Spanish bathroom brand, Roca, turned to the Barcelona-based studio Altherr Désile Park (ADP) for a contemporary update of its Meridian collection, seeking a studio that could demonstrate a sensitivity to an existing design, be respectful of its legacy, yet capable of bringing a new, fresh perspective. The updated Meridian collection successfully merges these requirements, offering a system of basins, furniture, and WCs characterized by fine materials and soft geometry. In this exclusive interview with designboom, designer Jannette Altherr shares insights into how the studio approached the sensitive task of evolving a classic bathroom design for the modern age, transforming its functional pieces with an architectonic quality.

‘We believe that everything is related – the user and their emotions, cultural context, the build and the natural environment, the materials, colors, production and resources. Every element is a matter of context. Meridian already has a powerful name that represents one of its important aspects: the arch as a symbol of Mediterranean architectural culture. This was crucial to preserve,’ begins Jannette Altherr.

Roca’s Meridian collection gets a contemporary update | all images courtesy of Roca

ROCA’S MERIDIAN CULTIVATES A SENSITIVE, ARCHITECTURAL APPROACH

Altherr Désile Park’s sensitivity to context was vital when approaching Roca’s Meridian line. The original collection’s crucial DNA was the arch, a powerful symbol of Mediterranean architectural culture. ADP translated this spirit by drawing inspiration from the austere, vernacular expressions found in the Spanish, Portuguese, or Greek countryside. This design choice reflects a commitment to reduced, elemental shapes, the interplay of strong light and shadow, and the use of noble materials like ceramic, wood, and metal. While ADP also works in the luxury sector, this project offered a unique opportunity to translate the quality, care, and attention typical of luxury design into products that are accessible to a broader audience — a core value shared with the Spanish brand. Rejecting the idea of constant invention, their approach favors an evolution that is subtle and deeply sensed.

‘There is this hype around the idea of breaking things and starting completely anew. I think that is, to a large degree, a myth. Sometimes it’s more important to keep, to care, and to delicately evolve things instead of throwing away and starting again,’ explains Altherr. ‘We spent hours defining a concept together with Roca, and “timeless balance” really captures the essence of the collection. When I think about timelessness, it relates to what we call collective memory. We preferred designing something that doesn’t seek to provoke or be aggressive. We looked for the opposite: something that makes you feel at ease and adds quality to your space. Something that speaks to all the senses including sound and touch — the subtle elements that create atmosphere, rather than just what is captured in a photograph.’

Barcelona-based studio Altherr Désile Park created the refreshed design

CONTEMPORARY UPDATES FOR A LIGHTWEIGHT AND DELICATE COLLECTION

ADP studio’s update focused on refining and lightening the Meridian collection. The original washbasin felt  too heavy in its appearance to fit the modern aesthetic of bathroom design. The solution was to utilize Roca’s Fineceramic® material, which permitted the use of super thin and delicate dimensions that were previously unachievable. This aesthetic reduction was paired with an increased function, adding a subtle frame and a dry zone. The soft, curving shape of the basin was inspired by the cultural importance of water, specifically referencing a drop falling onto a water surface, creating a gentle ripple.

‘If you have a small room and use thick, solid furniture, it can look out of proportion. To create something that feels refined and carefully done in a small dimension requires delicate detail. We had to translate the original pieces into a design way more contemporary and easy to use in real life. This meant adding storage, using the ceramic in a more up-to-date way, and utilizing Roca’s capacity with fine ceramic to do something more lightweight and delicate instead of a thick block. The pieces needed to become more practical, but also more refined and a bit more luxurious,’ states the designer.

Roca’s Fineceramic® material permitted the use of super thin and delicate dimensions

To create a richer ambiance, the material selection went beyond pure hygiene to enhance a sensuous quality. The furniture units use FSC-certified wood with a textured surface, and the metal elements feature a slightly rough lacquer finish that resembles cast metal. The color palette — white, black, and gold — is inspired by the Spanish light, which is characterized by strong white light and deep black shadows, balanced by the golden light of the early morning.

‘We wanted to think about materials as something that enhances a rich perception, rather than being driven only by hygiene. The aim was to create a “nice to touch” sensation. The surface of the wood is always textured and not finished with a lacquer. The metal is a bit rough, like cast metal. It has little pigments on the surface that break the light in a more complex way than a flat lacquer. This avoids the feeling of industrial dryness and adds more complexity to the surface,’ she shares.

made from FSC-certified wood, the furniture units respect the collection’s low-impact environmental footprint

A key technical and aesthetic victory was the redesign of the often-neglected backpack toilet where the water tank is sitting behind the toilet. While the in-wall flush is often preferred in high-quality projects, the backpack version is essential for older buildings lacking space to construct a double wall, or for hospitality and public settings requiring quick, inexpensive repairs.  ADP worked with Roca’s expertise to achieve a much straighter, more architectural language for this highly needed version, shifting the object’s perception from a bowl saddled with a backpack to a column that supports the bowl. This change brings a sense of solidity, fulfilling the studio’s ethos of providing quality design to a broad audience. Furthermore, the toilets utilize innovative flushing technologies such as the Rimless® Vortex System and dual-flushing systems to improve hygiene and optimize water consumption. 

