History of Darkness: Values of Darkness Throughout Time
Roxana Rakhshani, Senior Lighting Designer at Cundall, breaks down humanity’s relationship with darkness throughout history, and how lighting designers can factor darkness into their work.
I’ve borrowed this title from an intriguing artwork by the Scottish artist Katie Paterson, which includes hundreds of slides of the darkest parts of the night sky.
Darkness is a quiet treasure, too often overlooked and too easily feared. As Robert Hensey notes in The Archaeology of Darkness, “[Darkness] it is too big to see, too fundamental, too pervasive.”
As a lighting designer, I recognise that darkness holds as much value as light. They are deeply intertwined, forming a harmonious whole. Darkness has often been unjustly associated with evil and threat. In our efforts to escape this perception, we have flooded our evenings with electric lights. We are led to believe that darkness breeds crime and danger, prompting us to illuminate every corner of our towns in the name of “secure by design.” Yet we cannot study darkness as we study light. We cannot hold it, photograph it, or capture it. We can only sense it, embrace it, and live it. I believe darkness is not the absence of light. It exists.
Birth of Darkness
Our relationship with darkness begins with the Big Bang, around 13.8 billion years ago. At first, the cosmos was not dark at all – it blazed with high-energy photons, a searing plasma of matter and light intertwined. Yet this light was trapped, scattered endlessly by a fog of free electrons that kept the universe in radiant opacity, a brilliance locked within the newborn cosmos.
Only after 380,000 years did true darkness emerge. As the universe expanded and cooled, electrons joined protons to form neutral hydrogen atoms. After hydrogen formed, photons continued their journey, interacting only slightly with matter. Initially in the ultraviolet range, these photons stretched into microwaves as the universe expanded. This is why the Cosmic Microwave Background (CMB) offers a “snapshot” of the universe shortly after hydrogen formed. Yet though light now travelled, the visible universe remained dark to any hypothetical human eyes.
The CMB’s glow, was far from the bright starlight we know. Thus began the Cosmic Dark Ages, a vast stretch of time without a single star. For hundreds of millions of years, the universe lay in shadow. Darkness was the dominant state.
Between 100 and 200 million years after the Big Bang, gravity coaxed the first stars into being. Their nuclear fires pierced the darkness, flooding the cosmos with visible light for the first time. Darkness lost its monopoly but never disappeared, always retreating just beyond the edge of light.
Nine billion years after the Big Bang, our Sun ignited, and Earth began to form. In its oceans, single-celled life stirred – emerging 500 million to a billion years later.
For three billion long years, the planet waited before the first eyes to open and gaze upon the world. Until that moment, darkness and light were without witness, and thus without meaning.
Early Humans and the Fear of the Dark
For early humans, darkness was no passive backdrop – it pulsed with danger, beyond the reach of firelight. Predators prowled and vision faltered; fear of the dark became a survival instinct etched into our bones.
Even now, night stirs ancient anxieties, its shadows echoing the primal dread of our ancestors. During the Jurassic, mammals evolved rod cells for low-light vision to evade daytime predators like dinosaurs. Yet humans remain diurnal, lacking the tapetum lucidum that boosts night vision in nocturnal animals.
The subconscious brain also contributes to darkness. Our amygdala – the centre of fear – is activated, triggering heightened vigilance. Without sight, our imagination conjures shadows into threats – the proverbial “monsters under the bed.”
Yet early humans also sought the darkness of caves for shelter. This motherlike darkness was a womb protecting the child. Darkness became a canvas for human art and rituals. When early humans tamed fire, cave walls flickered with living shadows, their art animated by flame.
In darkness, stories of the daily hunt came alive – fire and shadow weaving myth from stone. Darkness was an essence to bring these stories to life.
Darkness Across Ancient Cultures
Prior to the science of how light and darkness emerged, different cultures and beliefs had a variety of interpretations of how this world has come to live. Most of these beliefs involved the dual existence of darkness and light. Some had them both at the same time, while other cultures believed it was darkness and then light.
For the Greeks, the cosmos emerged from Chaos: a dark, formless realm of potential. From it came Erebus and Nyx, birthing light and day, showing darkness as the womb of creation.
Creation in Egyptian myth begins in Nun, a dark ocean of chaos, where the Ogdoad – eight deities including Kek and Kauket – embody obscurity. From this void, Atum-Re emerges, shaping light and order from the depths of darkness.
In Manichaean dualism, light and darkness are eternal forces whose mingling births the material world. The battle between these forces creates the balance of day and night.
The Biological Necessity of Darkness
Darkness is an active, soft-spoken force that shapes our biology and restores balance. As evening falls, it whispers to the pineal gland, coaxing the release of melatonin, the quiet architect of sleep and guardian of our circadian rhythm. We close our eyes and walk into darkness to find peace and comfort. For the fortunate, sleep becomes an escape from life’s stresses.
When night is fractured by screens or streetlamps, this rhythm falters, bringing restlessness, mood disorders, and diminished vitality. Darkness offers more than sleep, it shelters our eyes from the strain of unbroken brightness, allows the retina to recover, and grants the mind rare stillness.
Darkness shields the immune system, calms the nervous system, and for children, lays the foundations for growth and learning.
The Design of Darkness
Darkness is the cradle of our history, the silent force shaping our beliefs, our bodies, and the way we see the world. Without darkness, there is no contrast, mystery, or wonder. Without darkness, light loses its poetry. In the realm of lighting design, the interplay between light and darkness becomes an art form, a dance that shapes our experiences and perceptions.
We need time and space to experience darkness. By embracing darkness, we can create environments that invite exploration and contemplation. We can enhance the texture of materials, highlight architectural forms, and foster a sense of intimacy, allowing us to connect more deeply with our surroundings.
In the era of electrical light dominating our world, we must advocate for designs that respect the natural rhythms of darkness. Working on Dark Sky projects allowed me to learn how to consider how a well-placed lamp can illuminate a gathering without overwhelming the night, and its precious gift of peace, allowing the stars to shimmer above and the moon to cast its gentle glow.
As lighting designers, we must honour this truth with reverence and courage. Darkness is not absence, it is presence, the depth giving life to illumination. We must design our projects with shadow, celebrate it, worship it, and invite it into our spaces. Shadows don’t have to be obvious, grazing a rough textured wall, creating thousands of little shadows that make the texture visible. Imagine using a tree clamped luminaire in a park, that gives us dancing shadows of the leaves and brings the darkness to life.
