut. Each model is available in 6ins or 10ins variations.
The Victoria.15 is another addition to the collection, a sculptural branch chandelier constructed with knurled solid brass components and round opal glass orbs, perfect for lighting a dramatic staircase.
The new pieces have been designed to perfectly complement the existing collection. The Katie pendant, one of the first luminaires created by Atelier Anaka, retains an important place in the collection. The solid brass hardware has been updated to a sleek cable system that is almost invisible, allowing the Katie to virtually float over any surface.
The Steven Dome, Atelier Anaka's most popular light fixture, has been updated with the new cable system as well as the addition of a luxurious round white marble plate on the underside that acts as a reflector.
BIID announces plans for regional roadshows
(UK) The British Institute of Interior Design (BIID) has revealed its plans for four regional, Ask the Expert events throughout 2020.
The sessions are designed to provide an opportunity for interior designers to ask questions and seek advice from a range of industry experts. The events due to take place in Harrogate, Knutsford, Caerphilly and Edinburgh, as well as one London event, will reinforce the institute’s commitment to supporting interior designers across the country.
“We are extremely excited to meet more of our regional designers and support the interior design community outside of the capital”, said Harriet Forde, BIID President. “With 40% of our members working in practices outside of the capital, these events are a step in the right direction when it comes to forming a strong design community across the UK.
"As an institute, we recognise the value and importance of hosting events around the country to strengthen our regional presence.”
The events will provide an opportunity for designers to ask questions and discuss any queries with an expert from the built environment. Designed to be interactive and fast-paced, the sessions will provide professional guidance and allow interior designers to network with industry peers across the country in an exciting and engaging space. The details for all five events are as follows;
Lapicida; The Tile and Stone Specialist, Harrogate, North East – 6th May 2020
OKA Direct Ltd, Knutsford, North West – 13th May 2020
London: Havwoods, Clerkenwell, Tuesday 19th May 2020
Woodpecker Flooring, Caerphilly, Wales – 7th July 2020
John Lewis for Business, Edinburgh, Scotland – 3rd November 2020
The regional Ask the Expert sessions are open to both BIID Members and non-members with a limited allocation of student tickets available. The London event is for BIID Members only.
The events are all generously hosted by BIID Industry Partners from across the UK and are free of charge. To find out more information about any of the regional roadshow sessions.
Nulty Appoints New Business Development Director for Middle East
(Dubai) International lighting design practice Nulty has recruited Lama R. Arouri as Business Development Director for the Middle East to drive expansion across the region.
Her appointment comes off the back of a sustained period of growth for Nulty Dubai, which has seen the studio establish itself as the largest independent lighting practice in the area, and cultivate a diverse portfolio of projects including Gate Village at the DIFC, Bloomingdale’s at Mall of the Emirates and the Dubai Festival Plaza.
Based within the Dubai team, headed up by Director Mark Vowles, Lama’s remit will see her develop growth strategies and widen Nulty’s network across the hospitality, retail, commercial and residential sectors.
Founded in 2011, Nulty is a lighting design consultancy renowned for delivering immersive lighting projects for global brands such as Nike, Samsung, Harrods, Bloomingdale’s and Burberry. The studio’s international footprint covers Europe, the US, the Middle East, North Africa and recently Asia, following the recent launch of a Bangkok office at the end of 2019. Recent projects within the Middle East include the JA Lake View Hotel, Hakkasan Terrace in Abu Dhabi and Yauatcha in Riyadh.
With business development experience spanning both industrial and architectural lighting, Lama brings strategic planning and local market knowledge to Nulty’s Middle East division. Her ability to marry specialist knowledge with multicultural insight and professional networking, has seen her build client relationships across the MENA region.
Previous roles have see her gain expertise in architectural and customised lighting solutions for hospitality, residential and commercial projects throughout the Middle East and Northern Africa.
Mark Vowles, Director for Dubai said: “Lama’s impressive career in business development immediately marked her out as a valuable addition to the Dubai team, at a time when we are looking to maximise opportunities in a rapidly-developing market.
“She has exactly the right strategic vision, technical lighting knowledge and industry awareness that we need to increase work across the Middle East. Her appointment underlines our commitment to diversifying talent globally, to offer clients a regionalised, face-to-face approach, supported by the design talent and experience an award-winning international lighting studio can offer.”
Lama R. Arouri, Business Development Director, Nulty said: “Nine years in the lighting industry has really allowed me to get under the skin of developers, architects and designers to understand the complexities of their needs. I’m delighted to bring this expertise to Nulty and am looking forward to working with Mark and his team to spearhead their ambitious Middle East growth plans.”