‘We realized there is a real need for this backpack version. With Roca’s excellent development team and expertise, we managed to create a much straighter shape. We wanted to relax the gesture and make a connection to the architecture. Instead of the bowl carrying the water container, the water tank serves as a column supporting the bowl,’ adds Altherr to describe the design details that bring character to the collection.

ADP worked with Roca’s expertise to achieve a clean architectural language

The Meridian collection has already received important recognition, including a Red Dot Award in 2025. Functioning as an ‘alphabet of simple elements’ in multiple sizes, it allows for a wide range of configurations across diverse project needs. The system includes several washbasin options, from compact wall-hung versions to models designed to pair with furniture. These are complemented by two furniture lines: a wall-mounted wood container and a floor-standing metal structure that combines with wood drawers. By providing these flexible components, Altherr Désile Park has created a robust system that adapts easily to diverse spatial, aesthetic, and functional requirements, ensuring the collection can continue to evolve with the user and remain part of the home for many years.

the Meridian collection functions as an ‘alphabet of simple elements’ in multiple sizes

a standout feature is the construction of the asymmetric basins

Altherr Désile Park has created a robust system that adapts to diverse requirements

innovative flushing technologies improve hygiene and optimises water consumption

project info: 

name: Meridian

brand: Roca | @roca_global

design studio: Altherr Désile Park | @altherrdesilepark

material: Fineceramic®, FSC-certified wood, metal

recognition: Red Dot Award 2025

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Uniting Japanese craftsmanship with the technical precision of European production, Pedrali presents Kawara, a modular lighting collection designed by Yusuke Kawai. The collection’s aesthetic refinement and technical sophistication is defined by Kawai’s deep rooted appreciation for sacred architecture and a foundational experience in high-tech engineering. Launched at the 63rd edition of Salone del Mobile, the lighting system successfully merges these influences with the 100% Made in Italy production of Pedrali. In an exclusive interview with designboom, the designer shares insights into how the ancient design of the Kawara roof tile was transformed into versatile lighting that prioritizes environmental responsibility.

‘When developing creative ideas, I consider technological aspects in parallel, though sometimes I also start from technology itself. In either case, I aim not just to create concepts, but to translate them into tangible products that can reach people. Kawara’s design explores the tile’s modularity, enabling aesthetic harmony whether used alone or in combination. The form was further inspired by the elegant triangular roofs typical of Japanese temples and shrines,’ begins Yusuke Kawai.

Pedrali launches Kawara lighting collection by Yusuke Kawai | all images © Omar Sartor, set design & styling Studio Milo, courtesy of Pedrali

A SHARED VISION FOR LIGHTING

Pedrali is an Italian company renowned for producing contemporary, functional, and versatile furniture for contract and residential environments. The brand’s collections are developed entirely in Italy, emphasizing internal production, high quality, and a commitment to environmental respect. This ethical, high-precision manufacturing base created the perfect environment for Yusuke Kawai to apply the technical mastery honed during his career in high-tech engineering for major global brands, including Miele, B-Braun, LG, Huawei, and Toshiba. This background drives his focus on structural simplicity and component efficiency. Aligning with Pedrali’s focus on material integrity and product longevity, the two entities found common ground in a shared commitment to sustainable design and uncompromising quality. 

‘My design philosophy centers on simplicity. I strive for designs that are simple, yet innovative, unseen, and possess a unique beauty and strength. I aim for simplicity both structurally and in terms of components, which has naturally led to a sustainable approach, such as fewer parts, easy assembly, and disassembly, reflecting Pedrali’s approach,’ explains Kawai.

Kawara translates the spirit of the Japanese roof tiles into an industrial form

KAWARA BRIDGES JAPANESE CRAFTSMANSHIP WITH INDUSTRIAL DESIGN

The integration of the refined methodology of Japanese design into a large-scale, standardized production process became a key narrative of the project. This required an intense focus on how the meticulous detail and philosophical depth of craftsmanship could harmoniously coexist with the demands of industrial material execution.

‘Even with standardized, high-volume extrusion, I wanted to maintain the spirit of Japanese craftsmanship by focusing on every detail. For Kawara, we repeatedly refined the grooves, ridges, and joint elements down to 0.1-millimeter increments, and collaborated closely with engineers to ensure precise assembly. This way, the attention to detail and quality associated with Japanese craft could coexist with mass production,’ explains Kawai.

the collections is available in various versions, including pendant, horizontal, vertical, and floor models

The design of Kawara directly translates the spirit of the Japanese tile into an industrial form. Made of extruded aluminium, the system is designed to be extremely modular and customizable, available in various finishes and versions, including pendant, horizontal, vertical, and floor models. Designers can choose between a single continuous element for a technical, clean, and essential appearance, or adjustable modules connected by small joining rings for precise light direction and a more playful effect. These combinations allow light to be directed towards the table, ceiling, or angled at 45 degrees, offering tailor-made solutions for any setting.

‘At the heart of my concept is the interesting interplay of rationality, surprise, and variety that comes from combining modules. The single continuous element actually emerged as a byproduct of the adjustable modules. The form created through this process turned out to be very beautiful,’ he shares.

made of extruded aluminium, the lighting is designed to be extremely modular and customizable

A significant detail is the grooves running along the rounded back of the modules. This ensures that when different modules are combined, the grooves connect regardless of the angles, turning the design’s versatility into visual harmony. The collection is further enhanced by the integration of a LED strip with a dimmer, which allows brightness to be adjusted, creating the right atmosphere in any space.