We must see the yin in yang, and avoid a “blanket of light”. Darkness can frame the beauty of the light shining on an object or an artwork. Pockets of darkness can create a pathway and guide us through our journey.
To truly shape light, we must also shape darkness.
Let us become “darkness designers”.
Nadine Baalbaki
At Light + Intelligent Building Middle East earlier this year, Lebanese lighting designer Nadine Baalbaki delivered a stirring presentation titled “Not All Dark Skies Are Happy Skies”, sharing her own experiences of “light poverty” in a war-torn country. Here, Baalbaki tells us more about these experiences, and why when we talk about dark skies, we need to take a more contextual approach.
Attend any lighting trade show, conference or talks programme around the world, and chances are the topic of dark skies will be present in some capacity. Indeed, conversations surrounding light pollution, and preserving the night sky have been on the lips of many lighting professionals in recent times. However, while this is still an important discussion, there is one designer who is calling for more contextual understanding, and recognition that “not all dark skies are happy skies”.
Based in Dubai, but born and raised in Lebanon, lighting designer Nadine Baalbaki, founder of Light The Detail, first spoke on the need for cultural and contextual sensitivity surrounding the concept of “dark skies” at Light + Intelligent Building Middle East in Dubai earlier this year – with specific reference to her own upbringing in a war-torn country, where a dark night sky would bring with it fear and uncertainty.
Speaking to arc, Baalbaki says: “The idea for my talk came a year before, when I was attending a talk, and the presenter showed a picture of the night sky of the UAE during the pandemic, where lights were turned off because nothing was functional.
“He praised the image and identified it as an ideal situation, and if I put my lighting designer hat on, I would agree, but when I saw the image, I felt a really heavy feeling. I delved deeper into that feeling and tried to identify my relationship with dark skies, and I could recognise that darkness brought back underlined traumas.
“I knew that this has to do with my upbringing in a country where we were living with severe power cuts through times of war, and where darkness at night became a synonym for fear. Dark sky was not security or safety, it was not looking at the stars and contemplating the beautiful night sky, it was moving away from the windows in case of any bombings. It was fear and anxiety in its purest form.
“All of these feelings emerged in a split second when I was confronted with that image. Yes, we want darkness, and I agree that the impacts of light pollution are detrimental, but we need to address the topic with more consideration. I wanted to convey a message that in order to reclaim night skies, we need to examine where people are coming from and how their relationship with darkness is shaped.”
Baalbaki lived in Lebanon for most of her life, studying architecture and gaining a Master’s degree in the subject from the Lebanese University. However, she made the decision to move to Dubai in August 2013, seeking a better environment for her young family at the time.
“The decision to move to Dubai was made because we didn’t want our kids to live through what we had in Lebanon, through wars and economic crises. So, we decided to move to the UAE seeking peace and mental wellbeing, rather than job opportunities.”
Growing up in such a tense environment meant that Baalbaki didn’t have early career aspirations in the same way that others may have done. “When you are growing up in a war zone, it doesn’t feel like you have a lot of aspirations,” she says.
“Sometimes I felt like I wanted to be a fashion designer, and I used to draw dresses, but to feel like you are inspired to be something is different when you are in this context. As a kid, when you dream, you dream of a stable life, to be able to make it to school on time and take part in your extracurricular activities, which often got cancelled because it was not safe. It was an interrupted cycle of aspirations.
“And because you are living in a context where everything needs to be rationalised, you need to think of a career that has more future. As much as I wanted to study psychology or photography, the future was not bright for these career paths in Lebanon back then. Architecture was more of a middle ground that I reached because I wanted to major in a creative field, but with a more safe and calculated future.”
As with many people that find themselves in the lighting industry, Baalbaki first discovered the world of lighting during her studies in architecture. Months before submitting her final thesis, she was contacted by a friend, who briefed her about an opening at Hilights, the lighting design company they worked for. She was offered the job on the spot at her interview, and has never looked back.
“In Lebanon, lighting design as a profession was not well known 21 years ago. When I told my father that I wanted to pursue it, he thought it simply meant placing chandeliers in the middle of a room, he was not aware of the prospects of the profession. That’s when I realised, if this profession exists and so few people know about it, then it must be a niche worth exploring. From the very first project I worked on, I knew instantly: this was it, this was where I belonged.”
After spending eight years with Hilights in Lebanon, Baalbaki took a career break of a year to focus on her young family – it was during this time that she moved to the UAE. Once settled in Dubai, she shifted her attention from design to manufacturing and business development, working as a Project Manager for Vbomedioriente – a Middle Eastern distributor for Viabizzuno – before eventually returning to lighting design, and establishing her own studio, Light The Detail, in 2023.
“The concept for Light The Detail began a few years earlier as a social media platform dedicated to highlighting the importance of lighting on our wellbeing. When you step into the field of lighting design, you quickly realise that while light profoundly affects our mood and mental health, its impact often goes unnoticed because it isn’t tangible. For instance, if you visit a doctor with back pain, they’ll likely ask about your exercise habits or whether your mattress offers proper support. But if you arrive with stress or recurring headaches, it’s unlikely that anyone will question whether poor lighting might be part of the problem.
“When I founded Light The Detail, I noticed a gap in how we communicate about lighting. As professionals, we often exchange ideas within the industry, but we rarely speak to the public in simple, relatable terms. I wanted to change that by explaining concepts like glare, colour temperature, and perception, and by showing how light shapes our mood, wellbeing, and mental health. What started as a space to share knowledge and raise awareness gradually grew with me. In 2023, I chose to redirect my path and fully embrace lighting design, so I rebooted it as a design studio.”
Since returning to lighting design, Baalbaki’s work has primarily been focused on the residential market across the Middle East, although she does also dabble in F&B, retail, and workspace projects. Throughout all of these though, she strives to adopt a human-centred approach.
She says: “When I started working in the lighting industry, I was told to focus on the visual aspect of lighting. But now, I feel like I’m more focused on the human being, on the people living in the spaces. Because I work a lot on residential lighting projects, I try whenever possible to meet the clients. Working in Dubai has presented me with the opportunity to work with a wide array of clients from different nationalities; with each nationality comes a certain character and certain relationship with light. At this stage, it’s crucial to consider who we are designing the lighting for – especially in residential spaces, where people will live with this lighting for years to come.
“My style is therefore more human-oriented, focused on the people who inhabit the space. I favour a subtle, minimalistic approach, aiming to let the light stand out rather than the light fixtures.”
