Krishna Mistry
This year, UK-based lighting design practice Mistry Lighting celebrated its fifth anniversary. Founded and led by designer Krishna Mistry, this small studio has grown extensively in its infant years, not so much in physical size, but in reputation and calibre of projects.
darc editor, Sarah Cullen, took the opportunity to sit down with Krishna Mistry to discuss her career journey so far, her transition into business ownership, and to understand her studio’s approaches to design within the hospitality sector – a field in which it excels.
Born and bred in Northwest London to immigrant parents – her mother from India and her father from Kenya – Mistry went against the family’s wishes for her pursuing a career as a doctor, lawyer, or accountant. Rather, she went on to chase her dreams to study interior design. “Telling them I wanted to study Interior Design at university came as quite a shock! Though they soon came around once I promised I’d get a “proper job” at the end of it.
“I wanted to study Interior Design because I’ve always loved art, it’s something that’s always come naturally to me. My grandparents were carpenters who would carve the most intricate designs into wood, so creativity and craftsmanship have always been part of our family.
My sisters and I grew up painting all the time, it was how we expressed ourselves. My favourite hobby growing up and I’ve never let that go.”
It was at this time that Mistry’s love for lighting design was sparked. “During my degree in Interior Design at the University of Portsmouth, I used to play with light and shadow a lot, focusing particularly on how shadows could create drama and depth within a space. That experimentation fuelled my fascination with lighting. I realised that light has this almost invisible power to shape how people experience a space. A well-lit room could feel warm, intimate, or expansive, and I wanted to understand why. That curiosity led me to Buro Happold, an international integrated consulting, engineering and advisory firm, where I discovered both the technical and creative depths of architectural lighting.
“I started as a junior lighting designer at Fagerhult. That was my first step into the world of lighting. I worked on a range of retail projects and the company really spent time training me, but after a couple of years, I was ready for a change and found an opening at Buro Happold. I knew the projects would be larger and I was ready for that next step up in my career. I started working there in 2012 and it was from that point, I was hooked; lighting became my language.
“Working at Buro Happold exposed me to large, complex projects that involved multiple disciplines and often took years to move from concept to construction. It was an incredible training ground, I learned very early on how essential teamwork and clear communication are when so many specialists are involved.
“Every project required close collaboration with structural engineers, MEP consultants, acoustics team, architects, and, of course, the client team. Lighting design had to be deeply integrated, every detail mattered, from coordination with ceiling systems to the precision of mounting positions and glare control.
“Those early years taught me not just about the technical side of lighting, but also about patience and coordination.”
In addition to her passion for design, Mistry is also a worldwide traveller who seeks adventure and inspiration from all corners of the globe. “In 2016, I took a sabbatical from work and backpacked around the world for a year. It was truly the trip of a lifetime. Travelling is still my biggest source of inspiration; I love experiencing food, culture, and how different places use and perceive light. And yes, sometimes you’ll find me jumping out of planes too!
“Nowadays, when I’m not travelling, I’m mothering a very energetic toddler who keeps me on my toes and shows me what real multitasking looks like.”
Reflecting on her earlier days as a designer, Mistry reveals that she was fortunate to work with some of the biggest names in the architectural industry from an early stage. “I was lucky enough to work with architects such as Zaha Hadid, Richard Rogers, and Adjaye Associates, names I had studied and admired for years. To be involved in their projects so early on was a real honour.
“It was Tadao Ando’s work that truly caught my attention; his use of daylight is so powerful yet executed with such simplicity. That balance between light, form, and emotion was where my inspiration really began.
“I was quite lucky to have joined a team at Buro Happold that was already working on some incredible, high-profile projects. One of the first was the King Abdullah Financial District (KAFD) Metro system in Riyadh with Zaha Hadid Architects, an extraordinary building with complex, organic forms. It was a real challenge to light a space like that, especially at a time when flexible LED technology didn’t yet exist. It pushed us to be inventive and precise.