‘I believe the modularity and versatility of Kawara not only allow for creative combinations, but also greatly contribute to the long-term value of the product. Even if a room’s layout or atmosphere changes in the future, the modules can be reconfigured to create lighting with a new personality, making it a product that can be enjoyed for a lifetime.’ adds Kawai to describe the principle of creating a design that lasts and adapts.

adjustable modules offer precise light direction and a playful effect

conversely, the single continuous element offers a technical, clean, and essential appearance

Kawara is defined by structural simplicity and component efficiency, aligning with Pedrali’s manufacturing philosophy

the collection is further enhanced by LED strips with a dimmer, which allows brightness to be adjusted

project info: 

name: Kawara

brand: Pedrali | @pedralispa

designer: Yusuke Kawai | | @yusukekawai_kmfy

material: extruded aluminium

The post yusuke kawai on transforming japanese roof tiles into modular ‘kawara’ lighting for pedrali appeared first on designboom | architecture & design magazine.

the Reception Salon | all images © Jean Allard

THREE UNIQUE SALON CONCEPTS BY STUDIO GGSV IN PARIS

Founded in 2011 by Gaëlle Gabillet and Stéphane Villard, Studio GGSV takes a multidisciplinary approach that spans design, installation, exhibition curation, and interior architecture. The duo, known for their experimental use of illusion and trompe-l’œil, were residents at the Villa Medici in 2018 for a research project exploring the application of painting to objects and architecture. Their works are part of the collections of the Centre Pompidou, the CNAP, and the Mobilier National, and they have been commissioned by institutions and brands including the Musée d’Art Moderne de Paris, Fondation Rothschild, Hermès, Chanel, and Galeries Lafayette. In 2023, they won the call for proposals Re-enchanting the Villa Medici with their project Camera Fantasia, and are currently presenting the monumental installation Grand Feu to mark the 200th anniversary of the Musée de la Céramique in Sèvres.

In this commission, the Paris-based design duo blurs the boundaries between architecture, décor, and furniture. Patterns, materials, and forms echo and extend one another to create a unified yet unconventional whole. The result is three environments: the Reception Salon, the Conversation Salon, and the Reading Salon. 

the Conversation Salon

The Reception Salon

‘Working with Mobilier National’s carpenters, we created a modular furniture system with an architectural scale — flexible enough to generate multiple pieces from the same structure. Its form references the curves of Louis XIII furniture, but reimagined with alternating black and white laminated layers that transform the surfaces depending on the angle,’ Studio GGSV explains. ‘The result is a contemporary ensemble that honors tradition while pointing toward new possibilities.’

hypnotic black-and-white rhythms recall the twisted columns of Louis XIII style

The Conversation Salon

the Conversation Salon is organized around a large hexagonal sofa

The Reading Salon

the Reading Salon

rocks, mountains, and vegetation intertwine to create a dreamlike landscape

romantic landscapes cover the walls, floor, and ceiling

overhead, a luminous ceiling disc evokes a shifting sky

‘the second room takes inspiration from the garden,’ shares Studio GGSV

the Reception Salon explores the dialogue between architectural structure and applied décor

classical and baroque references merge with art deco geometry, forming a layered composition

Gaëlle Gabillet and Stéphane Villard of Studio GGSV

project info:

name: Les Salons de l’imaginaire (The Salons of Imagination)

designer: Studio GGSV | @studio_ggsv

location: Manufactures nationales 

The post studio GGSV transforms historic parisian apartment into salons for the imagination appeared first on designboom | architecture & design magazine.

In his latest solo exhibition, Voice of Silence, at Friedman Benda, artist and master craftsman Byung Hoon Choi invites viewers to experience a space for inward reflection. Drawing from Zen Buddhism, Taoist philosophy, and Korea’s traditions of humility and restraint, Choi’s new body of sculptural works opens a dialogue between stillness and vitality, presence and memory.

‘Nature is said to be silent,’ the artist reflects during an interview with designboom, ‘but within that nature lies an immense vitality.’ This tension between the quiet and the alive animates every edge and surface in the exhibition, where monumental basalt works and quietly commanding wooden cabinets seem to hum. Voice of Silence is on view from March 27th — May 23rd, 2025 at Friedman Benda’s New York gallery.

installation view courtesy Friedman Benda and Byung Hoon Choi | photo by Izzy Leung, video © designboom

expressing the tactility of raw materials

As Byung Hoon Choi illustrates at Friedman Benda, his materials speak of time. Basalt, formed in fire millions of years ago, becomes the surface through which Choi carves what he calls ‘a lingering afterimage of the origin.’ In pairing this primal material with wood — often shaped into low, contemplative forms recalling Joseon-era scholar furniture — he grounds his work in the Korean design tradition while pressing it forward into a new, sculptural language.

‘I try to express the surface of the natural stone as it was found,’ the artist explains, drawing a distinction from more decorative Chinese and Japanese traditions. The result is a cultural excavation made visible: Korean history, unembellished and elemental, revealed through the tactility of raw form.