This human-oriented approach to lighting has helped to give Baalbaki a broader understanding of the individual and cultural nuances of lighting design, something that contributed further to her feelings surrounding dark sky sensitivity. “Even in countries where light is abundant, people’s experiences of the night, or of darkness, can be negative, and they may respond by using excessive light,” she adds. “Understanding these perspectives is something I wanted to bring to the conversation. There are many discussions about light pollution and the importance of protecting dark skies, which I fully support. But to be effective, we also need to understand why people fear darkness and why they feel the need for so much light.
“It’s not easy; since the beginning of humanity, light has been associated with safety. Prehistoric people lit fires not only for warmth but to ward off predators. So, when we suggest reducing light or embracing darkness, it can provoke fear or anxiety among different communities.
“In Lebanon, for example, you wouldn’t see much advocacy for dark skies. Discussions focus more on how to provide illumination as a means to improving safety, security, and social engagement, while also preventing economical isolation. Yet these conversations often come from a place of privilege, where people have control over their light. They don’t usually emerge from deprived communities.
“It is true that ensuring safety and security in communities is fundamentally the responsibility of government authorities and requires the collaboration between several governmental bodies to implement effective strategies to fight crime. It is not the direct responsibility of the lighting design community.
“Although there is no conclusive evidence that increased outdoor lighting deters crime, light remains a factor that increases the perception of safety. In light deprived and unsafe neighbourhoods, communities tend to correlate light with safety and security. This is why broader discussions with governmental entities are essential: only when there is trust in the system can people begin to feel comfortable engaging with darkness.
“At the moment, the approach to these issues remains very global and generalised, and when solutions are generalised, sometimes the impact of those measures falls short. So, I think it is very important to look at the regional context.”
Even within these regional contexts, Baalbaki acknowledges that the root causes of light pollution can vary greatly, from elevation lighting, to road lighting, stadium facilities, and electrical boards and signage – a particular concern for herself in Dubai.
Because of this, she feels that a lot more work needs to be done on defining the dominant causes in each city and region, and to “tackle them systematically one by one”.
“In addition, we have lost the definition of nighttime as human beings, and when that happens, we lose our dark skies. Our lifestyles revolve around working during the day and living, working, socialising at night, we re-purposed the night function from resting to harvesting. Lighting doesn’t exist in isolation; it follows people, functions, cities and urban developments. When a city grows or aims to operate 24/7, lighting inevitably follows.
“It is a difficult balance, there is not just one aspect to look at, there are global factors. In order to make an impact, we need to read these factors, and dive deeper into regional and city-oriented approaches towards light, towards fighting light pollution.”
Following her presentation at Light + Intelligent Building Middle East this January, Baalbaki is hoping to spark a response in the lighting design community, and expand the conversation on a more global level.
“I was pleased with the audience’s response. Many were aware of concepts like light poverty, but sharing my personal experiences – how darkness affects me and shapes my approach to nighttime – resonated more deeply.”
More than anything though, Baalbaki hopes that, by expanding this topic beyond the region, she can help spread her message to re-address the imbalance in terms of light access and light poverty, as she states, “while people are sometimes suffering from excess of light, people from other places are suffering from a lack of it.”
She concludes: “I want to explore further how people would respond to darkness when they have lived their life under light deprivation? How do they perceive and interact with light? When does light becomes excessive? And can light poverty lead to light pollution? For Instance, I have noted a general response among Lebanese people when visiting Dubai. They are generally delighted by the abundance of light and they perceive it as a positive aspect in the city and do not recognise and acknowledge it as lighting pollution.
“To address light pollution and improve our relationship with the night, we first need to understand where people are coming from and how they experience darkness. Only then can we reconnect with the night as a natural and essential part of life.”
www.instagram.com/lightthedetail
Desert Rock, Saudi Arabia
Carved into the rocks of the Red Sea desert lies a unique hospitality destination. Delta Lighting Design explain how light helps to bring Desert Rock to life.
Emerging from the rugged terrain of the Saudi Arabian desert, Desert Rock is a resort like no other. Tucked away in a secluded valley within The Red Sea destination, the resort has been literally carved into the terrain itself, merging seamlessly with the surrounding mountains to form a truly unique masterclass in contextual architecture.
Designed by Oppenheim Architecture, with interior design by Paolo Ferrari, Desert Rock sets a new benchmark in hospitality and design; architecture and geology converge where rock formations and sophisticated structures blend effortlessly, creating a breathtaking sanctuary where nature and innovation co-exist in perfect harmony.
Across the resort’s 54 private villas and 10 elegant suites, each embedded within the dramatic plateau – whether high up on the rocky outcrops of the Massif mountain, or low down on the Wadi valley – guests are treated to a setting that is completely at one with the raw, natural environment, with each room offering uninterrupted views that stretch toward the horizon.
Elevating the retreat further are state-of-the-art amenities, including a world-class spa and fitness centre, remote destination dining, and a signature lagoon oasis. Guests can engage with the dramatic surroundings through guided hikes and dune buggy adventures, or take in the stunning views to the night sky through celestial stargazing – all part of a curated programme designed to celebrate the majesty of the land.
Integral to bringing this one-of-a-kind destination to life was a lighting scheme that would further champion the unique location. Delta Lighting Design developed the lighting concept for Desert Rock, joining forces with Oppenheim Architecture in the early concept design stages of the project.
Mohamed Medani, Partner and Design Director at Delta Lighting Design, reflects on the initial design conversations with the architects: “Since the early studies of the concept design, we were a part of the discussion, and our role was to shape the nighttime experience and create a narrative that responds to the exact envelope of the project.
“The character and the natural landscape of Desert Rock’s surroundings is clearly the champion and the focal point, so as much as possible we wanted to preserve and enhance this with lighting.
“The main drive for us was to maintain this existing nighttime surrounding with as minimal interruption as possible, while trying to create a place within this amazing space where you can really enjoy your time, enjoy your privacy and your own surroundings. It’s not just a trip into the wild, it’s also a place where you can, within these interesting surroundings, have your own private, high-end, luxury experience as well. It became a delicate balance between maintaining the landscape and making this one of the main parts of the design and the story, but also providing this luxury look and feel.”
To that end, the intent for the lighting design was to reveal, not dominate, with a focus on exposing the raw beauty of the rock’s textures and forms where the architecture meets the mountain through carefully positioned, low-level lighting.