“With Richard Rogers, I worked on the Maryah Plaza development in Abu Dhabi, where we were involved in the lighting for the penthouse, façade, and external landscape, all of which demanded a balance between architectural integration and visual impact.
“One of my personal favourites was the Latvian Museum of Contemporary Art with Adjaye Associates. I had never lit an art gallery before, so I spent time visiting galleries around London to study how artwork was illuminated. The building had pitched ceilings, which made lighting the art particularly challenging. We modelled the space extensively and produced numerous lighting calculations, using different products to find the best solution.
“Today, I’m inspired by collaboration, whether that’s architects, artists, or even chefs. I love how each discipline has its own rhythm, and lighting has this unique ability to tie them all together. Travel continues to be a huge influence, too. I’m endlessly fascinated by how light takes on a different character wherever you go, the gentle warmth of daylight in Asia versus the cooler, more restrained tones that play across London’s architecture.”
Following her time at Buro Happold, Mistry went on to be Senior Lighting Designer at Light Corporation Group for a couple of years before the world changed drastically for all.
“In 2020, I was working on a series of restaurant projects (lots of Nando’s) when I was made redundant due to widespread restaurant closures during the global Covid-19 pandemic. It was such a surreal time with the industry at a standstill; I didn’t think anyone would be hiring. So, I decided to take a leap of faith, set up on my own, and see what happened.
“It was a life-changing two weeks. I lost my job, got married, and then set up Mistry Lighting!
“Work came very organically, mostly through word of mouth. I reached out to everyone I knew, setting up Zoom calls when we couldn’t meet in person. I’m extremely grateful to all the clients who trusted me with their projects; their support is what got me here - along with my family, especially my husband, who’s my constant sounding board.
“One project led to another, and within two years, I was at full capacity, even turning down work. I eventually started working with a business coach because, truthfully, I had no idea about the business side of running a business. It has been a steep learning curve, but a rewarding one.
“I still have moments of imposter syndrome, but looking back at everything that’s been achieved - the projects, the collaborations, the growth - I feel incredibly proud of how far I’ve come.”
Discussing this pivot in her career to becoming a studio owner, Mistry tells darc about her initial goals, expectations, and realities. “When I started, my goals were simple: to build meaningful relationships, create work I’m proud of, and keep learning. I didn’t set rigid targets, but I did hope to reach a point where people came to Mistry Lighting for its distinctive approach. I’m proud that we’re at that stage now, and are recognised for a thoughtful, personal way of working.
“The learning curve has been steep, and I’m still learning every day! When you run a small studio, you wear every hat: designer, project manager, business developer, social media manager, and accountant. It’s a lot to juggle.
“One big realisation for me was that a business isn’t truly sustainable if it can’t run without you. I’ve learned to lean on freelancers and collaborators more, bringing in support when needed. You really can’t do it alone, and that’s been a huge shift in how I operate.
“Running your own business can also be quite lonely at times, but I’m grateful to be part of an industry where people are genuinely supportive and generous with their advice. Having that network makes such a difference; it reminds you that even if you work independently, you’re never really on your own.
“We’re really lucky to work in such a social and supportive industry. There are so many opportunities to stay connected, through communities like Women in Lighting, the SLL, and the ILP, as well as events hosted by Light Collective. The [d]arc awards and LiGHT expo are also brilliant occasions to catch up with fellow designers and celebrate great work.
“It’s not just about the lighting industry, either. Attending wider networking events is so important, especially when you run your own business, you never know who you might meet or where the next collaboration or client opportunity will come from.”
Looking through Mistry Lighting’s portfolio, it’s clear to see that hospitality projects are a strong offering. “Some of my hospitality projects capture what I love most about lighting - spaces where light supports the brand story without overpowering it. One that stands out is Cut & Craft Manchester, a Grade II-listed restaurant where we layered soft, concealed architectural light with decorative fittings to create warmth and rhythm within the heritage fabric.”
