At NYCxDesign in May 2023, Lumens was pleased to co-host a special night with SONNEMAN – A Way of Light in the brand’s beautifully renovated showroom at the New York Design Center. The event, “Celebrating 60 Years of Design Innovation,” let attendees get face-to-face with designs from the SONNEMAN archives alongside new collections. Dan Rubinstein, host of The Grand Tourist podcast and veteran design journalist, led the conversation with the guest of honor, Robert Sonneman.

Lumens CEO Laura Walsh introduced the renowned designer before turning over the stage to Rubenstein and Sonneman for an illuminating look at his life in design, from his first gig at a small store on Madison Avenue to revolutionizing lighting design with LED technology. 

Sonneman shared the story of his humble beginnings sweeping up for George Kovacs, who introduced him to modern design, sparking a transformative shift in his perspective:

“I always identified with the simplicity and the functionality and the integrity of modernism, because there was a core integrity in doing something straight, and simply, and functionally. And that fascinated me, and it continues to.”

As the conversation unfolded, he shared moments of personal and professional growth, recounting how his journey intersected with architecture, the emergence of LED technology, and the impact of postmodernism:

“Somebody said to me, ‘You know, you’re really a great designer.’ And I said, well, what’s a designer? Because I didn’t approach it from that standpoint: I just was making good things.”

The advent of LEDs proved to be a revolutionary turning point for Sonneman, reshaping his understanding of design and opening up a new realm of possibilities:

“Design is very often evolutionary, but LED made lighting design revolutionary.”

LED allowed for new forms, scales and approaches, which ultimately redefined the company’s direction. With the support of a brilliant engineering team, SONNEMAN – A Way of Light embraced technology as a “facilitator of design.”

Sonneman drew special attention to key designs that, to him, symbolized innovation and propelled his creative endeavors. In particular, the Suspenders system showcases the seamless integration of LED technology and low voltage, enabling versatility and scalability that would have been impossible with incandescent bulbs. The Constellation series exemplifies the use of small lighting modules, revolutionizing the concept of capturing light in captivating ways.

“I really wasn’t interested in just doing nice things or pretty things. I really wanted to invent something new, and I always wanted to do that. And sometimes I did, and it was all accident.”

The talk shed light on Sonneman’s remarkable journey, emphasizing the importance of perseverance, integrity and the relentless pursuit of innovation. As he moves on from his namesake company in 2023 to pursue a broader scope of designing whatever comes next, his still-developing legacy is preserved in his designs for SONNEMAN – A Way of Light.

“It’s a luxury to be able to do what you love to do, the way you want to do it. And everything in my life, I did because I didn’t know I couldn’t.”

The post Celebrating 60 Years of SONNEMAN first appeared on The Edit | Lumens.com.

Educator and designer Shari Francis is constantly exploring new possibilities in the world of design. From blending textures and patterns inspired by a childhood spent between Canada and Jamaica to empowering her clients to make informed and sustainable decisions, she’s long been captivated by design’s ability to solve problems. Now a professor of interior design at Pratt Institute and founder of the Brooklyn-based studio, Dadapt, we caught up with the insatiably curious Francis to learn about blending education with her personal brand, the importance of local sourcing, the richness of materiality and more.  

When or how did you first get into interior design or design in general? 

I think design has always been a part of me, even if I didn’t know it. It was something as a child that I just inherently knew. If you knew me as a kid, every season my room was reconfigured, drove my parents crazy, but it was something where I was just constantly curious about how can I configure my room in ways that will make me happy, what are the possibilities. I was constantly exploring different functionalities and that’s pretty much where I started. But formally, I actually started in interior design and getting into interior design well after I graduated from college. So it wasn’t until years after I realized that the field I was in was not for me and I took continuing classes at UCLA and I realized oh wow, this has always been something that I loved. 

What is your idea of good design? What is your goal when working on a project or with a client? 

In terms of good design for me, it really starts at the root of the issue and solving the problem in the best possible manner. So even before we look at aesthetics, it’s how does it function and can we find the solution that makes sense before we even fully investigate the aesthetics. I think understanding and investigating various aesthetics, various precedents, and understanding how that can be incorporated into a client’s style is important. But I would definitely say solving the problem and making sure that it is fully solved is the way to good design. 

As for my goal when working with a client, there are several goals that I have. One of the main goals is to educate them on how to create a cohesive narrative, how things can function for them even if they didn’t understand what that is, and to educate them in letting them know where their money is going. Design can involve a lot of money, so it’s important for clients to understand where they’re investing in durability versus things that may need to be changed over time. At the end of the day, my hope is that when I design, it is for more longevity instead of just fast design. I strive for sustainability and durability while considering various financial needs. And of course, my ultimate goal is to make sure the client is happy. 

Do you have a specific design style or aesthetic, and how would you describe it? 

I aspire to simplicity and intentionality in my designs. Whether it’s incorporating crisp, adjacent lines or smooth elements, I aim to create intentional design. However, everything is generally bespoke and depends on the client. In terms of my education as a designer, there are still a lot of influences based on European values, but I’m exploring new ways and trying to incorporate my past, history and culture into something new. I draw inspiration from my experiences growing up in Canada and spending time in Jamaica, appreciating the beauty of natural materials and textures. I’m exploring how to synthesize these influences and incorporate them into interior design using natural materials and intriguing patterns. Overall, my style is an ongoing exploration, and I’m constantly investigating and discovering new ways to create unique designs. 

What kind of inspirations are you pulling from in your research? 

When I look at the past, I do have quite a juxtaposition between growing up in Canada and spending time in Jamaica. The dualities I’m finding there are how nature is really important, and the beauty of what natural materials can do and how they make you feel.  

In Canada, there was a lot of brickwork due to the climate, while Jamaica had a lot of stucco and clay work which I’m trying to find, and I was thinking: Oh well those similarities would really be cool, trying to create something interior wise. How could I do that?  

Growing up and seeing a lot of the plaid and checkered patterns versus the weaving that I’ve seen in and around my grandparents’ town, those are things that I’m starting to see and think about. How can I synthesize these things—my grandmother constantly crocheting—and how can I bring that in? Does it mean that I can change my philosophy? Or is it still the same as “simplicity as more”? How can I incorporate all of these things—through using other natural materials? How can I take some of these really interesting patterns that may have been used or created through wool, or rattan and jute—what can that do? 

Right now, I’m in an exploration phase of “this can work.” It’s a lot of material and it sounds like it is a lot of material. I think the basis of understanding interior architecture is how you apply the materials to create that experience—that’s highly important. I think that allows you to stand out from the rest, or it allows you to have a certain following that appreciates how you are designing or how you’re studying or how you are investigating your process or just design in itself. My hope is that I will understand this investigation sooner rather than later.  

At the moment, in the investigation of renovating my home, what I’ve realized is there are some things I can do and some I can’t because of budget constraints, but that doesn’t stop me from putting things in my notebook. Even having conversations with other designers and makers, like, is this even possible? It gets the wheels turning.  

What does being an innovator or being on the Innovators Council mean to you, and how has being on the Innovators Council made an impact on you? 

For me, being on the Innovators Council has made me realize and appreciate the diversity of thought within the design field. It’s fascinating to see how the word “design” or “interior design” can be interpreted and applied in so many different ways. Each of the innovators on the council uses design in their own unique manner, whether it’s in their business, lifestyle, education, or how they present it to the world. Being part of this council has allowed me to learn about these different aspects and break away from the traditional ways interior design is taught in school. It has created a community that I may not have otherwise known, where I can interact with other innovators and gain insights into their approaches to design, whether it’s in social media or other avenues. This community is supportive yet individualistic, and I truly appreciate that. 

I heard Alvin Wayne dropped into your classroom at one point. Can you tell us about that experience? 

Yes, I can’t forget that Alvin was so gracious to give us his time. He provided valuable feedback to my students, being both positive and constructive in his criticism. It was a great opportunity to have him as a guest in my classroom. Being on the Innovators Council has not only allowed me to create friendships but also provided me with a network of design professionals who can act as a sounding board for ideas and offer unique perspectives. It’s been a valuable experience to have them come into my world and provide their take on design to my students. 

What advice would you give designers? 

If I were to give advice to designers starting their own business, I would emphasize the importance of building a strong network or creating their own design community even before they start. While designers inherently know how to design and what attracts them, the biggest challenge lies in having the necessary support once they secure a project. Having a reliable network of architects, contractors, drafters, or other professionals in place before starting any project can make the process much smoother and increase the likelihood of success. Additionally, I would advise my younger self to explore design earlier in life, as design is not something that offers instant gratification. If you have a passion for design, don’t wait and pursue it as early as possible. 