Materials are more than just matter. They carry energy, intention, and philosophy. He approaches each stone and piece of wood not with a preordained design, as a humble listener. ‘If a shape emerges from the stone, I follow that shape to create something,’ he says. This responsiveness is echoed in his respect for softness, both physical and emotional: the diffused lighting of the gallery space, the curtain-like installations that suggest a mysterious mist. The work is less about making a statement and more about clearing space for thought and for stillness.

installation view courtesy Friedman Benda and Byung Hoon Choi | photo by Izzy Leung

Byung Hoon Choi’s Philosophy Carved in Stone

Even after decades of teaching and exhibiting, Byung Hoon Choi continues to seek surprise, inspiration, and renewal. His advice to young artists is telling: ‘Set certain limits for yourself, and then flip those limits.’ In many ways, Voice of Silence is an embodiment of that ethos. It resists easy categorization — between art and design, sculpture and furniture — and instead distills an essence, one that is essentially Korean and quietly radical.

‘Everything is possible,’ Choi says. And within that spaciousness, carved from stone and shadow, silence takes shape and is given a voice. Read on to discover designboom’s full interview with the artist during the opening of Voice of Silence at Friedman Benda.

installation view courtesy Friedman Benda and Byung Hoon Choi | photo by Izzy Leung

designboom (DB): How do you interpret the phrase ‘Voice of Silence?’

Byung Hoon Choi (BHC): Nature is said to be silent, but within that nature lies an immense vitality. The materials I use are natural, and through them, I try to draw out a deep sense of vitality. That reflects an Eastern philosophy — one that doesn’t express itself outwardly in a flashy way, but rather holds something internal and profound.

Rather than bragging too much or trying to show off excessively, I prefer to hold my values within and seek a sense of depth — that’s the tendency of my work. So, this kind of expression doesn’t come from a selfish place but rather from something natural. It’s not about forcing or exaggerating things — just letting them be as they are. I’m not trying to artificially show off or flaunt anything.

DB: What is your relationship with Zen Buddhism and Taoism?

BHC: Ever since I was young, my parents and my grandparents were all Buddhists. So I went to temples many times. I think that’s something that’s kind of ingrained in the basic mentality of Korean people, historically speaking.

During the Joseon Dynasty [the last dynasty of Korea, reigning from 1392 to 1910], which was an era of Confucianism, scholars had the virtue of humility, of not showing off their knowledge of science or other fields. The virtue of modesty. A humble attitude. That was the posture, the mindset, that intellectuals of the Joseon era held toward nature and the world around them.

installation view courtesy Friedman Benda and Byung Hoon Choi | photo by Izzy Leung

DB: You’ve described stone as a ‘lingering afterimage of the origin.’ Could you elaborate on what this concept means to you?

BHC: For this stone to have formed, it took an unimaginable span of time, billions of years. It’s like a remnant from the very beginning of time, from the era of the Big Bang, when humanity was just being born. It’s something that was formed over billions of years, and by giving it a new touch today, I’m creating new value. It’s like reviving the traces of the beginning.

DB: Can you describe your use of basalt and wood together?

BHC: For me, whether it’s stone or wood, I don’t really distinguish by material type. I follow the texture of the stone or the particular properties of the wood — what you might call its materiality. When I look at basalt, I notice that it’s a single solid piece. So when I use that single piece, if a shape emerges from the stone, I follow that shape to create something.

installation view courtesy Friedman Benda and Byung Hoon Choi | photo by Izzy Leung

DB: How do your cross-cultural encounters shape your practice?

BHC: When I was young, I experienced a lot of ancient areas from the Mayan and Incan cultures, as well as Roman and Greek ruins. When you go to the ruins, the stones from the collapsed structures are scattered all over the place. Maybe there are even some inscriptions on them. In Korea too, the old temples — the wooden buildings are now all gone, destroyed by fire, and only those stone remnants are left behind.

I try to find my own identity within the Korean identity — an identity that is different from China and Japan, and unique to Korea. I’ve seen many similarities between these cultures, but after traveling across the world, I wanted to focus on Korean Heritage through my work.

I want to distinguish the cultural elements between Korean culture and Chinese and Japanese cultures. They may seem similar, but there are differences. I want to discover the Korean essence and incorporate it into my work.

installation view courtesy Friedman Benda and Byung Hoon Choi | photo by Izzy Leung

DB: How can viewers read what is essentially Korean?

BHC: Korean design is not overly flashy, but embraces nature just as it is, untouched. So, what we’re doing here, this is like experiencing tangerines—something very familiar in Korean knowledge — but here, we feel the landscape, the nature, even indoors. This is the Korean sensibility. Instead of decorating it in a flashy way, we remember the deep flavor of nature in a place like this. This is what makes it Korean.

During the time of the Joseon Dynasty, Chinese and Japanese design was very decorative. That is the key difference. Koreans collected stones, which they didn’t sculpt very much. They left the stones as they were found in nature. In my work, I try to express the surface of the natural stone as it was found.

installation view courtesy Friedman Benda and Byung Hoon Choi | photo by Izzy Leung

DB: After a lifetime of teaching and practicing and what continues to challenge you or surprise you about your work or the materials?