When asked whether Mistry Lighting has a particular design identity when it comes to hospitality projects, Mistry says the studio doesn’t necessarily have “a single signature style”. “Each space is different, and that’s what keeps it exciting. I take the time to understand the client’s vision and the story they want to tell, then tailor the lighting to suit. It’s always a collaboration.
“Our approach is architecturally sensitive and emotionally driven. Every project begins with understanding how the space should feel, the story it wants to tell, and then we build layers of light to support that. It’s all about balance: atmosphere and function, beauty and efficiency, creativity and control.”
When it comes to balancing storytelling, functionality, and guest experience, Mistry Lighting implements a state of hierarchy. “Every space has a heartbeat, a focal point, and a rhythm, and lighting helps orchestrate that. Functionality underpins everything, but storytelling gives it soul. The best results happen when those two aspects are inseparable.
“It also comes down to really understanding the space, how it makes you feel, and how you want others to feel within it. That emotional connection guides every design decision.
“I believe lighting should feel effortless. In hospitality, people remember how a place made them feel, not what fittings were used. I aim to create atmospheres that are warm, authentic, and aligned with the brand identity, where lighting enhances mood, complements food and music, and shapes a complete sensory experience.”
Working across both architectural and decorative lighting design and specification, Mistry sees the two components as equals in a project setting. “Architectural light defines the structure and function, while decorative light brings intimacy and character. The key is restraint, using decorative pieces with purpose, not as embellishment. It’s about layering what’s revealed, what’s hidden, and what’s left in shadow.”
Noting one particular project in which decorative lighting made a transformative impact on the overall design narrative, Mistry reflects on her work for Gina, a small restaurant in London, which was completed earlier this year. “I worked closely with the clients, who are also the chefs, to shape the lighting narrative. The interiors were stripped back and crying out for feature pendants, so we collaborated with designer Naomi Paul to create beautifully hand-woven lights that complemented the space without distracting from the artwork on display. Without them, it would have looked more like an art gallery!
“The decorative lighting was crucial in creating a rich, intimate dinner-time ambience, paired with handmade wall lights. Using tactile, crafted materials brought warmth, texture, and depth to the interiors, transforming what was a simple space into one that feels layered and inviting.
“In general, clients today are more design-literate and value-driven. Guests expect environments that feel considered and personal, not just “Instagrammable.” There’s a real appetite for warmth, tactility, and authenticity, and lighting plays a huge role in creating that.”
Looking ahead, Mistry delves into the current industry trends that are influencing design. Examining the roles of technology, wellness, and sustainability and their abilities to shape the future of design, Mistry says: “These are no longer separate conversations; they’re intertwined. Technology allows us to be more precise; sustainability keeps us accountable; wellness reminds us why it matters. The future lies in subtlety, designs that are smarter but quieter, where technology serves human experience rather than spectacle.”
Innovations and attitudes that Mistry is particularly looking forward to for hospitality design touch on the controllability of lighting and local craft. “I’m excited about the growing accessibility of tunable white and adaptive lighting systems in hospitality, tools that genuinely enhance mood, comfort, and energy. At the same time, I love seeing a return to craftsmanship in decorative lighting.
“We’re working with clients who really value handmade light pieces and understand the meaning they bring to a space. There’s something so special about that; it creates a deeper connection between the design, the maker, and the atmosphere of the room.”
Regarding what we can expect from Mistry Lighting over the coming years, Mistry discusses her dream job, growth opportunities, her measure of success, and the advice she would pass on to anyone considering starting their own lighting design studio. “There’s so much potential in smaller, experience-led spaces, independent hotels, cafés, and cultural venues that prioritise intimacy and storytelling over scale. Working with a small bakery chain recently, for example, showed how good quality lighting can transform everyday spaces, creating warmth and a genuine sense of home.