Building cores are softly animated through controlled contrast, adding depth and maintaining a sense of liveliness, enhancing the contrast between the interiors and exteriors, and magnifying the depth of perception within the façades. Interior lighting glows from within, turning buildings into large-scale lanterns, nestled among the elevated, contoured natural structures.
“You want to bring some of the outside into the interior spaces. At the same time, you also want to retain the functional aspects of maintaining a luxurious hospitality environment. It was a very strong contrast that we tried as much as possible to make visible. We wanted to embrace it.
“We wanted to highlight and make a focal point of the rocks and the texture of the walls within the interior space, so that you are always reminded of the surroundings and where you are in the interesting landscape.
“We wanted to avoid creating an environment where you are completely detached from your surroundings, where you go to your room and forget where you are; there is always a highlight to the elements to give you a reminder of where you are within the hotel.
“That balance adds to the unique hospitality experience. You do not very often stay in a resort where you have a wall from a natural mountain behind your bed, or you walk through a cave that is actually the guest room corridor. These experiences are striking for the users, and we amplified that impact at night.
“We also tried to focus on what could be natural in a cave, and how this would be illuminated. That’s why lighting is kept to the walls or on the floor, as much as possible; we tried to avoid overhead lighting, because it doesn’t give any interesting value to the vertical surfaces, which are quite rich in this project. Where possible, everything was mounted on the floor, with in-ground uplighting within the rooms themselves highlighting the walls. What is bringing the functional lighting to the space is indirect lighting from the vertical surfaces, and also indirect lighting coming from the floor. So, when you look at this from outside, you almost feel like there is a torch or a natural fire source within the balconies and guest rooms – it gives you a natural impression.”
Across the resort, enhancing this more authentic, low-level lit environment, Delta Lighting Design developed a bespoke, multi-functional lantern that would meet both aesthetic and sustainability requirements, while aligning with the overall hotel design vision.
The bespoke design draws inspiration from the traditional lantern form, with a sleek, minimalist frame and a decorative candle to create a warm, inviting ambience. Crafted from slim-profile aluminium with a matte, dark brown finish, the lanterns have no glass enclosures, reducing dust build-up and allowing light to diffuse softly across the ground.
The lantern top houses an integrated, diffused light source that shines downwards, providing suitable light levels for circulation areas, while an electric candle is added to the core of the lantern for decorative purposes. The two light sources are controlled separately, enabling multiple lighting scenes, and allowing the fixture’s appearance to evolve throughout the evening.
Installed in hardwired clusters, these lanterns create a poetic, immersive atmosphere that enhances the guest experience, serving both as practical luminaires and narrative-driven design elements that echo the raw, sculptural elegance of the desert landscape.
Medani explains the design of these luminaires further: “We wanted a minimalist fitting that would not really stand out as an element competing with the surrounding environment, but would blend in with the architecture.
“At the same time, it’s a hospitality environment, so we wanted an element that would give the luxury and warmth. The third aspect is the functionality that needs to be accomplished by the design of this specific lantern. So, we came up with a minimalist form, but with the different lighting elements inside, the lanterns can be used across the site, and although they all look the same at daytime, at night, they bring a different character, depending on their location and how they are being used.”
When visiting Desert Rock, guests begin their journey at a small arrivals hub nestled into the foothills – lighting here is seamlessly integrated into the bespoke millwork, with linear fittings providing subtle, directional accents that frame the space without imposing on it.
From here, guests take a buggy up the valley and to the mountain, where the main hotel building emerges. As they travel through the valley, lighting was purposefully kept at a low level, preserving the views to the night sky, while building drama and suspense as the resort comes into view.
“As you approach the mountain in front of you, you start to see the sparkle of the rooms, the illumination of the caves, you get a taster of what is waiting for you, which adds to this experience as you travel from the wilderness into this luxurious, cosy place,” Medani adds.
Central to the design though, was an “intentional restraint” that focuses on the uninterrupted views towards open landscapes. Every light source is soft, shielded, and purposeful; stone becomes luminous, and stars shine freely, inviting guests to embrace an authentic dark sky experience.
This is something that was of paramount importance to all parties. Andrew Bates, Associate Director of Lighting at Red Sea Global, explains further: “Desert Rock has an in-house lead astronomer that, on a regular basis, is running astronomy sessions for guests at the resort on top of the restaurant. So, it is critical – not just because of our Dark Sky policy, but also from a guest experience, so that they can understand the culture and the history of the area – that we maintain a low level of lighting around the whole destination.
“There was a big conversation in the planning stages about how we as a developer have a Dark Sky Initiative, where we’re trying to maintain the pristine skies and the visibility of the stars, and how we safely illuminate the project while doing this. There is a lot of rough terrain, with steep hills, etc; how do we make sure our guests can safely navigate the space at nighttime without floodlighting the whole site, while retaining the authenticity of this candlelit, cave-like environment.
“We have to be mindful that every light that we add in to an exterior space is taking us a step away from the purity of the dark sky. So, we always have to question why we are adding the lights. It becomes a balance between safety, the guest experience, and seeing the night sky. There were some decisions that were made during the design stages that were then refined once we did some assessments on site, which were linked to safety.”
Even with the Dark Sky aims for the project, Bates explains that, as the project was drawing to a close, some additional lighting was added to the mountain itself to frame the hotel and provide some further context, particularly for those dining in the restaurant area after dark, where there would have been little visual clarity as to their location.
“We did a lot of testing with various fixtures, accessories, beam angles, colour temperatures, locations, etc, to ensure that the mountains were lit as delicately as we could. As we extended the coverage and added a narrative of when to light the mountain and to what intensity, we did a number of light pollution readings around the site to check what impact it was having. We got to a point where, with the mountain lighting at 40% intensity, it had a negligible impact on the sky quality readings that we did, but it really brings a sense of depth that adds to the guest experience.”
Alongside the Dark Sky goals for Desert Rock, Bates explained some of the more strenuous logistical challenges that came in bringing this awe-inspiring project to life.
“Getting materials up the mountain was a very physical challenge; we have an observation deck, which you access via a rope bridge, and then several hundred steps to the top, and getting material up there was all done by people power, we had no cranes, so that was very intense as well.”
Because of the very essence of the resort being carved into the mountain itself, Bates adds that, once each of the rooms had been excavated, further on-site alterations had to be made when it came to installing the lighting.