What are your keys to a successful design project? 

An amazing team is one of the key factors for a successful design project. Design is not a singular effort, and having a talented and collaborative design team, as well as a supportive design community, plays a crucial role in achieving success. Other than that, I always strive to source products locally whenever possible. While exceptional products can be found in other countries, I aim to prioritize local sourcing to support local businesses and minimize the environmental impact of shipping. Educating clients about the importance of sourcing locally and considering sustainability is also an integral part of my approach. 

How do you incorporate your personal brand into your work? 

Currently, my personal brand revolves around education. I bring my educational background and expertise into my projects, empowering clients with knowledge and helping them make informed decisions. While I’m still working on further developing my personal brand, I look up to professionals like Alvin [Wayne] and Anne [Sage] who have successfully communicated their personal brand to the world. For now, education remains a significant aspect of my personal brand. 

How do you like to source products for your projects? 

I generally prefer to source products locally or make them locally if possible. That’s one of my main priorities, and I’ve had success with it. However, there are amazing things in other countries that sometimes need to be obtained. So, it’s a mix. But if I can get the building materials and finishes locally, I feel like I’m winning and being more sustainable. As designers, even though we talk about sustainability, we’re not really sustainable when it comes to shipping things and contributing to the carbon footprint. So, if I can personally go to the store or the vendor, like the D&D building, and pick things up, I try to do that. I also educate myself on whether things are made in America and the travel distance involved in getting them to the project. When working on international projects, I also consider sourcing locally from those countries. So, sourcing products locally is a major factor for me. 

Is there a specific piece of furniture or lighting that you must have in any project? 

I can’t recall the name at the moment, but I always have these open-faced lights with Edison light bulbs. They are simple and don’t have any shades. Looking back at my projects, I realize I consistently incorporate simple pendant lights or similar lighting without extravagant designs. These lights serve as the main source of light in the space. 

How does community fit into design? 

Community is integral to design. It encompasses the design community itself, the community I grew up in, and the experiences of individuals within the community. Whether they’re designers, makers, artists, family, or friends, every aspect of the community and their movement and experiences are incorporated into design. For example, my family experiences, such as my mother inspiring me and my grandmother’s knitting and crocheting, have influenced my work. So, community plays a significant role in my designs. 

The post Shari Francis on Discovering the Undiscovered Through Design first appeared on The Edit | Lumens.com.

Over the last year, European brands have been quick to adjust their design practices to abide by the EU’s latest Eco-design Framework regulation: The Right to Repair law, which encapsulates electric home appliances—including lighting fixtures—that account for 40% of the EU’s greenhouse gas emissions. A decade-long initiative, the Eco-design Framework seeks to improve the energy efficiency and sustainability of products made (and sold) in Europe.  

From recycled materials to solar-powered factories, the international design community is redefining what it means to place sustainability at the center of their craft, both in ethos and in practice. With throwaway culture now a relic of the not-so-distant past, we set our sights on an eco-friendly future that values a positive environmental impact just as much as it values good design.  

Circular Culture: Replace, Recycle, Reuse  

This latest regulation is three-fold. First, the product must be designed in a way that allows dismantling without malfunction. Second, each part must be replaceable and requires manufacturers to provide spare parts for up to 10 years after the purchase date. Third, and perhaps most importantly: Once disassembled, each component of the product should be properly recycled, where their lifecycle can begin again as secondary raw materials.  

The effect? With more conscientious production and consumption, fewer appliances will end up in landfills, and the EU estimates an overall reduction of more than 46 million tons of CO2 per year. In addition to combating the climate crisis, the regulation also has the power to affect design culture at large while reducing the globe’s reliance on a waste-based economy.  

Beyond the Trend: Sustainable Design is Timeless Design 

Under “Right to Repair,” products must be, quite literally, sustainable by design. Across the EU, brands like DESIGNHEURE and Petite Friture have revised their design process to account for the entire lifecycle of a product—including its reassembly, repairability and recyclable potential—all without sacrificing functionality or style.  

What might be interpreted as an obstacle to production can equally be viewed as a creative restriction that inspires an eco-friendly, environmentally conscious wave of design. Amelie du Passage of Petite Friture remarks that her brand is “very conscious of the way we build our products,” which can be seen in the latest edition of the Vertigo Nova collection by Constance Guisset. Petite Friture has long been invested in sustainability as a tenet of the brand, and the requirements of “Right to Repair” finds the founder and designers comfortably at home in their ethos which encourages a design practice that embraces notions of “circularity, repairability and replaceability.” 

In Vertigo Nova, a built-in, dimmable LED light source extends the fixture’s lifespan and spare parts are available should the carefully designed pendant break, while other Petite Friture designs incorporate eco-conscious materials like stainless steel and aluminum. Designer of the Vertigo series, Guisset has said that not only does sustainability affect the materials used in a given product, but the design of the object itself must go “beyond the trend” in order to stand the test of time. 

Across the Pond: Sustainability for Stateside Designers 

While France has made it illegal to destroy clothing and other textiles, and the EU successfully phased out the use of incandescent lamps, the U.S. has been slower to adopt such radical and official sustainability measures. Twenty-one states have considered legislation similar to the EU’s “Right to Repair,” but only Massachusetts successfully passed such a law.  

Without government regulation, the decision to incorporate sustainable policies and design practices falls to the brands themselves, and a few of our favorites are passing with eco-friendly flying colors.  

Born from the challenge to create a truly sustainable lighting system, New York City-based Stickbulb is an innovative pioneer of lighting fixtures that rely on reusable and locally sourced materials that tell a story. Using reclaimed wood from decommissioned New York City water towers and building teardowns, Stickbulb’s customizable, energy-efficient LED fixtures are constructed from as few components as possible which can all be completely broken down and recycled when the time comes. 

“If sustainability is built into the DNA of a company from day one,” said Cerno’s Bret Englander, “it doesn’t have to be that big of a challenge.” Known for modern, California-made lighting and furniture designs, Cerno uses high-end, high-quality parts that provide their products a long life. While sustainability is built into the core of materials and production for many brands, Englander also said that “packaging can become one of the largest obstacles.”  

Ordering the most sustainable product that’s locally made from ethically sourced, recyclable components is only half the battle if the product arrives full of plastic packaging with Styrofoam packing peanuts. Robert Sonneman of SONNEMAN Lighting says that while his brand is motivated to create its products in a more responsible way, he is equally committed to removing all plastic foam from packaging, instead pivoting toward the use of paper and other recyclable materials. ANDLight’s Matt Davis has made a similar pledge and says that the brand is working to remove all single-use plastics in 2023, which includes vendor materials received at the ANDLight factories.  

For brands to participate in the EU’s economy, the “Right to Repair” requires they take seriously their commitment to sustainability. Creating products that are designed with reassembly and repairability in mind is a small but mighty way to transform our relationships with production and consumption while combating throwaway culture and the costly depletion of natural resources. From Stickbulb’s principled use of recyclable materials to Petite Friture’s embrace of a product’s circularity, consciously designing a future that prioritizes sustainability affects us all.

The post The EU’s ‘Right to Repair’ Law first appeared on The Edit | Lumens.com.

“Making the most with the least”—it sounds like a Great Depression-era maxim, but it resonates today in a world that looks increasingly toward conservation and sustainability. And it’s the ethos behind Stickbulb, founded in 2012 by RUX design studio founder Russell Greenberg and managing partner Christopher Beardsley. 

The two were Yale-educated architects entertaining a dream to build with light. With the Stickbulb line they’re all but living that dream every day, finding new ways to make more with less; to add to the landscape of design without taking away from the landscape outside their door. The studio originally set out to manufacture only what they could within 5 miles of their New York City office; and it also had to be affordable. Today, their reach is a bit broader, having moved fabrication and a showroom into a repurposed old factory in western Queens. The team is still tight, though, and the workplace functions collaboratively. And the old dedication to the original idea remains: Building with light, using sustainable materials and deceptively simple designs. 

Even down to the name, everything Stickbulb does feels intentional—stripping down the superfluous to find meaning in the purest form. A stick. A bulb. Those two things on their own don’t sound very impressive. But after one look at the Sky Bang Chandelier, a Sputnik-esque burst of handsome wood beams inset with linear LED lighting, it all makes perfect sense. 