“I’m excited about continuing to collaborate with passionate clients and exploring new sectors while staying true to what we love. The unknown is the exciting part; I put no limits on where we can go next. I want to keep the studio small enough to stay personal, but ambitious enough to keep evolving. Anything is possible.”
If the sky were the limit? “I’d love to design lighting for a boutique hotel. I’m a sucker for a good hotel, so lighting one would be an absolute dream! And, if I’m really dreaming big, a superyacht is also on the bucket list. I love a challenge.
“For me, success isn’t measured in money. It’s about the projects I get to work on and the people I collaborate with. As a British Asian woman running my own business, with a steady stream of meaningful work, all while raising a small family, I feel proud. That balance, however imperfect, is success to me.”
If you want to start out on your own, “know your why”, she states. “It’s easy to get caught up in what you think you should do, but the most sustainable path comes from being authentic. Be patient, stay curious, and build genuine relationships; that’s where the best work comes from.”
Royal Nawaab
Once a striking yet misunderstood local landmark, the long-quiet Stockport Pyramid has now found new life in a true architectural transformation. Today, this iconic structure has evolved from a dormant relic into a landmark dining destination – a restaurant where grandeur meets genuine warmth, and where the clatter of plates and laughter fills its vast, gold-toned halls.
You’ve probably heard of the Pyramids of Giza, and some of you might even know a little bit about the Pyramid of Teotihuacan. However, I wager that very few of you are aware that Greater Manchester has its very own pyramid. Tucked away just off the M60 in Stockport (the homeland of darc HQ), stands the Stockport Pyramid.
A four-sided blue-glass monument to 1990s ambition, it has loomed over the town since 1992 – residing for most of its existence in a derelict wasteland, the Pyramid is our very own “King of the Valley” despite only ever standing alone. Over the years, the building itself has split opinion: clunky, awkward, and ostentatious in every way. Yet, against all odds, the building that was once dismissed as an architectural eyesore has developed an interior to match its local iconic status.
After its original developers went bankrupt, the Pyramid stayed lonesome before being repossessed by the Co-operative Bank, who financed the original development and moved in from 1995 until 2018. Since then, the Pyramid lay dormant and derelict – until now. Today, it has been reborn as the spectacular new home of Royal Nawaab, a vast restaurant and events venue blending cultural tradition with bold, contemporary design.
At the heart of the transformation is Manchester-based design studio WDC Creative. Best known for retail and hospitality projects across the UK and Europe, the practice was tasked with reimagining the Pyramid’s cavernous interiors and creating a vision that could match the ambition of its owner, restaurateur Mahboob Hussain. From bespoke lighting installations to grand wedding halls, WDC’s design process was as much about storytelling as it was about space planning.
The studio’s involvement on the project occurred after the client had come across their work at the Carden Park Hotel in Cheshire. The project was a key turning point in the company’s portfolio. WDC helped reposition the hotel within the luxury market, redesigning facilities such as the gym, restaurant, and a new cocktail bar called Goldies. It was through their online presence that the client was struck by their work and was compelled to contact them directly.
“The client saw our work at Carden Park on Instagram and said, ‘We want what you’ve done, but bigger, bolder, and better.’ That’s how the Pyramid project began,” tells Jason West, director of WDC Creative.
The project began with a site visit to the Pyramid, untouched for more than a decade. The building was in disrepair, occupied by the ghosts of its corporate past. “When we first walked into the Pyramid, it felt as though no one had touched it for 10 years. There were old desks, cables, a huge security reception from when it was an office, almost like people had just walked out one day and left it. But beneath all that, we could see the potential. It’s an incredible space, with this vast atrium that goes right up to the top of the Pyramid. You could instantly imagine the drama of transforming it into something extraordinary,” adds West.