“On the drawings for the cave rooms, we had a number of uplights accenting the walls left and right – in the drawing, there is a planned layout, with an outline of what the room would look like. But, when they did the carving, it’s not like putting up a timber stud wall, where you know what the offsets are going to be. There were a number of rooms where we had to assess the location of the uplights depending on the actual finishes of the wall. Some of the walls are steeper than we thought, some are shallower, some were bigger or smaller – there were a lot of tolerances that we had to work around. So, we ended up adjusting the lights to meet those on-site surprises.”
Similarly, on the outdoor paths that weave between large rocks, Bates and his team relocated a number of the bespoke floor lanterns to fit better with the natural landscape. “We shifted the location of fixtures to suit the site, for example, at the main entry to the resort, there is a passage where the path meanders through these large rocks. By luck more than judgement, there were some nice little nooks where we could place the lanterns, but we wouldn’t have been able to do this from the drawings.
“After multiple lighting mock-ups and testing, we also adjusted the colour temperature of the exterior lighting from 2700K to 2200K, as, once on site, we felt that the warmth added an extra ambience to the colour of the stone and the texture on these pathways.
“A lot of the work that we were doing was responding to the site conditions, taking the design principle and then tweaking it to suit things that you can’t know during the design stage.”
However, these challenges and on-site tweaks notwithstanding, Bates says that he is “super proud” of the result that has been achieved, and of having the opportunity to create such a unique, one-of-a-kind destination.
“I very much had a connection with this project from the start because it is so unique,” he says. “It’s not been done before, especially at this scale – it is a very James Bond, Mission: Impossible-esque setting, so I was incredibly proud of following this through to completion.
“When you’re working on a project most days, in the heat and late into the night, you don’t really feel like it is such a special project, but when you see guests arrive, and you see their reaction when they see it for the first time, and when they look up and see the stars, it feels like you’re in a different world – it’s like a movie scene.”
Similarly, Medani looks back on the project with satisfaction, knowing that the lighting design greatly contributes to the creation of such a unique environment.
“We knew that our approach to this one had to be different, it had to be unique. We had to make sure that we flush everything conventional off the table and figure out a solution that would maintain this interesting experience for the users, achieve the necessary functionality, and give an interesting vision from outside. At times it was challenging, but also enjoyable to go through this and come up with the result that we see in the end.
“What is quite striking is that a lot of the comments that we have seen on the internet are saying that this is AI, it can’t be real. But with that, you feel that the project is really great – people thinking that this is not a reality means that you have offered a totally new experience to users.
“It is exciting to see a place that is outstanding by itself, manage to host a cosy, luxurious space within it, where people can really enjoy the experience. Otherwise, you would pass by in a car and not see it. We have brought a very remote, untouchable place to a lot of people now. It can give you a lot of joy to work on these projects, where you bring the human experience to a new place, to new areas, and new experiences.”
Rising from the ground, Desert Rock is a truly unique hospitality offering, with a sensitive and beautifully restrained lighting scheme to match. As many new developments around the world look to create stunning pieces of architecture that stretch high above the ground, sometimes it is important to remember that connection with the earth itself, and Desert Rock shows that in doing so, one can create truly remarkable experiences to savour and remember.
Client: Red Sea Global
Lighting Design: Ziad Fattouh, Mohamed Medani, Dimitris Theocharoudis, Daniela Meneghelli, Raluca Dascalita; Delta Lighting Design, UK
Architect: Oppenheim Architecture, USA
Interior Design: Studio Paolo Ferrari, Canada
Lighting Specified: IBL, iGuzzini, KKDC, L&L Luce&Light, LEDFlex, LED Linear, Linea Light Group, Louis Poulsen, Lucent, MP Lighting, Orluna, Unonovesette
Photography: Alex Jeffries; John Athimaritis
Neko Lighting - Space 16
Space 16 Ring combines ambient and accent lighting in one pendant. Featuring upward and downward illumination, electroplated finishes in refined metal tones, and an adjustable concealed lifter, it delivers both design flexibility and contemporary elegance for dining, lounge, or reception applications.
LiGHT 25 Returns with VIP Design Tour
Leading trade show, LiGHT, returns to London with an exclusive new feature for interior designers. The VIP Design Tour offers a curated preview of premium lighting brands.
The VIP Design Tour is a curated guided experience specifically for interior designers and featuring a range of hand-selected premium lighting brands that are particularly relevant to the high-end interiors market.
The one-hour tour will start at 9.45 am on 19th November and feature introductions from each selected brand, including exclusive previews of their latest launches. Afterwards, designers will be welcomed to the Lounge for light refreshments and networking.
Brands featured include: Industville, Italamp, LedsC4, Lightnet, Lodes, Lumen Loom, SAAS, Tala, and Vibia. If you would like to attend this event, please reach out to Programme Director, Helen Ankers at h.ankers@mondiale.co.uk
Now in its fourth year, LiGHT will open its doors at the Business Design Centre on 19 - 20 November for two days of design inspiration focused on lighting and design for high-end hospitality projects.
Following a record-breaking 2024 event that welcomed over 5,500 visitors, this year’s show continues to evolve with a dynamic new layout and features. To reflect the scale and scope of the lighting industry today, LiGHT 25 will be divided into three distinct zones, helping visitors to easily navigate the vast range of brands, technologies and innovations on display.
Alongside the hundreds of lighting brands, attendees can also enjoy an array of engaging content including the return of the dedicated [d]arc thoughts talks programme in collaboration with Lutron.
Highlights Include:
- Shaping Atmospheres - leading lighting designer Sanjit Bahra of Design Plus Light takes to the stage alongside representatives from lighting brands Vibia and ProtoPixel, to examine how light and space work in unison to craft memorable experiences. They will explore the interplay of design, technology and storytelling - how lighting defines mood, shapes perception, and reinforces identity specifically in hotel environments.
- Brilliant on Paper, Broken on Site - sees James Siddle of Ideaworks moderate a discussion focused on how procurement can either reinforce or unravel a lighting vision. Too often, beautifully considered designs are compromised – not through a lack of creativity or technical skill, but because of poor procurement practices: misunderstood specifications, vague communication, or a lack of attention to detail during delivery. A great design is only the beginning. It takes a high-performing team through construction and beyond to bring it to life.
All talks and presentations are free to attend, and you can view the full programme here: https://www.lightexpo.london/talks-programme/
Beyond the exhibition floor, LiGHT 25 offers a dedicated co-working space with free Wi-Fi, late-night opening hours, VIP party, networking lunch, and immersive light art installation from Speirs Major Light Architecture.