The original Stickbulb mission, which persists today, was to make light from wood, creating a modular system that functions as both innovation upon and homage for its materials. First inspired by a pile of scrap wood, Stickbulb’s founders set out to see what they could do with the wood nobody else seemed to want. Stickbulb has a unique perspective on waste, using reclaimed redwood from dismantled 19th-century water towers, heart pine rescued from demolished buildings in and around New York City and even old boardwalk planks from Atlantic City to create some of their ambitious installations. And there are no veneers, here—the studio uses solid wood beams from fallen trees and sustainably forested walnut, oak and maple from nearby regional forests. 

The components of each light fixture are simple: wood and metal, with LED diffusers inlaid into the wood beams to provide the illumination. Each beam fits into a metal connector piece, allowing them to be customized and scaled in almost infinite arrangements. They’re also easy to disassemble for cleaning or repurposing. The designs are decidedly modern and geometrically inspired, but with a warmth imparted by the naturally finished woods that transcends a purely avant-garde aesthetic. 

The brand has been lauded at ICFF, nominated for the NYCX Design Awards and World Architecture Award and won the Red Dot Lighting Design Award in 2018 for its Boom collection. In 2019 Stickbulb was one of just two companies chosen to represent the United States at the XXII Triennale di Milano exhibition, showcasing leaders in the design world’s efforts to combat the global environmental crises. 

We caught up with Stickbulb to find out more. 

Tell us—how did Stickbulb come to be? 

Founders Greenberg and Beardsley were inspired to start Stickbulb while designing a house in Miami. Surrounded by piles of long linear wooden off-cuts in their workshop, the two became obsessed with finding creative ways to use, preserve and elevate reclaimed wood. The result was a modular system of sleek, wooden, beams inlaid with LED lights that are designed to interchangeably fit within various steel hardware connectors without tools. To this day Stickbulb is made from wood reclaimed from demolished buildings, dismantled water towers, fallen trees and sustainably managed forests. 

Since the founding of Stickbulb you’ve been at the forefront of new lighting technology and one of the original brands to introduce the sleek, minimal look of LED fixtures in long linear applications (and others have since have followed your lead). What do you think is so impactful about the design and how is Stickbulb continuing to evolve? 

The Stickbulb collection pairs the warmth and organic beauty of wood with the thin form factor afforded by LED technology. The result is a modular system of sleek, wooden, beams inlaid with LED lights that are designed to interchangeably fit within various steel hardware connectors without tools. Since our founding years ago, we haven’t deviated from this system. Our evolution has come from being hyper-focused on finding incredible sources for the wood material we use and on pushing the boundaries of what our system of sticks and connectors can achieve formally. We still surprise ourselves by discovering new forms.

This concept must really lend itself nicely to custom work. What are some projects that have been most exciting to you?

The Stickbulb system is highly customizable. Some customization options are in the finish; a custom color stain on the stick or special metal finish on the connector. Clients also commonly customize the lengths of sticks in order for a fixture to fit perfectly over a table.

Using the modular system of Stickbulb you can also create highly custom installations. We worked with architect Rene Gonzales in a beautiful restaurant called Plant in Miami’s design district to create a room-filling custom installation using our Sky Bang connector.

What’s the one design you are most proud of and why?

The Sky Bang chandelier. It embodies the playful modular spirit of Stickbulb and has grown to become one of our most iconic designs. The Sky Bang collection is composed of 6 linear wooden bulbs that friction-fit into a central welded steel knuckle. The same central hardware piece accepts different length bulbs to create different sized chandeliers, as well as our portable Bang collection.

The versatility of the design makes it possible to create larger assemblages of Sky Bang fixtures by interconnecting the sticks. Like most Stickbulb fixtures, Sky Bang chandeliers are shipped flat-packed which saves on shipping cost and lessens our carbon footprint, a major priority for our studio.

Ethical, responsible practices are an important philosophy for the brand. Why is that?

We are ethical and responsible people, and that makes us ethical and responsible designers. It is less a philosophy and more an act of common sense for us to prioritize the health and wellness of our team, our community and our world. Whereas we have relied on our intuition to drive our sustainable mission in the past, we are now taking a data-driven approach to managing our carbon footprint. We are in the process of analyzing the energy and resource consumption of our entire operation so that we can quantifiably reduce our negative and increase our positive impacts.

Any new releases you’d like to tell us about?

[The Ray LED Wall Sconce] is a back to the basics story for Stickbulb. Over the years we have come out with complex designs using more and more sticks in one product using dynamic metal connectors. Ray Sconce is simple, clean, and quiet. The design is so minimal that it draws your attention closer to the subtle details of the wood grain and the machine precision of the sconce construction.

The collection is incredibly versatile, coming in lengths ranging from 18 inches through to 5 feet, as well as vertical and horizontal orientations. The light can face the wall, creating a halo effect around the sconce, or graze the wall, creating a gentle wash of light in an up, down, left, or right direction. We are really excited to come out with our most minimal product to date, Ray Sconce.

Stickbulb’s newest Ray LED Wall Sconce is a Trade Access design, available only for Lumens Trade Advantage Partners. Another version is also available, along with the rest of the Stickbulb line, exclusively at Lumens.

The post Creating Light from Wood: A Q+A with Stickbulb first appeared on The Edit | Lumens.com.

Alan Heller had a knack for connecting with the right people at the right time. Looking to launch his eponymous brand in 1971, Heller got in touch with the legendary design duo Massimo and Lella Vignelli, whose brilliant collection of stacking cups and plates had just fallen out of production when their Italian manufacturer closed up shop. Alan convinced them to move production to his U.S. shop and reintroduced their Compasso d’Oro-winning designs as Hellerware (winning, in turn, the hearts and minds of modern design enthusiasts, right off the bat). Heller continued forging iconic partnerships with designers like Mario Bellini, Studio 65 and Frank Gehry—clearly at a time when the starchitect was primed to design some ultra-modern twisty cubes and benches.  

As his health began to decline, Heller once again connected with the right person to steward his company into the next half-century: John Edelman. The two first met over a decade ago under less-than-ideal circumstances: Edelman had just taken over as CEO of Design Within Reach, and Heller was suing the retailer for copying his Bellini chair. But instead of letting legalities sour the budding relationship, Edelman made things right and, later in life, the two reconnected over monthly lunches where Heller was playfully coy with Edelman over the ultimate disposition of the company.   

Yet, as fate would have it, Edelman is now owner and CEO of Heller, pumping new life into the brand by honoring its founder’s legacy while also ushering in new sustainable initiatives and a design-industry first: issuing NFTs. 

We caught up with Edelman as he was readying a few new top-secret releases at Heller HQ in Connecticut (due to be revealed in May 2023 during New York Design Week at the Heller Gallery) to learn more about Heller’s sustainability initiatives for the planet and culture.   

Please bring us up to speed with a brief history of Heller and how you became CEO of the brand.  

Heller was founded in 1972 by an interesting guy named Alan Heller, who was a total and complete character, and he loved design. At first, he was making plastic Tupperware-type things—very simple and charming—like, “Gladys the Goose” was a goose-shaped water pitcher and things like that. Nothing with great design—then he decided to change that, and he got a meeting with Massimo and Leila Vigneilli—and the Vignellis are the most-seen graphic designers in the history of graphic design. Think about American Airlines, Ford, Ducati, Bloomingdale’s, Macy’s, Knoll and then Heller when they met; he designed the Heller logos. We’re the last Vignelli-designed logo in the design industry, which is kind of cool. They had recently won the Compasso D’Oro award in Italy for their plates and saucers, for what became Hellerware. But the company that originally worked with them went out of business and Alan said, “Listen, trust me, I’d like to work with you.” And he took over those designs and launched it in the States, and Heller was born and then it evolved. He began working with different designers. But it was really that relationship with the Vignellis that started the real heart of Heller. And then I found it. 

Yes, as the story goes, you first met Alan because he was suing you. That must have been a great first impression? 

In 2010, when I took over as CEO of Design Within Reach, the first article in the New York Times announcing John Edelman, CEO, I thought would be this amazing article and instead, the title was “Is There a Solution Within Reach?” with a huge picture of Alan Heller holding a chair above his head looking at the bottom, showing that our company had knocked him off and he was suing not only the company, but he was suing the buyers directly. It was a nightmare. They hated him and he hated us.