The client already had architects involved in planning kitchens and basic layouts, but the client wanted WDC to create the overall vision and interior concept. To do this, WDC built an enormous 3D model of the Pyramid, covering almost every space, from lobbies to wedding suites. They started with mood boards and AI-generated imagery, then developed full vitual 3D model walkthroughs to help the client, and the wider team visualise the transformation. This vision was critical for securing approvals, investment, and buy-in from stakeholders.
The transformation of the Pyramid started from the entrance. As a multipurpose event venue, the building had to be striking from the moment guests arrived. WDC designed a new gold-toned canopy to give the building a true sense of drama. Standing at two storeys high, the canopy acts as a gateway for wedding parties and a theatrical threshold for restaurant guests. Visitors then pass through the compressed tunnel clad with laser-cut metal screens that are illuminated with LED back panels before emerging into the atrium. Here, the design team layered warmth and detailing with walnut panelling, a bespoke water fountain, and cascade statement lighting. However, the most spectacular moment that draws any visitor’s attention is the atrium. Emerging from the soaring central atrium is a beautiful statement light installation, made from hundreds of glowing suspended pendants sourced from the client’s own network.
West comments: “We didn’t want it to feel like an office that had been turned into a restaurant; it had to feel completely reborn. The ambition was always to create luxury and spectacle, but never in a showy or ostentatious way. It’s about atmosphere, about theatre, when guests walk in, they should feel a sense of arrival, but also warmth.”
That balance between ambition and restraint defined the entire project. Owner and restaurateur Mahboob Hussain brought deep cultural insight and a clear vision of five-star quality; WDC translated that into built form through mood boards, samples, and immersive 3D visualisations. Every decision was collaborative, shaped by ongoing dialogue and mutual trust. Cultural authenticity remained central throughout: the design team avoided obvious motifs or clichés, instead consulting the client to ensure every pattern and detail felt respectful and true. Wherever possible, WDC and the client specified local makers and suppliers, grounding the scheme in regional craftsmanship as well as cultural meaning.
The entrance lobby, once an austere office reception, is now a hotel-style lobby complete with more bespoke lighting and coffers, rich curtains and comfortable furniture to boot – providing a calm and intimate space for restaurant visitors, while waiting for their booking. Inside, the dining hall is vast yet carefully zoned with banquettes and feature lighting by Chantelle Lighting. At its heart sits an open kitchen anchored by what is proclaimed to be the longest extraction hood in the UK.
The material palette continues the language of warmth and refinement, walnut and gold paired with marble surfaces, lifted by subtle gold accents. Lighting plays a crucial role in setting the tone, striking a delicate balance between intimacy and exuberance. The atmosphere invites private conversation yet celebrates the energy of communal dining, echoing the spirit of South Asian hospitality that brings together guests of all backgrounds from across Greater Manchester.
“When you go there now, you see such a wonderful mix of people from a wealth of different backgrounds enjoying it together. It’s brilliant,” says West.
A dynamic staircase leads to the upper levels, where weddings take centre stage. Suspended above is a bespoke chandelier of glass petals, again by Chantelle Lighting, a floral interpretation of modern grandeur. The Royal Suite, the largest of the event spaces, orients around a stage for the bride and groom, and can host hundreds of guests. Its walls are lined with illuminated fabric panels that can shift in colour or display graphics, allowing the space to flex between traditional ceremonies and contemporary corporate functions. Smaller suites on higher floors echo this adaptability, positioning the Pyramid as a multi-purpose venue for weddings, banquets and business events alike.
Turning the vision into a reality wasn’t always straightforward. Beneath the glamour of the marble, gold, and light, the project demanded significant intervention and willingness to solve problems in real time. One of the most dramatic moves was cutting through the existing floor slabs to open up sightlines and create vertical connection with an elegant staircase – a bold operation in a building defined by its geometry. “That was a big one,” recalls West. “You don’t take a saw to the Pyramid lightly.” Lighting was also part of the heart and the headache of the project. While bespoke pendants brought sparkle to the space, there were moments where lux levels were off balance or simply didn’t behave as planned.