Free to attend and not to be missed – register now for your visitor badge and discover more about the show, here: https://www.lightexpo.london/
Rise Lighting - Diva
Rise Lighting's Diva is an ultra-slim profile that blends seamlessly with your display. With refined optics and a flawless finish, Diva creates a luxurious retail and boutique atmosphere that elevates the beauty and value of your products, as well as offers a customisable length to fit any showcase with ease.
LDF: product highlights from the Shoreditch Design Triangle
Discover the latest innovations, products and installations we uncovered during the darc Lighting Tour, in partnership with Design London Shoreditch at London Design Festival.
As summer fades into memory, the design world is only just hitting its stride. For us at darc, the London Design Festival marks the true beginning of the season – a moment that not only re-energises the industry after its quieter months but also sets the tone for what lies ahead. This year, the festival saw the debut of Design London Shoreditch, a fresh addition to the festival and one we were excited to collaborate on. Brought to life by the organisers of Clerkenwell Design Week, the event popped up across East London’s thriving design district with a series of tightly curated exhibitions.
As part fo the launch, darc partnered with Design London Shoreditch to host a dedicated lighting tour, guiding attendees through standout showrooms and brands while highlighting the latest products and projects that showcase the ever-evolving role of light in design. As Media 10’s Marlon Cere-Marle, and leader of the tour, explained:
"The idea behind the lighting tour was to give lighting designers and specifiers the chance to experience key installations and product launches first-hand, while hearing directly from the creatives shaping the industry. It was extremely well received, with visitors valuing the opportunity to ask questions and connect directly with brands and designers. The launch of Design London Shoreditch has further strengthened Shoreditch Design Triangle as the largest district and a key destination during London Design Festival, drawing an even broader trade audience to the area. Collaborations like this with darc are central to that success, and we were delighted to partner with them to bring the tour to life."
The tour began at Lee Broom’s flagship showroom, where the designer welcomed us with his trademark flair – coffee, pastries, and a display as immaculate as ever. But the real spectacle was the work. Broom’s collaboration with Lladró, Cascade, was a highlight: porcelain lanterns reimagined as glowing, modular installations, which made its debut in Milan earlier this year (read more here). His new Chant Portable Lamp was another standout – sleek, sculptural, and refreshingly functional. With a 40-hour battery life and a festival launch price of £225, it was one of those rare pieces that balances collectability with accessibility.
At Tala, the experience took a different turn. Instead of unveiling a product outright, visitors were confronted with a question: What do you usually do before going to sleep? Unsurprisingly, most admitted to scrolling on their phones. The point was clear – and so was the solution. Tala, in collaboration with Heatherwick Studio, introduced Wake, a bedside lamp designed to replace our phones as a sleep companion.
Presented in the immersive Sunset Room, Wake felt more like an experience than a product launch. The installation washed the space in warm, meditative light while a film narrated its three-year journey from idea to object. The lamp itself, made from ceramic and glass, blends craft with technology through subtle, programmable sequences of light and sound. Unlike the clunky “sleep gadgets” already on the market, Wake feels like something you’d want in your home. Elegant, tactile, and purposeful – a rare combination. (Read more about Wake in Issue #61).
Just across the road, we visited the Buster + Punch flagship, where founder Massimo Buster Minale unveiled Takeout – a portable table lamp in solid metal, featuring the brand’s signature cross-knurl detailing. Its distinctive light pipe and canopy sit beneath a toughened glass shade, dimmable by touch. Though still in development, the tour had the rare opportunity to handle the prototype firsthand. True to Buster + Punch’s flair for storytelling, the launch is accompanied by a bold creative campaign, which we also previewed. Unlike the brand’s predominantly made-to-order catalogue, Takeout is designed as a grab-and-go item, ready to purchase and take home immediately. To match the lamp’s concept, the flagship itself had been transformed into a quirky convenience store – echoing the promotional video – complete with playful touches such as Buster + Crunch cereal boxes.
At the Wax Building, home to brands like Cozmo, MinimalLux, and Tamart, the standout was undeniably Lightmass^ by Raw Edges. The lower-floor installation featured sculptural, feather-light lighting pieces that integrate LED sources directly into their mesh structures, blurring the line between form and function. Pendants, floor, and table lamps are crafted from a single material, reducing waste while remaining adaptable to a variety of spaces. The collection’s focus on sustainability and its ability to turn light into a tangible spatial experience underscore Raw Edges’ vision of lighting not just as illumination, but as a key architectural element.
After stops at architectural lighting brands Light Lab and XAL, the tour arrived at the final destination: House of Icons, housed in Shoreditch Town Hall and the beating heart of Design London Shoreditch. The space offered a curated mix of exhibitions, talks, and installations, showcasing both emerging and established lighting brands.
In terms of exhibitors, two highlights stood out. Dutch company Georgious presented its Slide Light, a tubular floor lamp with adjustable height and light output. Smart sensors activate only the exposed LEDs, allowing the piece to subtly transform a room’s ambience. Meanwhile, Italian family-owned Masiero’s Dimore lighting impressed with its luxurious contemporary collection for private interiors. By blending sophisticated aesthetics with emotional nods to tradition, the brand delivers lighting that is both artistic and functional.
From Lee Broom’s sculptural innovations to Tala and Heatherwick Studio’s immersive experiments, and the playful ingenuity of Buster + Punch to Raw Edges’ sustainable designs, the festival felt alive with ideas that push lighting beyond utility into art and experience. Design London Shoreditch proved itself a worthy addition to the festival, offering a stage for daring design and thoughtful craftsmanship.
www.designlondonshoreditch.com
NeoCon to launch premier lighting exhibit
(USA) - NeoCon, the largest and longest-running show serving the commercial interiors (A&D) industry, has announced the launch of Illuminate at NeoCon 2026, a new show-within-a-show concept dedicated to architectural, technical, and decorative lighting.
Scheduled to debut on 8-10 June at The Mart in Chicago, Illuminate will take place on the 7th floor of the exhibit hall as part of the redesign section. The platform aims to foster deeper connections between lighting manufacturers and professionals and the design community, offering direct access to the brands and technologies
As part of a redesign of the 7th Floor Exhibit Hall, Illuminate will serve as a showcase for education and exploration, featuring a selection of premiere and emerging lighting brands in unique booth configurations. Visitors will experience interactive vignettes and immersive installations that demonstrate the dramatic effects of lighting design in real-world scenarios.
Educational programming led by lighting experts will offer insights into the latest trends, technologies, and applications, while special events, happy hours, and meet-and-greets will offer collaboration and networking opportunities.
