Lighting in Design Q1 2020

I nternational N ews

In Good Company installs huge lights in A/D/O courtyard

"Each designer was challenged and commissioned to craft sculptures and chandeliers that interpret the concept of light in its many forms, the various ways we interact with those forms, and the emotion we feel within those interactions," A/D/O said. "Visitors navi- gating Glow Up are encouraged to look up to discover moments of warmth, and to look inward for moments of reflection."

A curved, golden mirror ideal for taking selfies is among the large light fixtures that Brooklyn designer FernandoMastran- gelo's In Good Company has placed into the courtyard of Brooklyn hub A/D/O. Six designers from In Good Company, Mastrangelo's platform for emerging artists, were commis- sioned to create a piece for the exhibition called Glow Up.

Amanda Richards melted discarded scrap metal and used the resulting fluid to adorn her set of three pendant lights titled Pearl Pendants. "The process repurposes intimate heirlooms into ornamental, yet functional design, giving the trinkets new life," A/D/O said. Designer Nick Missel was influenced by the distortion of nature caused by fog or pollution. His work, Moon Wrap, is intended to resemble the moon as viewed through a haze. Its shapeless exterior is coupled with an underside cast in reflective chrome.

Sabine Marcelis creates furniture and lighting from same materials as Barcelona Pavilion

lis's version is made from two-way mirror and incorporates a neon light tube that appears when it is turned on.

Designer Sabine Marcelis has used glass, travertine and polished metal to create a collection of sculptural interven-

tions that respond to the materiality of Mies van Der Rohe's Barcelona Pavilion. No Fear of Glass is the latest in a series of temporary installations staged at the pavilion, which is a recreation of the structure built by Mies van der Rohe and Lilly Reich for the Barcelona Expo in 1929. One of the instructions given to Mies van der Rohe when designing the pavilion was to "not use too much glass". Marcelis playfully subverted this request by using glass as the main material for her interventions. The designer created two chaise longues, two pillar lights and a fountain for the instal- lation, using glass, travertine and chrome in a direct response to the materials found throughout the pavilion. Each of the pieces uses transparency, reflections and ombré effects to distort how they appear as visitors move around the space. The designer also introduced a light fixture that mimics the cruciform mirrored-steel pil- lars used to support the pavilion's roof. Marce-

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LiD Q1 - 2020