And I went to go see him a month [later] in New York. And I just said, “Alan, I’m sorry, I didn’t do that. I believe in authenticity. I hate knocking things off.” And to make matters worse, when they knocked off the chair, they called it the Alonzo, just clearly using a version of his name, which was even worse.  

So, I apologized. I said, “We’ll flush all the chairs out through the outlet and I’ll build you a business.” And we did. And then after I sold DWR I wanted to reach out, you know, after all those years. 

And you reconnected? 

I started having lunch with Alan once a month and I said, “Alan, I’m, I’m dying to buy your company.” You know, he was much older by that time. He had no employees. He’s all by himself, no salespeople, no marketing. He didn’t call people back. But he loved to go to lunch. And he said, you know John, you’ll have to deal with my widow. He teased me; he’d say, “I’m not going to sell it to you.” And I didn’t know at the time that he was ill and, during COVID, he ended up passing away, unfortunately. But he was a friend, and he had set it up so that I’d buy the company from his widow. That’s what happened.

But, you know, he didn’t have anything to sell necessarily. So we had to get the rights from every designer to produce them again. So all we really bought was the brand. We had to recreate everything else. No paperwork, no client lists, no employees, Basically didn’t know where all the molds were. I’m the only idiot, I think, with my business partner, John McPhee, that would have had the courage to buy that business. It certainly wasn’t out of intelligence, but it worked out.

So what inspired you to, essentially, save this company from an uncertain future?  

The brand totally could have gone away. And it shouldn’t, right? It deserves to live on. Alan had so much passion for design and for the designers and I’ve always lived my life telling the designers’ stories. It’s not just a chair. It’s a chair designed by Mario Bellini, one of the world’s great chair designers…you tell the whole background, and that’s what I wanted to do.  

It’s very hard to create a modern product—aesthetically pleasing design for a purpose. No ego in the design and it can go anywhere, including indoors, outdoors; like modern can go in a barn, in a warehouse, in a penthouse, in a restaurant, in an office, in a hotel. They go anywhere and it can mix with anything. So we had this little collection of products that were really modern, and the beautiful thing about it is all the work is up-front. 

All the work is in designing a product. Once the design is done and you have a mold, you can reproduce it. That’s what Alan loved. He loved the industrial nature of injection and rotationally molded product. There’s no like, if the stitcher’s sick, there’s no stitchers. There’s no delay in the material. There’s no other materials. So you have to work super hard to make something flawless. And, that’s what excited me too, the idea that we can produce the products anywhere in the world. 

So as we grow, we can take a mold, replicate the mold, make the designs in Brazil, or in Europe, and reduce carbon footprint. I love the flexibility of that. I love the industrial nature of the production. I mean, that was so interesting to me and seeing these massive facilities; you know, when you go to one of these places, you realize that they’re running 500 types of businesses out of this one facility because the machines don’t care. One day they’re making highway barriers, the big yellow highway barriers, then they make our chairs or a Gehry cube. And that was just thrilling. I had to be a part of that. 

We like to think that good design is inherently sustainable, so how does Heller approach sustainability? Is it something that can be baked into the process of developing designs and manufacturing and how so?  

Yes, totally. So a lot of these designs were made in the ’70s through the 2000s, and because of the nature of our product, we were always inherently sustainable just from the manufacturing process. You can grind our product back up and make new product, so everything is 100% recyclable, that’s one aspect. And with our new chair the Vignelli Rocker, we actually offer an NFT that comes with the chair that gives you lifelong recycling instructions, as well as the second prong of sustainability which is longevity; the NFT gives you lifelong verification of authenticity. 

And our products really don’t wear out, almost nothing wears out, and people trade them. They trade them over 20, 30, 40 years. I mean, I love shopping on eBay for our old plates and for our chairs, to see the Bocca Sofa. And like I always say, we’re caretakers of these products, not necessarily owners, because they’re going to go to somebody else.

I love that. Something to understand about brand and design and value is it should last forever, if possible, especially modern design. Contemporary design is very temporary—that’s the landfill aspect—but we’re modern design, so it should last forever.  

And all your products are recyclable? 

They’re all 100% recyclable. And in our new launches, we’re using a pretty high level of PCR, which is post-consumer recyclable waste, in the products. The number-one thing that’s important to me is that it’s always recyclable again. So a lot of companies are using recycled products and you can’t recycle it again. And that’s to me a big no-no. So, not only are we using PCR, but it’s going to be recyclable again. 

And that’s a big step forward. So since we’re creating our own product, there’s no reason not to have that involved from the very start.  

Tell us about you know your take-back program and how it fits into the circular economy. How does it work? 

Yes, we’ll credit you for anything you send back to us—we’ll credit shipping towards new product and we’ll grind it up. We literally have this massive machine that grinds your old piece into a powder and makes it into new product. It’s super cool. But, I can tell you all honestly no one’s done it yet, because everybody keeps the product. But when we’re making products, anything that is a mistake, anything that didn’t come out right, they get ground back up and used again. So we are always recycling, and the take-back program is just an extra guarantee. You can’t take back an upholstered sofa and grind it into a new sofa. There’s so many different elements, we have the versatility to do that.  

What about the NFTs you are issuing? They work with the recycling program as well as serve as a certification of authenticity, and this is an industry first. Can you tell us more about the genesis of the initiative and what you hope to achieve with it?  

I started working with this company called Digby and the initial concept, I was consulting for them, and we’re trying to think of, you know, “What’s in the Metaverse and how do we get furniture in the Metaverse?” I did all these talks and podcasts, and I was explaining how once you start, you know, wearing technology is the first step to VR and that we’re already basically in the metaverse because we’re zooming. And it was all fine and dandy, but it was over everybody’s head.  

So then I started to think about how could we take NFT “nonfungible tokens” and make it into something people can actually understand and use today. We’re all going to go to the Metaverse at some point. By the time we get there, we’ll be passing in and out without realizing it, that it’s actually part of life. But we’re not there yet. So I had the idea, like, what’s forever? And even that picture of Alan, you’re looking at the bottom of the chair or my whole life going to flea markets looking for that tag, looking for something that proved authenticity. I was like, wow, the NFT is forever. That could be attached to a piece of furniture. And what a great add-on to a purchase. 

Let’s be the first brand to try that. So with the chair you scan a code and you receive your NFT and you have a stamp of authenticity forever. I am very proud of it. I think it’s an industry first as you said and it’s actually highly, highly functional.  

Last question: Do you have a favorite Heller design? I know that’s tough to choose one. Maybe there’s something you’re into now, or working on now? 

Well, for the moment—and I love Gehry, I love Bellini, I love everything we’re doing—but the Vignelli aesthetic to me is so perfect. The benches with every dimension being 6 inches of thickness and the way they look good as a stool or as a 72-inch bench. The way Vignelli’s designed the mugs and plates, there’s something, and you know the rocking chair. That was his dream.  

Like Raymond Lowey designed Studebakers, and he eventually designed the Studebaker Lark: If you look at his sketches over like 20 years, he was always designing the Lark. If you look at Vignelli’s sketches over the years, he was always evolving to this chair. Something about that, like that, was his passion. You know, it’s in the permanent collection of the Vignelli Center. It’s all over the world.  

Heller’s been an amazing company and hasn’t launched a brand-new product until we bought it in the past year. We’ve launched a few from the archives, but what’s next, right? So May 20 in New York, we’re launching new product. During Design Week, we’re launching two new chairs in New York at the Heller Gallery on 10th Ave. I couldn’t launch new product in a convention center, so I took over a gallery to put it in the proper environment, to respect the design—because it’s all about the design. 

So, I can’t show it to you yet, which is killing me because I’m not the best secret keeper. But we’re almost there. We are also relaunching some archival designs. I think people are going to love it all.

John Edelman will join a panel of prominent names in design on June 14 during the Sustainability in Design Summit. Save your spot to hear more about his NFT program and how his ideas and company are advancing design for culture.

The post Heller is Leading Modern Design into the Modern Era with a New CEO, New Designs and NFTs first appeared on The Edit | Lumens.com.

Nestled in the vibrant community of Venice, California, the Emeco House is an architectural gem that embodies the essence of sustainable design, and seamlessly blends the old with the new. From its beginnings as a dilapidated sewing shop, Emeco House has been transformed under the watchful eyes of Gregg Buchbinder, owner of Emeco, and his daughter and Emeco product Engineer, Jaye Buchbinder.  With a commitment to preserve as much of the original structure as possible, and infusing it with environmentally sound solutions, Emeco House has become a beacon of sustainable living and a hub for creativity and collaboration.  