BHC: I’m constantly making an effort to be surprised, to feel some kind of stimulation. For example, I keep traveling, or I watch artist films. Not long ago, I saw one like that, a film about the painter Anselm Kiefer. By watching things like that, I continue striving to discover something new.

Even after retirement, I’ve always kept that in mind — making an effort like that to maintain the vitality of my work. I think about it often and put in a lot of effort.

installation view courtesy Friedman Benda and Byung Hoon Choi | photo by Izzy Leung

DB: What is one piece of advice you would give to an emerging designer?

BHC: It’s not about doing something to yourself within fixed boundaries, but rather about intentionally setting certain limits for yourself—and then flipping those limits, challenging the boundaries of your own thinking.

Everything is possible — that’s how I see it. In art, whether it’s fine art, design, or craft, there’s no need to draw strict boundaries between these fields. Those divisions aren’t necessary. So, follow your heart and seek out a new world. I’m still on the journey of finding my voice.

installation view courtesy Friedman Benda and Byung Hoon Choi | photo by Izzy Leung

project info:

exhibition title: Voice of Silence

artist: Byung Hoon Choi | @atelier_choi

gallery: Friedman Benda | @friedman_benda

location: 515 W 26th St 1st Floor, New York, NY

on view: March 27th — May 23rd, 2025

photography: © Izzy Leung | @izzyleung

The post byung hoon choi discusses ancient influences and korean craft at friedman benda appeared first on designboom | architecture & design magazine.

Light is an art form that shapes spaces, evokes emotions, and causes experiences, and few understand this better than Tino Kwan, a pioneer in lighting design. In recognition of his transformative work, Kwan was honored with the 2024 DFA World’s Outstanding Chinese Designer award, celebrating his significant impact on the design and lighting industry and his dedication to nurturing future talent. For over 45 years, his work has transformed some of the most prestigious interiors, including luxury hotels and commercial buildings to Michelin-starred restaurants and private homes.

In an exclusive interview with designboom, Kwan shared insights into his journey: ‘I didn’t know what it meant to be a lighting designer until I entered the industry in 1974, working for a US lighting consulting company in Hong Kong. I thought I would be designing light fittings, but I soon learned that my role was about overall lighting planning. I went for it, fell in love with the job, and never looked back. That journey took me to Athens, then London, where I founded my company in 1979 before returning to Hong Kong in 1981 designing my first project, a private club, working with Joseph D’Urso and Andy Warhol both from New York.’

Sabatini Ristorante Italiano, IFC Mall, Hong Kong

A Lighting Visionary with a Minimalist Philosophy

The DFA Awards, established by the Hong Kong Design Centre since 2003, celebrate design excellence and leadership in Asia. Among its accolades, the DFA World’s Outstanding Chinese Designer award honors designers of Chinese origin with significant achievements and international recognition. For 2024, the prestigious award went to Tino Kwan. Born and raised in Hong Kong, Kwan’s journey in lighting began after studying industrial design at Hong Kong Polytechnic University. His career took him across continents, from Hong Kong to Athens, London, and beyond, refining his craft in diverse cultural landscapes. In 1979, he founded Tino Kwan Lighting Consultants (TKLC) in London, which has since become one of the world’s leading lighting design firms, with offices in Hong Kong, Beijing, and Tokyo.

‘Unlike physical furniture, which can be touched, lighting design relies on visualizations and imaginations– factors like intensity, direction, and color all play a role. My philosophy is “to utilize minimum lighting to achieve maximum effect.” I avoid over-lighting, ensuring each light serves a purpose. Lighting is about understanding the interplay between light sources and their environment. Secondary lighting effects should always be considered to prevent over-lit. When you achieve the right balance, the space feels more natural and comfortable, and the lighting seamlessly integrates into the architecture,’ explained Kwan to designboom,’ explained Tino Kwan to designboom.

Tino Kwan, recipient of the DFA World’s Outstanding Chinese Designer (DFA WOCD)

bringing architecture to life through thoughtful illumination

Kwan’s work is a fusion of technology and artistic vision. He believes that lighting should enhance the essence of a space rather than overpower it. His projects, including Raffles Singapore, The Peninsula Tokyo, and Grand Lisboa Palace Resort Macau, are celebrated for their ability to bring architecture to life through thoughtful illumination.

‘It’s important to start the lighting design concept by considering how lighting becomes part of interior, and even part of architecture. It’s about understanding the soul of the architecture, the narrative the interior design seeks to tell, and then envisioning how light can become an integral character within that story. It’s not just about illumination; it’s about sculpting emotion, it’s about painting with light and shadow to evoke feelings of warmth, tranquility, drama, and comfort,’ he says to designboom.

Raffles Singapore

Sustainability is a key pillar of Kwan’s work. At a time when energy conservation is more critical than ever, he emphasizes intelligent lighting solutions that reduce consumption without compromising aesthetics. His approach aligns with global energy-saving initiatives, proving that good design is the foundation of true efficiency. ‘Few consider how light reflects and refracts, focusing only on intensity and placement. By harnessing ambient light and reflection, we can reduce unnecessary lamps and improve efficiency. Many assume sustainability means using energy-saving bulbs, but true efficiency comes from smart design, not just the tools themselves,’ he explains.