Lisa Simonian, Vice President, Head of Trade Shows at The Mart, comments: “With Illuminate, our goal is to create a dynamic new hub connecting the lighting industry with the commercial design community and NeoCon’s audience of more than 50,000 architects, designers and end-user decision makers. We are responding to an important need for lighting to be more properly recognised as a key and essential component of good design.”
PALD research project expands globally
(USA) - A new research initiative, led by Glenn Shrum, an Associate Professor of Lighting Design at Parsons School of Design, aims to expand the history of lighting design. The ‘Pioneers of Architectural Lighting Design’ (PALD) research project aims to highlight the overlooked key players in the discipline’s movement.
This research archive seeks to expand the list of PALD to include individuals who contributed to the growth of the field in local communities worldwide, enabling more members of the architectural lighting design community to understand the discipline's origins in their local contexts.
The research initiative began when Professor Shrum prepared his presentation, ‘Founding Practice: Originators of Lighting Design,’ on the online platform.
After cataloguing the first documented architectural lighting designers worldwide, Shrum recognised that the available history of architectural lighting design largely neglected pioneering individuals outside of North America and Western Europe. Recognising this oversight, Shrum imagined a project that would provide a more inclusive understanding of architectural lighting design history that documents and celebrates the diversity of architectural lighting design around the world.
Since its launch, the PALD initiative has widened its reach, adding research teams in countries including Brazil, Chile, Venezuela, Panama, Haiti, Nigeria, Canada, and Spain. The project aims to create a collaborative framework for investigating local histories, refining methodologies, and sharing results internationally. Current priorities include consolidating existing research, strengthening community engagement, and building partnerships to support future stages of work.
According to the organisers, the long-term goal is to establish a more comprehensive and inclusive history of architectural lighting design, while providing resources for continued academic and professional study.
Insights from Tech-X 2025
On Wednesday 10 September, Ellie Walton had the opportunity to attend Tech-X – The Lighting Industry Association’s (LIA) first technical excellence conference, held at the Convene, 133 Houndsditch in the heart of London. Marking its debut, Tech-X set out to redefine industry gatherings by creating a dynamic, multi-disciplinary forum that reflects the evolving needs of the lighting sector.
Born out of extensive feedback from LIA supporters and event attendees, the event brought together manufacturers, designers, engineers and regulators under one roof. With multiple stages and a diverse programme spanning connected lighting, cutting-edge design and the latest regulatory insights, Tech-X delivered a platform for knowledge sharing, innovation and collaboration.
The event commenced with a warm welcome from Ayça Donaghy and David Barnwell, CEO and President of the LIA, respectively. Following the welcome speech, the audience had the privilege of hearing from the Keynote Speaker, Ricky Nuttall. A firefighter and first responder to the tragic Grenfell Tower incident, Nuttall delivered a deeply moving and thought-provoking address drawing on his personal experiences. He highlighted the profound importance of resilience, courage, and the necessity of speaking up when confronted with unequivocally wrong situations. Nuttall also spoke on the importance of people’s roles in design, and how the combination of design flaws and lack of standards met escalated the fire at Grenfell Tower to spread rapidly. His words resonated powerfully with the audience, serving as a reminder that strength and integrity are essential not only in times of crisis but also within professional and everyday contexts.
The programme was divided into three stages, with stage one dedicated to standards and compliance, with the opening talk hosted by the LIA’s Stuart Burns. Burns’ presentation focused on clearing up the confusion between repairing and remanufacturing lighting products, and why the distinction matters. He explained that repairing simply means fixing a broken light, so it works as it did before, while remanufacturing involves making a bigger change, such as converting an old fluorescent fitting into an LED one, which effectively turns it into a new product in the eyes of the law. This means remanufactured lights must meet today’s safety standards and carry the same certifications as brand-new ones. Burns also highlighted some of the challenges, such as who holds responsibility if something goes wrong, the risks of using another company’s design or branding without permission, and how difficult it can be to guarantee performance or sustainability claims when using older parts. His main message was that remanufacturing can be valuable for extending the life of products and supporting sustainability, but it must be done transparently and in compliance with modern regulations.
The final presentation for the morning on stage one was Andy Hughes from Zumtobel Group, and his presentation, ‘When the Rulebooks Don’t Apply’. Hughes’ presentation tackled the thorny issue of what manufacturers should do when standards haven’t yet been harmonised. He explained how, in the past, compliance was fairly straightforward – if a product met the relevant standard, it was assumed to meet legal safety requirements. However, changes to EU directives, the introduction of independent ‘HAS consultants’ to review standards, and Brexit have complicated matters. Many standards now fail the harmonisation process, leaving manufacturers caught between outdated official lists and newer, more relevant versions. Hughes stressed that simply following a standard is no longer enough: companies must also carry out risk assessments and document how their products meet essential safety requirements. He outlined the different routes manufacturers can take, from sticking with harmonised standards to using the latest international ones or even building their own compliance cases, while warning that each carries different risks. His key message was that while the system has become messier, the safest approach is to stay as up to date as possible, compare old and new standards carefully, and always put risk assessment at the centre of compliance decisions.
After lunch came the Lighting Design Stage (stage two) to see the much-anticipated presentation from Juan Ferrari of Hoare Lea, where he gave a revised version of his IALD presentation on AI. Titled ‘AI 2.0: The Future of Lighting Design’, Ferrari explored how artificial intelligence is reshaping the creative process and what that means for lighting designers. He spoke openly about his own journey of learning – from initially knowing little about AI to now experimenting with it in meaningful ways. His key message was that AI should be seen as a tool, not a threat, and that its value depends on the quality of data we feed it. Ferrari highlighted both the opportunities and risks: AI can save huge amounts of time by automating repetitive tasks, generate powerful images and concepts in minutes, and helping designers work more efficiently. But without careful oversight, poor data or outdated information can lead to unreliable results. He stressed the importance of keeping “a human in the loop” to check accuracy, ensure transparency, and apply ethical judgment. Ultimately, Ferrari argued that while AI can provide the “how”, it’s still up to humans to bring the “why”, which is the creativity, context, and meaning behind design decisions.