“In hindsight, we could have brought in a lighting consultant earlier,” admits West. “We fixed it in the end, but I think there’s a lesson in that – big spaces need technical expertise.”
Yet for WDC, the project’s greatest technical achievement wasn’t just in its construction – it was the collaboration itself. The client, unaccustomed to working with external designers despite having owned a number of successful restaurants already, was forced to embrace a steep learning curve resulting in a special working relationship.
“We don’t create divides,” West explains. “We get under the skin of every client and work as part of their team. This is how the best ideas happen.”
Today, the process of refinement continues, with new wallpapers, improved signage and subtle lighting adjustments enhancing the experience. But the doors are open, and the affection long held for the Pyramid from afar can now be felt inside – perhaps best over a hot, spicy curry, if that’s your preference.
Beyond its transformation from local curiosity to grand multi-functional venue, the Pyramid’s significance runs much deeper than its physical form and is more than just a restaurant. It has become a place where people of all backgrounds and communities come together – a shared space for celebration, family and connection. During an increasingly polarising time in British society, the rebirth of the Stockport Pyramid feels both timely and hopeful: a symbol of hospitality, inclusivity and new life for one of Greater Manchester’s most recognisable landmarks.
Interior Design: WDC Creative
Architect: NK Architects
Lighting Specified: Chantelle Lighting
Images: Louis Cannell
[d]arc awards Best of the Best winners so far…
(UK) – The [d]arc awards, the world’s only peer-voted celebration of creativity in lighting design, has officially reopened entries for its 2025 edition! As we gear up for another dazzling year, we’re taking a look back at some of the past “Best of the Best” winners – the ultimate accolade, awarded to the project that received the highest number of votes across all categories.
Each of these projects has pushed the boundaries of imagination, technology, and storytelling through light. Maybe this year, it could be your turn to take the spotlight…
2017 – Pier Mauá Cranes by LD Studio
The Pier Mauá cranes are iconic cranes in Rio de Janeiro, Brazil, which are now a centrepiece of the city's waterfront regeneration project, called the "Porto Maravilha". They are a popular tourist attraction and cultural landmark, used for various events and lighting displays. The cranes have a history as working docks and have been preserved to add a historical element to the new urban space. Brazilian-based LD Studio provided the lighting concept to the metal structures in a way that allows people to go back to childhood and give wings to their imagination. The designer’s approach consists of revealing the main structure, the ‘animal’s legs and upper body’, using warm white LED flood lights with different intensity and beam angles, while taking the opportunity of the existing transparency of its operator’s cabins and along the crane’s ‘arms’, using LED RGB technology.
https://issuu.com/mondiale/docs/daawards17_digital_issuu/4
2021 – Bath Abbey by Michael Grubb Studio
Winner of the 2021 [d]arc awards was a £19.3 million restoration and transformation programme designed to preserve Bath Abbey’s heritage while introducing sustainable, modern solutions. Led by FCBStudios and Michael Grubb Studio, the project features an innovative lighting design that highlights the Abbey’s intricate architecture - from the fan vaulting to Georgian memorials, through energy-efficient LED systems and advanced DMX controls. The scheme not only enhances the Abbey’s spiritual ambience but also provides flexibility for diverse events.
https://darcawards.com/best-of-the-best/
2023 – Artifact Bar by Light Origin
Winner of the Structures - Low category, and Best of the Best winner 2023, is a hidden speakeasy bar located in the basement of BaseHall Central, Hong Kong. The bar draws inspiration from the rhythmic patterns and serene yet dramatic ambience of underground cisterns. Guests enter through a secret passage featuring industrial pipe-like windows and digital light art that sets a mysterious tone. Inside, a mirrored ceiling creates an illusion of infinite height, while sculptural rib-like forms and a glowing circular skylight evoke the warmth of a sunset. Intimate booth lighting and soft under-seat illumination enhance the space’s immersive and dreamlike atmosphere. Despite challenges such as limited ceiling height, the team cleverly integrated lighting within architectural details to achieve both function and artistry. With 90% of fixtures locally sourced and LED-based, combined with efficient dimming controls, Artifact exemplifies how sustainable lighting design can elevate ambience and imagination in equal measure.