Having worked extensively in both Western and Eastern markets, Kwan maintains that lighting transcends cultural boundaries. He approaches each project with a neutral perspective, allowing the architectural style to dictate the lighting narrative rather than imposing a predefined aesthetic. His adaptability has made him a sought-after designer across continents, ensuring his designs remain relevant in diverse settings. Kwan notes: ‘Lighting doesn’t really have nationality, like ‘this is “Western” or ‘that is “Oriental”. I used to get asked about being from Hong Kong and my designs, but I came to the conclusion that I’m designing the lighting of a space. The style doesn’t come from my lighting design – it comes from its interior or architectural design.’

Grand Lisboa Palace Resort Macau

Nurturing the next generation and Advice for Future Designers

Beyond his personal achievements, Kwan is deeply committed to mentoring young designers. He has lectured at esteemed institutions such as Tsinghua University in Beijing and design institutes in Hong Kong, sharing his knowledge and inspiring the next generation.‘My advice to young designers is simple – stay humble and keep learning. Even now, I’m learning every day. Light is everywhere. Observe how it transforms spaces, how it makes you feel. Be open, stay curious, and never stop exploring’, Kwan advises the designer.

Despite his achievements, he remains focused on pushing the boundaries of lighting design, setting even higher standards for himself and his team. ‘I never chase after awards – I simply do my best. Receiving the World Outstanding Chinese Designer Award reassures me that I’ve been on the right path. It’s an incredible honor, and it motivates me to set even higher standards for myself and my team,’ concludes Tino Kwan.

The Peninsula Tokyo

project info: 

name: DFA Awards | @dfa_awards

organizer: Hong Kong Design Centre (HKDC) | @hkdesigncentre

sponsor: Cultural and Creative Industries Development Agency (CCIDA)

DFA World’s Outstanding Chinese Designer 2024: Tino Kwan | @tinokwanlighting

The post DFA world’s outstanding chinese designer tino kwan lets us into a world of lighting artistry appeared first on designboom | architecture & design magazine.

Founded in Paris in 2000 by Etienne Gounot and Eric Jähnke, Ozone was born from the shared vision of two engineers who left their established careers to explore the captivating interplay of light, architecture, and geometry. Over the past two decades, the firm has evolved into a revered name in luxury lighting, celebrated for its precision craftsmanship and artistic innovation. Ozone’s designs—distinguished by clean lines, refined finishes, and timeless elegance—have illuminated iconic spaces such as the Château de Versailles and Le Louvre, embodying a seamless blend of architectural and decorative elements.

The company’s enduring legacy is further reflected in collaborations with iconic designers like Pierre Paulin and Michel Boyer, who brought their timeless creations into the present through Ozone’s contemporary lens. A milestone moment arrives on January 15th, 2025, with Ozone’s re-editions being included in the Mobilier National’s permanent collections, solidifying their influence where innovation and heritage intersect.

‘Our light design philosophy is to reproduce moments when we are enveloped by a magical light, unified with the world and ourselves,’ the founders tell designboom. With this ethos, Ozone combines cutting-edge technologies like Dim to Warm with traditional Parisian craftsmanship, creating a unique harmony of modernity and heritage. Designboom spoke with Etienne Gounot and Eric Jähnke to delve deeper into Ozone’s history, creations, and vision for the future. Read on for the full interview.

Ozone’s re-editions are part of Mobilier National’s permanent collections | image © Adrien Dirand for Ozone

interview with Etienne Gounot & Eric Jähnke

designboom (DB): Can you tell us more about Ozone’s history, when was it founded, how did the partnership begin, and how has the company evolved since 2000?

Etienne Gounot & Eric Jähnke (EG & EJ): The friendship began in 1994 when we were working for a large industrial company. In 2000, the idea of starting a company together arose, leading to the creation of Ozone in December 2000. Light, architecture, and geometry were our inspirations to design the first models. Since then, we have developed custom pieces and collections of lighting designed by us or renowned designers and architects.

Ozone’s re-editions are part of Mobilier National’s permanent collections | image © Adrien Dirand for Ozone

DB: What sets Ozone apart in the luxury lighting industry?

EG & EJ: Three elements are very specific to Ozone. First of all, our creations are both architectural and decorative, we would say. In our studio, we work both the product itself in its design, details, and finishes and on the light output when the product is switched on: light quantity and quality, color rendering, temperature, glare etc. Second, our aesthetic is very consistent from one collection to the next, even if the designers are not the same: clean lines, geometry, elegance, presence, and absence. Last but not least, we are very close to the best Parisian craftsmanship and have been constantly working on the renovation of the French heritage: Chateau de Versailles, Notre Dame, Le Louvre. The same hands manufacture the lighting elements, such as the solid onyx parts for the Embrun collection or the careful metal polishing of the Classique collection.

Ozone’s re-editions are part of Mobilier National’s permanent collections | image © Adrien Dirand for Ozone

DB: Ozone’s products are assembled by hand in your Paris workshop. Tell us more about the space—what benefits do you see in having most of the company’s departments under the same roof, and how important are craftsmanship and the human touch in today’s design world for you?