Kelly Hoppen collaborates with Focus SB
(UK) - Kelly Hoppen MBE collaborates with Focus SB on debut collection of designer electrical wiring accessories.
The collaboration, which saw formal contracts between leading British electrical accessories manufacturer Focus SB and multi-award winning designer Kelly Hoppen signed in June 2018; sees the launch of an eye-catching, cutting-edge collection of ‘wall jewellery’ in the first quarter of 2020.
The idea for the proposed collaboration came about as a result of a team brainstorming session between Focus SB’s managing director, Gary Stevens, and the company’s highly experienced new product development team.
Stevens suggested that the thinking should be stripped back to basics, and instead of coming up with a plate finish in line with what the team thought everyone else might be doing, should focus on the company’s target market and take the lead from design trend influencers dictating the future of modern interiors.
The team carefully considered the main target audience for a new collection in terms of the finish and aesthetics that Focus SB is synonymous with, along with high calibre interior designers involved with prestigious projects in the UK and overseas.
Kelly Hoppen emerged as the obvious choice, not just because of her high public profile, or the fact that she is undoubtedly a trendsetter and pioneer of the neutral, minimalist approach to interior design but also because, in synergy with Focus SB, Hoppen has a growing business and huge presence in the Chinese market.
Gary Stevens, Focus SB’s managing director says: “We are all very excited about this collaboration and from the moment I first met with Kelly it was like a breath of fresh air and she was bursting with new ideas for what is a relatively conservative and mature product sector. We are delighted with the designs, they are fresh and elegant and we look forward to bringing them to life with UK and China product launches in early 2020.”
Kelly Hoppen MBE comments: “Interior fittings such as light switches and plug sockets are often not considered until the end of a project, but these details can add an extra touch and shouldn’t be overlooked. The world of electrical wiring accessories is generally very conservative, but I wanted to create something that would very much be part of the overall design, introducing jewellery-like details and alternative finishes. This collaboration with Focus SB introduces a new aesthetic to electrical fittings in a way we haven’t previously seen.”
Discover the collection:
Pinstripe - The Pinstripe plate style exudes chic minimalism and provides an added dimension to each interior. Featuring clean metallic parallel lines set against a matte backdrop, this subtle juxtaposition of colour, shape and texture perfectly embodies the timeless luxury of Kelly Hoppen’s signature design aesthetic.
Fifty Fifty – Fifty Fifty sits in the collection as a subtly bright interior statement. Simple yet bold, the Fifty Fifty combines two alternating colour blocks which display harmonious contrast. The Fifty Fifty stands alone as a diverse design staple which can be integrated into multiple interiors.
Dot - The Dot plate style brings an air of subtle luxury to the collection. By combining this modern device with details inspired by timeless jewellery, the Dot provides perfect balance and is ready to be featured in any household, whether it be a space which is old in spirit or modern in design.
Corner – Clean and simple in shape and design, the Corner plate design incorporates contrast and texture. The geometric detail in the bottom right hand corner, to which this plate style seeks its name, explores the sumptuous architecture of triangles which can bring an elevated level of detail into any space.
Plank - Whilst this plate style only exhibits a singular shade at any one time, the magic of the Plank design lies in its shadow details. Featuring a labyrinth of sleek lines, this clean cut plate style embodies the modernity of Kelly Hoppen’s design aesthetic - it just so happens to be her favourite.
100% Design launches Design London
(UK) - 100% Design launches Design London during London Design Festival at a brand new venue: Magazine London.
Situated in Greenwich Design District, the show will offer visitors’ unrivalled transport links during London Design Festival with direct access via cable car, boat, plane, bus, car and tube. The renowned area is set to redefine itself as a new type of London with a community of over 1800 creatives.
Design London - the future of 100% Design - is a celebration and a direct reflection of the capital’s profound influence over A&D specification globally and presents a new proposition for the industry. The event will feature unrivalled content and a selection of the most sought-after design brands alongside emerging talent, creating an essential platform for those looking to source new products and meet brands during London Design Festival.
Jedd Barry, Marketing Manager, Design London said: “This launch is a showcase of the creativity, diversity and innovation that the design industry has to offer and will celebrate the UK as one of the most important places for specification internationally.”
Magazine London provides a striking blank canvas for showcasing the very best in contemporary design, while clean and functional spaces provide a means for large-scale creative expression.
Greenwich Peninsula is the subject of a monumental emerging community led by the developer Knight Dragon and is fast becoming one of London’s most fascinating neighbourhoods.