Showcasing a harmonious coexistence of work, living and community engagement, Emeco House hosts exhibitions, events and gatherings that bring together architects, designers and locals alike. The carefully curated interiors, characterized by minimalist aesthetics and thoughtful functionality, create a serene environment that fosters connection and inspiration. A meticulous endeavor that took over six years to complete, we caught up with the father/daughter duo behind the Emeco House transformation to learn more their architectural mission, the craft of slow, purposeful design and more.  

 
What inspired you to create Emeco House and how did you come up with the concept for it? 

The inspiration for Emeco House began in 2000, when Gregg Buchbinder visited Japan. “I was walking around a labyrinth of alleyways off the usual tourist track, home to a host of tempting, run-down and quirky, creative shops. Offbeat coffee, bakery, and dining venues, florist, handmade leather goods, jewelry, secondhand bookstore and bicycle mechanic. What caught my eye was a traditional Japanese timber house. Immediately I thought it would make an amazing Emeco studio. In my travels, whenever I ventured out into these same sort of out of the way, unusual places and spotted some kind of peculiar dwelling, I’d think that could be an Emeco House. I’d dream of Emeco Houses in all my favorite cities around world. When Jaye and I came upon the old, quirky, dilapidated sewing shop in Venice, CA, that today is Emeco House, everything fell into place.” 

 To us, Venice represents an interesting intersection of internationality (15 mins from LAX), surf culture (waves less than a mile away), and manufacturing (metal and wood shops littering the tiny streets, not to mention creatives and makers of all varieties in a way the trendier neighborhoods may no longer have—sculptors, film makers, cabinet makers). The Emeco head office and factory is in Hanover, Pennsylvania, where it’s been since the 1940s. But since we (Gregg and Jaye) both live in California, we wanted a west coast outpost that still represented the true bones of the company and that we could use to spread some “Emeconess” here.  

Can you talk about the design process and how you integrated the old and new elements seamlessly in the space? 

Our goal was to transform the neglected 1940-era building into a modern space. The design process began with the intention to retain, upgrade, and restore as much as possible of the original construction, with the new additions progressively layered in and seamlessly integrated. The result is a kind of ‘architectural natural diversity’, with the old and new supporting each other in the creation of an indivisible whole. 

The Emeco brand is known for using sustainable materials and manufacturing processes. How did you incorporate this ethos into the design and construction of Emeco House? 

Emeco House is a mark of Emeco’s commitment to slow manufacturing and purposeful, sustainable design. It’s no coincidence that the process took us about six years. We felt the need to approach every decision about the house in the same way we do our chairs—which extended the process, but gave us a way to codify our own priorities in a very tangible way. As a result, the house features environmentally sound, durable materials and custom solutions, realized with local contractors, carpenters, and fabricators. 

Can you speak to the importance of natural light and ventilation in the design of Emeco House? 

The goal of a zero-energy, self-sustaining operation is achieved through solar energy, with the central light-well and skylights introduced to bring natural light to each space.  Each is equipped with operable vents or fully retracting to effectively generate passive ventilation and cooling within and between the levels of the building. When it heats up, the louvers tilt, allowing hot air out, cycling the air through the large windows and up out of the space. When cold, the louvers shut, keeping the space more insulated. Southern California is an obvious place to use these techniques to keep energy usage low. 

Can you tell us about any future plans or projects for Emeco House or the Emeco brand in general? 

It’s our hope that Emeco House will serve as a venue for important conversations around sustainability, craftsmanship, and longevity for many years to come. Since we opened our doors just over a year ago, we’re proud to have hosted events as diverse as a showcase of MIT student projects exploring the future of sustainable furniture; Oaxacan wood carving craft, a panel talk exploring different expressions of Purpose and the Venice Backgammon club! We hope Emeco House will continue to bring people together for enriching and inspiring meetings. 

What role do you believe sustainable design plays in the future of architecture and interior design? 

‘Sustainable’ is applied to a lot of things these days, and while the intention is often good, the truth is that we all have an impact on the planet. As a manufacturer, we have a responsibility for the products we put out in the market and we work to minimize our impact as far as possible—by making use of waste streams; sourcing and making everything here in the US; measuring our carbon footprint and most importantly, by making things that last. Many of our chairs are guaranteed for life. 90% of our product range is made from recycled materials. To us, that’s nothing new, we’ve been doing it for 80 years. Because it just makes sense.  

How does Emeco House align with Emeco’s overall mission of “Begin with what’s left over. Turn it into what will last”? 

When we came across the old sewing shop that today is Emeco House, it had been neglected for years. Despite its state, it didn’t sit well with us to join the ongoing demolition of buildings in the area, often replaced by insensitive, new constructions. Instead we chose to retain the existing building in keeping with our primary intention of creating an active and connected place in the neighborhood for community events and activities. We restored as much as we could and upgraded the building with environmentally sound solutions and materials. We’ve built Emeco House to stand the test of time and sit lightly on the planet—just like our furniture.      

The post Inside Emeco House: Sustainability Meets Architectural Diversity first appeared on The Edit | Lumens.com.

From recycled materials skimmed from the seas to NFT authentication and carbon footprint-awareness initiatives, sustainable design is more than a buzzworthy trend. Innovating toward a more eco-conscious future, some of our favorite makers are taking an holistic approach to their craft—from manufacturing processes to final product—and placing sustainability in all its methods at the very center of their practice.  

Sustainability is a fundamental aspect of quality design, and implementing sustainable practices is one of the only ways forward in a contemporary world defined by its dwindling resources and growing waste problem. Five million hectares of forest are lost every year, and ocean temperatures are higher now than any year on record. More than 300 million metric tons of plastic waste are produced annually, and 50% of that waste is attributed to packaging, with the textile industry coming in at a close second. In the United States, the EPA estimates that nine million metric tons of furniture are thrown away every year, most of it ending up in landfills, right alongside plastic parts and packaging that can take up to 500 years to degrade.  

To say that the need for sustainable design is urgent, these days, is an understatement. While governments around the world implement national policies to increase energy efficiency while reducing carbon emissions and waste, the design industry is shifting its practices to create products that consider their impacts on people, the planet and culture. B-Corp certifications, which require brands to implement high standards of performance, accountability and transparency regarding supply chain practices and materials, and even employee benefits, are on the rise. With innovative new processes, even seemingly small details like furniture glides, castors and wheels can be made from renewable raw materials with injection molding technology. Wood, when harvested sustainably and certified by organizations like the Forest Stewardship Council, can be a carbon-neutral and renewable material. Contending with raw material shortages, circular design focuses on using recyclable and bio-based materials instead of unsustainable plastics—and is growing increasingly popular with consumers.  

The central tenets of circular design—repairability, reusability and durability—aim to reduce waste while encouraging designers and brands to implement sustainable practices from the very beginning, before a new product is even sketched down on the page. By embracing sustainability and the circular economy, these design brands are leading the charge toward a more responsible, equitable and vibrant future.  

Stickbulb

What started as a pile of discarded linear cut-offs in a workshop has grown into a design-forward lighting design studio with sustainability at its heart. Stickbulb lights are designed with the fewest number of components possible, using recycled and recyclable materials and a modular ethos that lets the user create their ultimate system. Reclaimed wood from New York City rooftop water towers and building teardowns is one of the line’s signature materials, joined together with steel connectors and fitted with ultra-efficient LED light bars. Stickbulb sources, designs and creates its line in New York. 

Read More on Stickbulb

LZF

Considering the health of the environment alongside each product, LZF—based in Valencia, Spain—is committed to using FSC Certified® wood for each of its signature lighting fixtures. Achieving the brand’s characteristic organic appearance of imaginatively looped and twisted veneer shades is only possible through LZF’s sustainable harvesting methods, which help to preserve the natural biodiversity in forests around the world. In addition to the brand’s eco-friendly materials sourcing, LZF has taken a sustainable approach toward packaging, too. Each LZF lighting fixture is shipped in a cardboard box made partly from recycled material, and bio-degradable potato-starch bags wrap each component to prevent damage to the design in transit. 

View Designs by LZF

Houe

Danish brand Houe is making waves in the industry with its innovative efforts toward sustainably crafted design. From innovative material production to the energy efficiency of manufacturing processes, Houe is committed to considering the environmental and social impacts of its design process, and has earned an EU Ecolabel for its sustainable efforts. Taking a beautifying approach to trash, Houe has pioneered a new technology that allows designers to reuse everyday household recycled plastic trash to create indoor and outdoor furniture collections intended to last a lifetime, like the ReCLIPS collection, crafted from 97% household trash, which received the 2022 IFDA Selects Award for Sustainability.