EG & EJ: From the outset, we found it important to have our own workshop to develop mock-ups, prototypes, light and material innovations, and then to control the quality during the manufacturing. We have many partners outside the company, as we mentioned before; nevertheless, we visit them every week to ensure smooth coordination and a high-quality level. The human touch gives a soul to the production of pieces that are today mainly standardized and cost-oriented.

Ozone’s atelier in Paris | image courtesy of Giorgio Marafioti

DB: Ozone’s Dim to Warm technology mimics the natural transition of sunlight. Can you tell us more about this technology, and how the diurnal cycle and other elements found in nature shape your design philosophy?

EG & EJ: The sun, the sky, the clouds with their thousand shades are an endless source of inspiration. Our light design philosophy is to reproduce moments when we are enveloped by a magical light, unified with the world and ourselves. The Dim to Warm technology help creating very warm moods, like during sunrises or sunsets.

Furtiv LP | image courtesy of Ozone

DB: Collections like Furtiv and Untitled show a strong architectural influence. How do you incorporate architectural principles in your lighting designs?

EG & EJ: Light is at the service of architecture. Light reveals a space and makes it alive. The Furtiv and Untitled collections are a tribute to the lines and volumes of modern architecture. They blend seamlessly in it. If in mirror nickel finish, they almost vanish. And, by the magic of pure geometry, they fit perfectly into classical interiors as well.

Untitled S | image courtesy of Ozone

DB: Tell us about the story behind the Brasilia collection. How was your collaboration with French interior designer Michel Boyer? Have you also worked with other designers to reissue iconic designs using Ozone’s unique technologies and know-how?

EG & EJ: We met Michel Boyer in 2006 at the occasion of the renovation of the French Residence in Brasilia. We together developed a new take of the original XL chandelier he designed for it in 1974. He was a really kind and inspiring person.

In 2013, Joseph Dirand asked us to reproduce these chandeliers for his striking project: Monsieur Bleu restaurant in Paris. In that perspective, we collaborated with the heirs of Michel Boyer since Michel Boyer passed away in 2011. The Brasilia collection including three chandeliers, a table lamps, a floor lamps and a wall light were reborn! Since then, we have also worked with Pierre Paulin’s family to reissue the M101 chandelier collection he imagined for the Maison de la Radio in Paris in 1964.

Brasilia pendant lights | image courtesy of Ozone

DB: Some collections, like Embrun, incorporate special materials such as onyx. What guides your material choices, and what is the creative process behind selecting which one to use and when?

EG & EJ: White Onyx is a very special and rare material. Its patterns and textures evoke the fine mist formed by the waves of the ocean. Besides it diffuses light very well. This stone is at the origin of our Embrun collection. With our stone partner Ateliers Saint-Jacques, we love to carve solid block of white onyx, putting to the stone at the center of our creative process.

working with Onyx | image courtesy of Ozone

DB: Each collection, from Tennessee to Line, carries a unique cultural, historical, or artistic influence. What role does storytelling play in your process, and how do you connect a narrative with a final design?

EG & EJ: You are right, we are connected to artistic and cultural influences. Creating and producing in the center of Paris is our main influence. However, our minimalistic design is more silent than narrative. Silence is also a language in our very noisy world. It offers peace and serenity in an interior. Eventually our story is more on how we make objects and how we are at the service of the most beautiful interior design projects.

TennesseeS4 | image courtesy of Ozone

DB: Where do you see Ozone heading in the next decade? Are there new projects or technologies you’re excited about?

EG & EJ: We continue our path made of perseverance, innovation and encounters. More precisely, we are working on new pieces designed by Joseph Dirand and by Gounot&Jähnke for Ozone.

Parisienne Opéra | image courtesy of Ozone

image courtesy of Ozone

Line L | image courtesy of Ozone

Lina C | image courtesy of Ozone

Classique S | image courtesy of Ozone

Ozone’s atelier in Paris | image courtesy of Giorgio Marafioti

Ozone x Pierre Paulin | image courtesy of Ozone

project info: 

firm: Ozone Light | @ozone_light
founders: Etienne Gounot and Eric Jähnke
designers: Régis Botta, Michel Boyer, Joseph Dirand, Gounot & Jähnke, Gaëlle Lauriot-Prévost and Dominique Perrault, Pierre Paulin, Glenn Sestig, Jean-Michel Wilmotte
location: 20 rue Bouvier, 75011 Paris, France

The post ‘light is at the service of architecture’: ozone crafts the future of luxury lighting appeared first on designboom | architecture & design magazine.

Jorge Pensi’s journey with Pedrali began in 2008, marking the start of a long lasting and still ongoing partnership. Over the past years, the designer and Italian furniture manufacturer have developed numerous collections for hospitality, workspaces, outdoor, and residential environments. During Orgatec 2024, Plural Soft, an extension of their previous collaboration first introduced in 2014, and functional side table Diego, were revealed. In an exclusive interview with designboom, Jorge Pensi reveals insights into the development of these pieces and their impact on modern public spaces.

‘Plural was our third project with Pedrali, following Ypsilon and Ara. From the first moment we began to work together, the design and development of all the products was an enriching and gratifying experience. Plural appeared as a joint challenge: to develop a new product for a new market segment for Pedrali,’ begins Jorge Pensi.