This September, to coincide with the launch of Design London, Greenwich Peninsula will welcome London’s first purpose-built Design District which will bring 1,800 creatives together.
“It is an incredibly exciting time for design in the capital and Greenwich Peninsula is the perfect place to launch an event of this kind," says Lee Newton, CEO of Media 10, "The area will become a thriving community that fosters creativity and will create an unmissable new destination for London Design Festival."
WantedDesign Manhattan announces 2020 programme
(US) - WantedDesign Manhattan announces its tenth edition highlights, new location and ambitious 2020 programming, as part of NYCxDESIGN.
WantedDesign Manhattan 2020 celebrates ten years of promoting North American design and bringing the best in global design to the US market. The anniversary is not only a benchmark of success for the past decade of WantedDesign, but also a harbinger of growth for the platform and its impact on behalf of the design industry in this and years to come. WantedDesign Manhattan’s co-location was also announced with the International Contemporary Furniture Fair (ICFF), run by Emerald, within the Javits Center, NYC.
The 2020’s program-wide emphasis on unity through design which emphasises WantedDesign’s dedication to promoting and celebrating all aspects of design. A new location, a new design experience Venezuelan born, New York-based designer Rodolfo Agrella and his studio are designing the entire WantedDesign Manhattan space. In doing so, they have interpreted the theme of unity as an embrace of the engagement between technology and nature, present and future.
“I chose to reinforce the avant-garde spirit of the show,” says Agrella, “I am using the platform as a portal for the future by transforming a traditional exhibition space into an oasis inside the Javits Centre. The design sets the tone for a new consciousness in a new decade.”
Conceiving of an inviting, physical envelope for the WantedDesign environment, Agrella has composed a path of continuous patios with contracting and expanding modular dividers that allow visitors to experience the space’s rotating activities and programmes.
The design creates a moment for guests to immerse themselves within the show grounds. Unity through design is particularly relevant as 2020 marks the year in which two industry powerhouses, ICFF and WantedDesign Manhattan, will be occurring directly alongside one another. Previously housed in the Terminal Store building, WantedDesign Manhattan is enthusiastic about its new residence.
WantedDesign Manhattan’s dedicated 20,000sqft within the Javits, which will maintain the WantedDesign identity and directorship of founders Odile Hainaut and Claire Pijoulat; selections of exhibitors, programming schedules, and branding will remain distinct from ICFF, while badges to the shows will allow attendance to both.
Hainaut and Pijoulat are incredibly passionate about the move to the Javits, and are confident in Emerald as a partner for this new season of life for WantedDesign Manhattan. “After nine successful years at the Terminal Stores building, we’re excited to embark on the next chapter for WantedDesign Manhattan, and to bring the fair to a new level,” say Hainaut and Pijoulat. “We look forward to leveraging the resources of the ICFF, and benefiting from cross-promotion with the show, while also maintaining the identity and essence of WantedDesign Manhattan.
In its new location, WantedDesign Manhattan will continue to showcase its signature programs: American Design Honors presented with Bernhardt Design; Launch Pad presented with Design Milk and the support of EQ3; and Look Book presented with Dwell focusing on North American independent studios. It will also include Wanted Interiors with immersive and new visions for experiential interiors settings, the Design Milk and Clever live podcast and Conversation Series, as well as international and domestic group exhibitions from all corners of the globe through the Pavilion showcases. The new format in partnership with Emerald Expo will be NYCxDESIGN’s main destination in terms of scope of brands, designers and conversations.
Secret Love Clover - willowlamp
willowlamp’s new collection has focused on the creation of smaller, more accessible pieces that are more accommodated for the average living space.
Creative Director and founder of willowlamp, Adam Hoets, has taken a more playful direction with one of these pendant lamps, titled Secret Love Clover. The heart-shaped pendant pays homage to the magic of the four-leaf clover. It was dreamed up after Hoets and his fiancée found a number of the cheerful plants on a mountain run one morning.
“It took me a long time to decide how to turn the joyful, sweet plants I saw into interesting three-dimensional objects,” said Hoets, “Normally, I like to conceptualise an idea fully in my head, but this time I decided to play around with 3D CAD wireframe drawings, repeating simple lines.”
Seen from below and at an angle, where the straight chain is cut away, a heart pattern is revealed. The heart shape in the individual clover leaf was tipped on its side and extruded slightly.
The pendant comes in silver, smoke, copper, brass, rust, white, red, black and a mixture of colours.