View Designs by Houe

Heller

Combining technology and sustainability, U.S.-based Heller partnered with Digby, a tech company, to create NFTs that function as authenticity certificates for each of the brand’s products. Combatting excess furniture waste, Heller’s innovative use of NFTs is linked to its “full-circle program,” by creating a confirmed chain of ownership and authenticity, and allowing customers to return their designs to Heller at any point in the product’s lifestyle—shipping paid. When these unwanted designs reach a Heller warehouse, they’re ground back down into powder, and the powder is reused to recreate the product down to the last specification.  

Read the Interview with Heller CEO John Edelman

David Trubridge 

Award-winning designer David Trubridge lends his name to his environmentally conscious lighting studio. The designs reflect a reverence of the planet in more ways than one: Not only are these lighting designs dreamily organic and crafted from sustainably harvested timber, most David Trubridge designs are flat-packed to cut down on packaging and shipping weight—doubly important when shipping worldwide from New Zealand. Putting one of these lights together is a snap—literally—and the incredible shadows the open-wood designs create are otherworldly.

Read the Interview with David Trubridge

Cerno 

Three friends from California, frustrated by what they perceived as a disconnected approach to lighting design, prototyping and manufacturing in the market, set out to innovate on their own terms. Cerno was born with a love for artistic quality, craftsmanship and environmentalism that was integral to the founders’ upbringing. Handcrafted in California using sustainably harvested woods and LED light sources, each Cerno design is a celebration of contemporary modernism.

View Designs by Cerno

Graypants 

Founded by architects, hand-assembled by artisans and made out of discarded cardboard: That’s Graypants. Breathing new life into old cardboard boxes from Seattle and Amsterdam, Graypants makes an afterthought into a centerpiece. Employees can still be found dumpster-diving for materials, though larger scale clean-cardboard donations make up some of the difference. Up to 75% of that refuse goes into the final design, which is treated with non-toxic fire retardant for safety, and non-toxic adhesives for durability.

View Designs by Graypants

Slamp 

Slamp’s proprietary polymers have been recyclable for 25 years, and the Italian brand shows no signs of slowing down its sustainability mission. The company’s headquarters is powered almost totally by renewable resources, with huge windows reducing the need for additional lighting or heating. The small amount of offcut waste from making these featherlight lighting designs was already being recycled, but some of it is now being used to create beehives to help bolster a waning pollinator population.

View Designs by Slamp

Greenington

Fast-growing and abundant bamboo is one of the most environmentally friendly wood options on the planet, and Greenington is making full use of its benefits. The brand works with bamboo farmers in China who hand-select and harvest the shoots to preserve the forest’s ecosystem as well as the bamboo root systems. Plus, nothing is wasted: Even the sawdust produced by making furniture is burned to make steam, powering the kiln and press machine. And mature bamboo is stronger than red oak, so there’s nothing wobbly about this bamboo furniture.

View Designs by Greenington

Gus Modern 

Gus Modern is well known for its mid-century modern designs made for today, but it’s not as commonly known that the Canadian company is highly environmentally conscious as well as high-quality (and high style). Much of Gus Modern’s furniture features FSC Certified® wood frames and some designs are stuffed with eco-friendly synthetic down. This clean fiber is produced from plastic bottles and feels like real duck and goose down.

View Designs by Gus Modern

Copeland Furniture 

Copeland Furniture’s wood is sourced from the American Northern Forest, mostly within 500 miles of its manufacturing facility, drastically reducing transport energy costs. This and other sustainability measures the company has undertaken have resulted in a number of prestigious awards. Not satisfied to rest there, Copeland Furniture uses a GREENGUARD Certified varnish as its standard default finish on all furniture designs, which delivers low chemical emissions. The factory in Bradford, Vermont, is powered by three acres of solar panels that make up about two-thirds the company’s electricity needs and offsets hundreds of thousands of pounds of carbon emissions each year. Copeland continues to innovate with packaging improvements, recycling and even heating the building with its own manufacturing waste to reduce dependence on foreign oil.

View Designs by Copeland Furniture

Emeco 

Perhaps the original recycled, recyclable chair is Emeco’s Navy Chair, originally crafted from aluminum in 1944 to stand up to a wartime environment. Aluminum loses almost nothing in being broken down and reworked, so it’s one of the most sustainable materials on the planet; plus, recycling scrap aluminum keeps it out of landfills. Later iterations saw a partnership with Coca-Cola to recycle plastic waste into seating, followed by a solid wood iteration crafted by Amish woodworkers from sustainably managed forests. Emeco wasn’t stopping there, however, and turned to its carbon footprint to do even more for the environment: Emeco packaging is made from recycled cardboard and other materials. Transport and energy use are also factored into the company’s carbon-footprint bottom line, as well as its overarching philosophy to do more with less.

View Designs by Emeco

Loll Designs 

High-density polyethylene is abundant in the United States, and it’s from this mouthful that Loll Designs creates its durable and fashionable outdoor furniture designs. A simpler way to think of this material is as easy as opening up your fridge: Loll Designs furniture is made mostly out of recycled single-use plastic milk jugs. The company estimates about eight milk jugs go into each pound of weight in any given Loll chair. The material that’s made from these milk jugs is recyclable in itself, and the color is extruded in manufacturing so there’s no paint or finish to chip off or even fade much. On top of that, Loll donates 1% of gross sales from the Lollygagger collection to environmental charities.

View Designs by Loll Designs

Herman Miller 

The tech throne of the 2000s has gotten a material update in the Aeron Office Chair‘s latest iteration. This pioneering feat of ergonomics now uses ocean-bound plastics in its body, helping to divert tons of waste from the environment each year. It’s still the supremely comfortable and adjustable task chair with an even more environmentally friendly twist.

View Designs by Herman Miller

Mater

The design may be from 1955, but the execution is totally 21st-century. Meet the Ocean series by Mater, crafted from recycled fishnets and hard plastic fished from the ocean. Each chair uses 960 grams (about 2 lbs) of ocean plastic waste. In its facility in Denmark, Mater cleans and shreds used fishing nets which are then processed into pellets, melted and injection-moulded to create the slats on Ocean chairs and tables. The frame is pure steel, and each iteration is designed to be easy to break down into its components for repurposing or recycling if needed. 

View Designs by Mater

These brands and many others are helping contribute to solutions in a world increasingly concerned with environmental impacts and sustainability. Good design that’s better for the planet is a win for everyone. 

The post Sustainability Stories first appeared on The Edit | Lumens.com.

For David Trubridge, inspiration is in great abundance. His muse is nature—a source that is known for constantly delivering something fresh and new. But Trubridge’s designs are careful and intentional, curated into a collection that is organic and ethereal in its aesthetic, and thoughtful and sustainable in its craft—although this legendary career began with watercraft.

The iconic lighting designer had initially planned on a career as a boat designer, and boats continued to play a big role in his life as he sailed the world with his young family looking for a new home. They settled in New Zealand in 1985, where he works on new designs that are part light fixture, part sculpture and entirely recognizable as Trubridge originals.

We caught up with David to explore his inspirations, his design process, family and more.

How did you get into design?

Unlike most young designers of today, I did not get into it through tertiary training. I trained as a boat designer but didn’t follow up on it. Instead, I saw myself as an artist or sculptor and renovated an old stone building in northern England to make a home and studio. But having built all the doors and windows it was a natural, and easier, step to continue teaching myself woodwork and make furniture. Only after I had mastered the craft by constructing traditional furniture, did I venture out into developing my own designs. So as they say in Europe, I am an autodidact.

You were born, raised and educated in England but chose to leave and start a new life in New Zealand—why?

Actually we just decided to go on an open-ended adventure on a sailing yacht with our two small children. The Thatcher/Reagan era was not a good one in England, and we were glad to leave. And having left we found we did not want to go back. Ultimately, we ended up in New Zealand which offered a better home in a delightfully remote and ignored part of the world. Creatively here the glass ceiling is far higher than in Europe, where the weight of history and social expectation is more restrictive.

You have a very creative family, please share a little about them.

Linda, my wife, is an artist, a yoga teacher and now also a writer. She published a book called “Passages” about our journeys as a family and the effects they have had on all of us over the years.