Following Ferrari was his peer from Hoare Lea, Ruth Kelly Waskett, whose presentation, ‘The Key to Healthy and Sustainable Buildings’, was all about why daylight matters so much more than we often give it credit for. She explained that natural light isn’t just about saving energy, though using daylight instead of electric light can dramatically cut carbon emissions, it’s also essential for our health and wellbeing. Daylight supports our body clocks, keeps us alert, and even provides infrared wavelengths that artificial lights can’t replicate, which play an important role in cell health and recovery. Beyond the science, Waskett reminded us that people simply enjoy being in daylight-filled spaces: they feel more comfortable, more connected to their surroundings, and more uplifted. She also busted some common myths, like the idea that bigger windows always mean better daylight, showing instead that quality, placement, and design matter far more. Waskett emphasised that if we want buildings that are not just efficient, but also healthy and enjoyable places to live and work, daylight must be at the heart of their design.
After a short break, conversations became much denser with abundant legal and technical jargon during the third stage dedicated to connected lighting. Thet Oo’s presentation, ‘The Sustainable Future of Smart Buildings and IEQ’, explored how upcoming regulations and smart technology will influence the buildings we inhabit. He explained that by 2050, countries are committed to net-zero carbon targets, with upgrading existing buildings being a key route, rather than focusing solely on new construction. This is where smart systems come into play. Oo highlighted new laws coming into effect in Europe (and soon in the UK) which will mandate large buildings to have automated controls, publish energy performance ratings, and monitor indoor environmental quality (IEQ). IEQ includes factors such as light, air quality, temperature, and noise, and he demonstrated that improving these elements is not merely about reducing energy consumption but also about enhancing comfort and performance. To illustrate this, Oo shared a hospital case study in the Netherlands, where smart lighting and sensors tracked energy use, air quality, and occupancy patterns. The outcome was not only lower energy bills but also healthier environments for staff and patients. His main message was that the lighting industry has an opportunity to lead this transition by leveraging existing sensor networks to provide valuable data, helping buildings become more environmentally friendly and better suited for their occupants.
Jon Belfield’s presentation, ‘Smart Synergy: Unlocking Full Building Potential with Integrated Lighting and BMS’, explored why lighting and building management systems (BMS) have often remained separate and why now is the time to bring them together. Drawing on his decades of experience as a BMS engineer, Belfield explained that while the technical barriers to integration have largely disappeared, cultural and contractual barriers still hold the industry back. Too often, there are different teams working on individual operations, such as electricians, lighting, and other construction fields, leaving no one responsible when things go wrong. He argued that instead of chasing buzzwords like “smart buildings,” the focus should be on making systems user-friendly, well-integrated, and supported by people with the right skills. Belfield also reflected on the generational shift in technology adoption, from email being revolutionary in the 1980s to AI being normal for today’s graduates. He believes this shapes expectations in buildings. Belfield summarised that true smart synergy isn’t about technology alone; it’s about collaboration, clear responsibilities, and using existing systems better to deliver buildings that work seamlessly for both operators and occupants.
Overall, Tech-X 2025 demonstrated the lighting industry’s commitment to innovation, collaboration, and sustainability, bringing together diverse voices from across the sector to tackle both technical and regulatory challenges. From Ricky Nuttall’s poignant keynote on resilience and safety to discussions on AI in design, smart building integration, and the importance of natural light, attendees were offered a wealth of practical knowledge and thought-provoking ideas. The conference highlighted that while technology can offer a world of possibilities, its success relies on collaboration and clear responsibilities so that the use of that technology is streamlined for the occupants and operators. It is programmes like Tech-X that set the benchmark for these conversations that foster a dialogue on the future of lighting design. For those who attended, it was both an inspiring and practical experience, reaffirming that lighting is about creating environments that are safe, sustainable, and human-centric.
IALD announces keynote speaker for Enlighten Americas
(USA) – The International Association of Lighting Designers (IALD) has revealed that science educator and communicator Amy C. Oliver will open its Enlighten Americas 2025 conference in Tucson, Arizona.
The keynote session is scheduled for the morning of 10 October and is sponsored by ETC, a member company of the IALD Lighting Industry Resource Council (LIRC).
Oliver is Director of Smithsonian STARS (Scientists Taking Astronomy to Rural Schools), a programme under the Centre for Astrophysics | Harvard & Smithsonian. She also serves as Public Affairs Officer and Science Centre Manager at the Fred Lawrence Whipple Observatory and is a SkyNights Presenter at the University of Arizona’s Mount Lemmon SkyCenter.
Oliver’s work includes Dark SkyNet, a cross-border pollution monitoring network , and project GLOWworm, which documented glowworms at high elevation in southern Arizona. During her recent TEDx Talks presentation titled "Glowing, Glowing, Gone: What We Lose When We Turn On the Lights," Oliver explored the commonalities between fireflies, astronomers, bumblebees, cacti, and nightclubs, emphasising that they all thrive in darkness and that restoring our night skies is an achievable goal.
Enlighten Americas 2025 will take place from 9–11 October in Tucson. Registration is available via the IALD website, with limited badges available.
LiGHT 25 talks programme is now live
(UK) – The wait is over, the talks programme for LiGHT 25 has been unveiled, with both the main stage and Associations Lounge schedules now live on the LiGHT website.
This year’s [d]arc thoughts talks programme, curated in collaboration with Lutron, has also been officially CPD-accredited for the first time. Across two days, the stage will host a line-up of international designers, industry leaders and creative thinkers, covering everything from sustainability and inclusivity to AI, multisensory design and the crossover between lighting and medicine.
Day one highlights include the Dark Skies Discussion, moderated by arc’s editor Matt Waring, a session from Willie Duggan on what lighting designers can learn from medicine, and an exploration of multisensory design with the RNIB and Buro Happold. Later in the day, sessions will dive into the role of data transparency in sustainable design, the creative potential of AI in lighting practice, and a behind-the-scenes look at this year’s Re:Vision installation with renowned architectural lighting studio, Speirs Major Light Architecture.
On day two, highlights include Bentley’s presentation on crafting light as the “fourth material,” where the team will reveal how they blend artistry, technology and nature-inspired design across interior and exterior environments. Surbhi Jindal, Women in Lighting Ambassador for India, will share insights into bespoke lighting craftsmanship, exploring the fusion of traditional techniques and modern innovation to create timeless designs. Other sessions focus on the challenges of international projects with dpa lighting consultants, and a panel discussion on procurement practices that examines how even the most carefully considered designs can be compromised during delivery.
Alongside the main stage, the Associations Lounge, supported by Studio Due, will feature its own dedicated programme. Industry associations, including the ILP, LIA and IALD will take to the stage, alongside the return of the Silhouette Awards mentoring programme.
Discover the full [d]arc thoughts LiGHT 25 programme via www.lightexpo.london/talks-programme