https://darcawards.com/best-of-the-best-2023/
2024 – Thames City by Foundry
Winner of both the 2023 [d]arc awards Spaces category and Best of the Best, Thames City is a landmark redevelopment transforming 10 acres of former industrial land in Nine Elms into a vibrant, mixed-use riverside destination. Designed by Foundry, the lighting scheme enhances the sensory experience of the landscaped courtyards, podium gardens, and linear park, using a delicate balance of warm light and shadow to reveal textures of stone, foliage, and water. Low-level and column lighting create intimacy, guide movement, and highlight architectural features, encouraging visitors to slow down and engage with their surroundings. The result is a refined, atmospheric design that celebrates both nature and urban life after dark.
https://darcawards.com/portfolio/thames-city-uk/
The 2025 [d]arc awards are now open for entries! Whether you’ve created a ground-breaking architectural lighting scheme, an experimental installation, or a beautifully crafted product, this is your chance to be recognised on the global stage.
Winning Best of the Best means joining an elite group of designers and studios whose work has inspired the industry worldwide. The 2025 celebration will once again take place at Woolwich Works, London, bringing together professionals from across the international lighting community for an unforgettable night.
Enter your project now and you could walk away with not one, but two [d]arc awards.
www.darcwards.com/enter-the-awards
IALD Enlighten Americas Illuminates Tucson
(USA) – The International Association of Lighting Designers (IALD) held its annual Enlighten Americas conference on 9–11 October 2025, bringing together more than 350 lighting professionals, educators, students, researchers, and manufacturers from 18 countries.
Held in Tucson, Arizona, the three-day event offered an extensive programme of seminars, roundtable discussions, and networking opportunities. More than 30 sessions explored a range of creative, technical, and ethical topics aimed at advancing knowledge and collaboration within the field of architectural lighting design.
A recurring theme throughout the conference was the growing global conversation surrounding light pollution and the ‘dark sky movement’. The issue featured prominently in several sessions and informal discussions among delegates.
IALD President Andrea Hartranft noted the significance of addressing these topics in a location renowned for its observatories and commitment to preserving the night sky.
Hartranft comments: “From the opening keynote with an incredible light pollution scientist to the closing session with DarkSky International’s top executive voice, our agenda makes clear the importance of the natural world in a profession built upon artificial light. Here in Tucson, the city where the ‘dark sky movement’ was effectively founded, that’s no small statement.”
The conference opened with a keynote address from Amy C. Oliver, Public Affairs Officer and Science Centre Manager at the Fred Lawrence Whipple Observatory. Her presentation, Glow Responsibly: Honouring the Beauty of Human Design and Natural Darkness, explored the effects of artificial light on ecosystems and urged designers to adopt responsible lighting practices ahead of regulatory requirements.
The closing keynote was delivered by Ruskin Hartley, CEO of DarkSky International, who emphasised the need to design lighting that is “smarter, not brighter”. He highlighted the environmental impacts of excessive illumination and left attendees with a call to action: “What are you going to do about it?”
The event also recognised outstanding contributions within the lighting design community. Five professionals – Teal Brodgen; Jill Cody; Ron Kurtz; Aram Ebben; and Mônica Luz Lobo – were inducted into the IALD College of Fellows for their significant achievements and service to the profession.
A highlight of the ceremony was the presentation of the IALD Lifetime Achievement Award to Randy Burkett. The honour acknowledged his extensive career in architectural lighting design, longstanding volunteer service, and dedication to the advancement of the field. In his acceptance remarks, Burkett expressed gratitude to his peers and reflected on his journey from small-town beginnings to working on some of the United States’ most recognisable landmarks.