(above) Pedrali reveals Jorge Pensi’s Plural Soft seating system during Orgatec 2024 | image © Omar Sartor, art direction Studio FM Milano; set design & styling Studio Salaris

(banner) together with Plural Soft, the launch of the designer’s Diego side table completed the setting | image © Omar Sartor, art direction Studio FM Milano; set design & styling Studio Salaris

all images courtesy of Pedrali 

THE EVOLUTION OF PLURAL INTO PLURAL SOFT 

The decision to revisit the original Plural seating system, developed in collaboration with Pedrali in 2014, was driven by Jorge Pensi’s desire to offer a warmer, more colorful option. Known as an established Italian manufacturer of contemporary design furniture, Pedrali supported the designer’s vision, building upon the foundation to adapt the seating solution with refined upholstery. The integration of textiles not only elevates the aesthetic appeal but also adds warmth and comfort, making it ideal for waiting rooms, lounges, and collaborative spaces.

‘We feel fortunate that fabric producing companies are constantly researching new materials that can withstand intense users traffic. The fabrics used in Plural Soft offer the guarantee of continuous use and easy cleaning. It is important to note that if necessary, it is very easy to disassemble and replace the damaged module’

Plural Soft, the evolution of the Plural seating system | image © Omar Sartor, art direction Studio FM Milano; set design & styling Studio Salaris

Creating furniture for public spaces comes with its own set of challenges, particularly the need to balance functional demands and structural integrity with a fitting visual appeal. Therefore, color choices play a significant role in setting the tone for these environments. The Plural Soft collection offers a curated palette of warm tones, carefully selected to harmonize with various architectural styles and interior designs, and intentionally letting go of grey, white and black.

‘After 10 years in the market, we thought we could offer to the end user a warmer option, with all the possibilities of a wide color range and with all the new fabrics that allow intense and long-lasting use, and at the same time provide the system with greater comfort. For the launch of Plural Soft at Orgatec, we left behind grey, white and black and combined the colors of the aluminum structure with the colors of the upholstery. This will offer architects and interior designers so many chromatic possibilities of combination. When we design products, our interlocutor is the architect or interior designer, to whom we want to give a tool that will be useful in their work,’ explains the designer. 

the multiple upholstered seats of Plural Soft provide enhanced comfort while maintaining a minimalist design | image © Frank Jankowski

The modularity of the seating system also allows for versatility in configuring different layouts, making it adaptable for various spaces. Pensi explains that his goal was to create a product that could maintain its integrity and appeal over time, even as public spaces evolve.

‘In all our designs we are aware that they must last, not only for their image but also for their manufacture, which must be perfect. We are proud that all our products made with Pedrali are absolutely resistant to the passage of time,’ the designer states, highlighting the importance of creating minimal yet robust designs that stand up to the rigors of high-traffic environments.

designed for dynamic waiting areas, Plural Soft add warmth and comfort to public spaces with its refined upholstery

THE DIEGO SIDE TABLE FOR MULTIFUNCTIONAL SPACES

In addition to Plural Soft, Jorge Pensi and Pedrali introduced the Diego side table at Orgatec 2024, a furniture piece that perfectly complements the seating system while standing out with its own distinct design. Featuring an asymmetrical base and an adjustable knob that allows for different height settings, the table was designed with ergonomics in mind. 

‘This side table was born as a small multifunctional piece but with precise, non-invasive identity features, which thanks to its extensive color range, allows its use in all types of architectural spaces,’ highlights Pensi.

featuring an asymmetrical base and an adjustable knob, Diego allows for different height settings

The minimal yet flexible design makes it a natural fit for both public and private environments. One of the key design decisions was the use of die-cast aluminum for the legs, a material that not only adds to the table’s durability but also aligns with Pedrali’s focus on sustainability.

‘If we consider the Ypsilon collection, especially Ypsilon Connect, we can clearly see that Diego is the continuation of our design philosophy in which injected aluminum and extruded aluminum are naturally combined,’ he states.

Diego is conceived to create flexible layouts in workspaces or living environments | image © Frank Jankowski

As the design world continues to evolve, Jorge Pensi remains focused on creating pieces that transcend fleeting trends. His minimalist yet expressive approach to design has long been a hallmark of his work, and the latest collaborations with Pedrali are no exception. With an emphasis on quality materials, sustainability, and thoughtful design, Plural Soft and Diego embody Pedrali and Pensi’s shared commitment to creating timeless furniture that is built to last.

‘We are certain that with Diego and Plural Soft we will be able to access to new areas in a transversal way. Diego can be used equally at home or in the office, with Plural or with any other modular lounge seating, while Plural Soft can now be used in new areas where warmth and comfort are required. My wish is that these new products have their own permanent place in the architectural space that surrounds us and that changes at great speed,’ concludes Jorge Pensi.

‘My wish is that these products have their own permanent place in the architectural space that surrounds us,’ concludes Jorge Pensi | image © Frank Jankowski

project info: 

name: Plural Soft, Diego

brand: Pedrali | @pedrlispa

designer: Jorge Pensi | @jorge.pensi_designstudio

materials: aluminum, solid laminate, fenix

The post jorge pensi discusses timeless design in public spaces with plural soft & diego for pedrali appeared first on designboom | architecture & design magazine.