Sam is a performance artist who threads an untrodden path between theatre and sculpture. Not so long ago we went to see a dance performance of his in Wellington called Ecology in Fifths, which is about the environmental history of settler New Zealand. It was scheduled for New York but had to be cancelled because of COVID.

William is a multi-world-record-holding freediver, who has probably done more for the sport than anyone in the last 10 years. Maybe that is an inevitable result of his upbringing as a child diving on coral reefs in the Caribbean and Pacific. He lives partly in the Bahamas and partly in Okinawa with his Japanese wife and two children.

So, what makes for good lighting—is there more to it than simply illuminating a space?

Of course there is! A single bare light bulb illuminates a space—would anyone be happy with that? I actually see “good lighting” not as illumination at all—that is a given—it is all about what you can make of a space, how you can create a feeling, how you can bring in emotion. Good lighting can transform a dull depressing void, albeit functionally lit, into a warmly glowing and spiritually uplifting haven. I am encouraged to see that currently there is a shift happening away from the “churn” of large volumes of cheap, rapidly replaced household “stuff” to far less goods but all of quality design and construction, which will last much longer, physically and aesthetically. Ultimately this gives far better value which is what people are looking for today. We want to be nourished and we want to be healthy—we don’t want to be responsible for profligate waste of precious, non-renewable resources for a quick buck.

What is your design process? Does it start in the studio, or does inspiration strike you in unexpected ways? Where do you often find inspiration?

No I don’t think it ever starts in the studio, that is where it gets developed. It starts in some crevice of my awareness when I am in a positive place that is feeding me. This incipient part of the process cannot be controlled or willed — that is part of the imposing I mention above. You have to know how it may spring at you so that you are there ready to receive it when it does. For me this is usually when I am alone, relaxed and at peace in the beauty of nature, but it does not need to be so for everyone.

And then how does something go from an idea to a design to an actual product?

That is the hard work where real skill is required. When you first have an idea it appears to you to be perfect and ready to go—you are tempted to feel proud of yourself. But with experience you will know that your imagination is far too clever and glosses over all the hidden problems and pitfalls of the initial idea. These come out when you start to develop it on paper, screen and physical trials. Then your real skill is tested in how you can resolve all the conflicting requirements of the design (structure, cost, material, aesthetics, etc) while at the same time retaining the initial spark that made you think the idea had so much potential. This is where students and young designers often stumble because it requires extensive practical knowledge of materials and processes. Too often their idea becomes impossibly compromised.

Your catalog has grown over the years but not as rapidly as most lighting manufacturers—how do you decide to bring new designs to the market?

I believe in quality not quantity. I can’t bring myself to create a whole lot of new lights for the sake of it. In fact, I have a real problem with this obsession with the new. It degrades what we already have. It is a deliberate consumer construct to get people to buy, where the need to sell is greater than the need to buy. I think we should start savouring and appreciating what we have, rather than expecting designers and producers to constantly titillate us with something new. So much newness can only be inferior, often resorting to gimmickry for the sake of it.

Not all of your lighting designs seem to fit together from an “aesthetic” comparison—is there a common theme in your work?  

As a designer, I would be silly to restrict myself to one common aesthetic, as that would only appeal to a limited clientele. We have tried to address our creativity to a variety of aesthetics so that a wider range of people can fit them into different looking spaces. For example, the original black and white Ebb lights were designed for spaces that feature limited color palettes, and where the natural color of wood is out of place.

Many fixtures in your catalog will cast brilliant shadows with the correct space positioning and lamping. Is this effect accounted for in your design process or just a great side effect?

Absolutely! Who needs wallpaper?! You can hang a bare light bulb from the ceiling to create functional light at night, but it is a cold, depressing form of light, which is why you see it in prison cells. Shadow patterns generate a warmth and visual texture that makes the space a pleasant and even enriching one to be in.

I am, and always have been, adamant that we are utterly a part of nature and that informs every step of my design process.

David Trubridge

You have been a champion of environmentally conscious design long before it came into vogue, and your designs often have organic shapes and elements. What role does your relationship to nature play in your designs?

It is integral—the two are inseparable. I am, and always have been, adamant that we are utterly a part of nature and that informs every step of my design process. I am not happy with the rather egotistical or colonial aspect of design culture, the process of imposing an external will. I see design more as an enabling process, working communally with land, people and materials. In this way everything is interlinked, as it is in nature, and so it becomes so much more sensitive and resilient.

You have made a bold move to remove/reduce plastic use in your product line. Quite a risk, why is that so important to you?

You could say that there was a greater risk in our retaining plastic, as it would have made our claims to value sustainability hollow and hypocritical. I don’t think you can ever rest on your laurels and stop moving: you always need to be improving because nothing we do is perfect. So we aim to constantly chip away at the more harmful aspects of our operation and improve bit by bit.

The material used in the David Trubridge lighting range is predominantly bamboo plywood. Is this an effort to be eco-friendly or a necessity to achieve the desired aesthetic?

I have always worked with wood and remain loyal to it, though of course bamboo is not strictly wood; it is a type of grass. It is the perfect fit for both our environmental concerns and for my natural aesthetic.

Are you researching and/or evaluating any new materials for use in future lighting designs?

Yes, we are always experimenting and looking for new materials. For some time we have been working with a New Zealand Crown Research Institute on various forms of biopolymer, or plastic made from replenishable organic material, mixed with local materials such as flax or harakeke, as it is called by Māori. We are also interested in seaweed and algae—but whatever its source the material must be local; I do not want to ship stuff back and forth around the world. Because we have set ourselves quite high standards of sustainability for materials we have a limited range of options which makes it quite hard.

How did the pandemic lockdown change your outlook?

It has taught me that you can’t fight nature. Humanity had evolved to the point where we were in danger of taking nature for granted in the belief that we had transcended it—that we could control our survival. I think it has been a very good lesson in subduing our hubris, but I am not yet convinced that we have learned that lesson as we rush back to “normal.”

It has also taught me the importance of living within our means, especially as a business owner.

Actually, maybe I should say it has reinforced the belief I already had in responsible business management. That means not going out on a limb of reckless debt, chasing of relentless growth. It is more important that the business is sound and that we can look after the people who are a major part of it.

What do you enjoy most about the lighting and furniture industry?

When someone says to me, “I love living with one of your lights. It makes me happy.” And I love lighting most because it offers the greatest freedom in sculptural inventiveness.

What advice would you give to designers that are just starting careers in the industry?

Don’t blindly follow trends. Don’t be constantly swayed by what you see out there in the mad jungle. Know what is going on, but then put that aside and concentrate on being yourself because you are unique: you do not need to resort to gimmicks and clever stuff to be original. Good design will always last in the end, long after the ephemeral trend of the moment is forgotten.

Who is your favorite designer?

Nature, because we will never ever get close to being so good.

Your Euroluce exhibit for the Coral Pendant’s 20^th anniversary was a poignant reminder of environmental peril—what responsibility does the design community shoulder in helping to draw attention and devise solutions to the ecological concerns we’re facing?

Humans are very ingenious and good at making things. But we are not so good at moral accountability. We hurry to produce “stuff” just because we can, relying on the pervasive advertising industry to manufacture a need and sell it for us. Sadly those days of indulgence are over and now we need to think very hard about whether something is really needed—and if we decide that it is, we have to make sure that producing it does not cause harm to people or planet and does not waste precious resources. Designers must carry this responsibility. Accounting for carbon emissions or resource depletion is one thing and relatively easily done, but then how do you value art…beauty…cultural nourishment, all of which humans do need?!

However, it is not enough even to be sustainable. We can’t just swap all our current energy generation and manufacturing over to sustainable processes, because the “front-end loading” would emit a disastrous amount of carbon. For example, solar panels generate “free” electricity, but their manufacture emits large quantities of carbon just at a critical time when we desperately need to reduce carbon emissions to keep global warming in check.

So we also need to embrace the idea of material “degrowth” and that puts additional pressure on the designer wanting to create new products. How do we make less stuff, and yet increase human (and nature’s) well-being? These are the issues I am grappling with.

David Trubridge designs ship flat-packed with assembly required, to cut down on shipping impacts on their carbon footprint. In keeping with his overarching philosophy, Trubridge created a 20^th-anniversary edition of his beloved Coral Pendant and presented an installation of 20 white fixtures at Euroluce in Milan in April 2023; one pendant for each year of Coral’s existence. The white finish calls attention to coral bleaching and the environmental devastation of the world’s reefs. Watch the video below for David’s take on the issue.