The IALD Enlighten conference series will continue in 2026, with Enlighten Europe taking place in Paris, France, from 17-19 June, followed by Enlighten Americas in Austin, Texas, from 15-17 October.
Workplace Design Show announces theme for 2026 edition
(UK) - The newly announced theme for Workspace Design Show, Connected Realities, invites the industry not just to attend but to participate in a collective showcase of how work can evolve when physical and digital no longer compete but collaborate.
Taking place from 25–26 February at the Business Design Centre, London, this edition encourages exhibitors and visitors to explore how hybrid models, immersive technologies, and intelligent environments are transforming the modern workplace — not just as spaces we use, but as environments we experience, engage with, and belong to.
“We’re moving beyond furniture and floor plans. Today’s most successful workplaces behave almost like living organisms, responsive, sensory, and human,” says Esha Bark-Jones, Event Director for Workspace Design Show. “Connected Realities is a celebration of that evolution, the moment where physical design and digital intelligence finally operate in harmony.”
Rather than treating the theme as a backdrop, Workspace Design Show is turning it into a full-scale design challenge, asking exhibitors to interpret Connected Realities through the way they build and behave within their stands. Whether through AR-enabled product demos, blended material palettes, live data walls or wellbeing-driven sensory environments, the show floor is set to become a living exhibition of this reality’s workplace behaviour.
Leading brands have already confirmed participation in the challenge, alongside design partners Gensler, Peldon Rose, MCM Architecture, M Moser Associates, and Area, who will help bring the theme to life.
On day one of the show, the inaugural Workspace Design Awards will take place, celebrating completed workplace projects from around the world. The Workspace Design Awards are assessed by senior occupiers, developers and workplace transformation leaders, meaning entries are evaluated from the perspective of the people who actually live with the results.
Entry is free and open to architects, interior designers, design consultancies, fit-out companies, occupiers, developers and workplace strategists for projects completed between 1 January 2023 – 30 October 2025.
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
Rumee - Louis Poulsen
(Denmark) - Louis Poulsen has announced the launch of the Rumee portable lamp, marking the first design collaboration between the renowned Danish lighting brand and industrial designer Gabriel Tan, recently named Louis Poulsen’s Designer of the Year 2025.
The Rumee portable lamp embodies Tan’s signature approach to tactile, emotionally resonant design. Its sculptural yet practical form invites users to interact with it, to hold, move, and experience light in a more personal way. Designed for versatility, the lamp can be carried easily from room to room or used outdoors, offering a balance between function and craftsmanship that reflects both Tan’s design philosophy and Louis Poulsen’s dedication to timeless lighting solutions.
For Tan, the journey to becoming a globally recognised designer began in an unexpected place. While training to become a combat officer in the Navy, he discovered a collection of design books at the National Library of Singapore. “I fell in love with design that day and eventually realised I wanted to be a designer,” Tan recalls. “So, I decided to give up my Navy career and enrolled at the National University of Singapore to study industrial design.”
Now based in Portugal, Tan leads studios in both Porto and Singapore. This transcontinental setup enables him and his team to draw from a broad spectrum of cultural and aesthetic influences, an approach that is evident in Rumee’s design language.
With its distinctive asymmetrical form and soft, ambient glow, the Rumee reflects Tan’s belief that good design should engage both the eyes and the hands. The lamp is not only an object of beauty but also one of everyday utility – a companion piece that fits seamlessly into modern living spaces.
The release of the Rumee portable lamp celebrates the convergence of two design philosophies: Louis Poulsen’s heritage of creating lighting that shapes spaces and emotions, and Gabriel Tan’s contemporary sensibility that bridges continents and cultures.
Rumee is available now through Louis Poulsen’s official retailers and online store.
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.