The post David Trubridge, Pioneer of Sustainable Design first appeared on The Edit | Lumens.com.

Immersed in the artistic community of Los Angeles, Bend Goods came on the scene in 2010 with a background in industrial design and a penchant for personal expression. Designer and founder Gaurav Nanda took inspiration from summers spent with his family in Palm Springs, fostering an affinity for mid-century modern architecture and design, and a lifestyle of appreciation for design elements. After a stint building vehicle interior models for General Motors, the Michigan-born sculptor and designer struck out to make his mark on the mid-century movement in the modern day. 

We had a chance to catch up with Nanda to find out more about what makes Bend Goods so special. 

What’s new at Bend Goods? Last time we talked, you had just passed 7 years in business. How have things changed since you started up in 2010?

Since our last conversation, Bend Goods has continued to evolve and thrive. We remain fueled by our great ambitions and are grateful for our dedicated team that works tirelessly in design, customer relations, and other crucial areas. As a small, self-funded team, we have faced and overcome various challenges that have come our way, including the global pandemic, supply chain issues, and the ever-changing business climate. Through these experiences, we have gained invaluable knowledge and have come to embrace the uncertainty that accompanies running a business. However, our unwavering commitment lies in our passion for designing exceptional products.

We have great aspirations and are really motivated to build some great products. We are doing a lot of work behind the scenes that nobody really knows about. I basically work night and day, thinking of new ideas, figuring out how we can streamline things better, how we can be more responsible at manufacturing, and how we can provide the customer with the best possible service.

You’ve mentioned Palm Springs as a major influence on your design aesthetic and recently traveled to Japan – how do the influences of other places and cultures inspire your design process?

The influences of other places and cultures hold immense significance in shaping my design process. By embracing diverse influences, I strive to create designs that transcend boundaries and resonate with a wide audience. Blending elements from various sources allows for a more nuanced and enriched design language, enabling me to craft meaningful, authentic, and timeless pieces that capture the essence of different cultures while remaining true to my own design ethos.

One transformative experience that profoundly impacted my creative approach was my journey to Japan. Immersed in its rich design culture and unwavering attention to detail, I was captivated by the minimalism, precision, and harmony that define Japanese design. These principles have seamlessly woven themselves into the fabric of my aesthetic, enhancing and refining my design sensibilities.

Exploring different places and cultures acts as a gateway to new design philosophies, techniques, and materials. It broadens my perspective, enabling me to transcend the confines of my immediate surroundings and tap into a global design sensibility. Each location possesses its own unique qualities, whether it be the architectural heritage of Palm Springs or the traditional crafts of Japan, providing an abundant wellspring of inspiration.

Ultimately, the influences of other places and cultures fuel my creativity, propelling me to constantly evolve and innovate. They serve as a constant reminder that design is a universal language, transcending geographical boundaries and connecting people from all walks of life. Embracing these influences not only enriches my work but also fosters a greater appreciation for the diversity and interconnectedness of design on a global scale.

There are many things that inspire me both personally and in the design process. I have been a huge fan of music for as long as I can remember. I love everything from indie rock to electronic dance music. It’s always been interesting to me how the lyrics in a song’s chorus or even a bass line can really shape your perspective and draw emotions out of you. Stage shows today are really inspiring as well. The production value and graphic design that goes into most EDM shows coupled with the music can really drive creativity. 

I’m also a big architecture fan and draw a lot of inspiration from buildings from all over the world. One of the greatest things about what we do is getting to work with designers on big-scale commercial projects. It’s awesome to get to watch projects come together and then have a piece of Bend incorporated into them. It’s a very proud moment seeing hard work come to a conclusion in that way. 

 
Can you take us through the design process?

My team and I spend a lot of time thinking about the holes and needs in the market and also needs in our own lives. As our line grows and rounds out, we try and fill in those gaps. Once we find a need or a product that we want to try and tackle, we spend some time brainstorming how we can up the design quality of the product but also keep the functionality. We then take the idea and bring it to life in one of a few different 3D programs that we use.

Once we get an iteration that we are happy with, we will often times build a cardboard scale model. It’s important to understand the scope and scale of products and how they will live in and fill up a space. Once we are happy with the pre-production we make a wire sample. Sometimes that sample can be perfect and others it can take multiple more before we get it right. Product design is a really great process and something that we have a lot of fun with! 

Your products contribute to LEED certification—can you expand on your efforts toward sustainability? What about the culture of your company and its place in Southern California contributes to these initiatives?

Our proximity to nature in Southern California reminds us of the importance of preserving our environment. It serves as a constant reminder to integrate sustainable practices into our operations and create products that not only enhance spaces but also contribute to a healthier planet. We place a strong emphasis on supporting sustainability efforts and minimizing our environmental impact. Our company culture revolves around the principles of eco-consciousness, responsible manufacturing practices, and promoting a greener future.

One of the ways we contribute to sustainability is by utilizing materials that are eco-friendly and recyclable. We carefully select materials that meet high environmental standards without compromising on design or quality. By using recyclable metals and other sustainable materials, we aim to reduce waste and minimize our carbon footprint. We are continuously exploring innovative ways to reduce energy consumption, optimize packaging materials, and implement sustainable logistics practices.

What is the impression you’d like people to have when they hear “Bend Goods?”

We want people to be inspired by our creativity. We work really hard to keep everything that we do as original, innovative and as playful as we can make it. We take our designs and quality seriously but we try not to take ourselves as seriously. It’s important to me and my team that we are putting Bend out there as something to aspire to and a lifestyle that motivates you to be the best person and live the best life that you can. 

What makes us different from other furniture brands is our focus. We live the brand that we are creating. We design for ourselves as much as we design for all of the design lovers and admirers out there. I think that makes our point of view authentic and unique. Bend and its story are not concepts that we come up with in a board room to sell furniture; Bend is a quality of life that we all strive for internally. We lead by example because we love what we do and what we make. I want to impact people’s lives in the most positive ways possible, even if that’s as simple as putting a beautiful photo on Instagram that makes someone smile or inspires them to realize the perfect color chair they need for their dining room. We are here to help make your space and your life more beautiful. 

We are excited to share that we have some amazing new products in the works. We are always experimenting with different materials and pushing the boundaries of our capabilities. While many of our designs never make it to production, we are constantly exploring new ideas and materials. While we can’t share any pictures just yet, we can tell you about a few of our upcoming releases: The tube chair, featuring a thicker tube with a wooden seat back, will debut soon, along with a matching lounge chair. We’re also excited to introduce a wire chair with arms, which will be available in the coming months. In addition to these new designs, we’re refreshing our color options to provide even more choices for our customers. Stay tuned for updates on our latest offerings and get ready to elevate your indoor and outdoor spaces with Bend Goods.

The post Around the Bend: A Q+A with Gaurav Nanda of Bend Goods first appeared on The Edit | Lumens.com.

Clockwise from top left: Piero Lissoni, Mario Bellini, Gaetano Pesce, Patricia Urquiola and Antonio Citterio.

Piero Lissoni, B&B Italia Art Director

Piero Lissoni

Long regarded as one of the most influential figures in the world of modern design, Piero Lissoni is B&B Italia’s Artistic Director. He began to envision architecture and design as one holistic discipline after his years of studying with design masters Achille Castiglioni and Marco Zanuso at the Polytechnic University of Milan in the 1970s. That early mentorship would define his unwavering modern and humanistic approach, leading him to create a portfolio of work, like Spool for B&B Italia, designed to develop a sense of calm while carefully blending the history of each object he creates with the technology and craftsmanship of the day.

Perpetuating a visual aesthetic that’s clean, subtle and perfect in proportion, Lissoni’s signature of elegance and sophistication is instantly recognizable in his designs that balance form and function with unexpected materials and finishes, all standing as a testament to his mastery of the craft.  

Spool Side Table by Piero Lissoni for B&B Italia

Le Bambole Lounge Chair by Mario Bellini for B&B Italia

Mario Bellini

A revolutionary Renaissance man, Mario Bellini cannot be confined to a single title. The curator, editor, professor, designer and architect can’t be confined to a single discipline either: Since the beginning of his career in 1959, the Milan-born artist has designed everything from typewriters to film cameras, stereo systems, an experimental concept car made of glass and intended for living (Kar-a-Sutra, 1972), convention centers, and of course, his industry-defining furniture collections for B&B Italia, including Camaleonda and Le Bambole.

With more than 25 of his designs residing in the New York Museum of Modern Art, in addition to the museum’s 1987 Bellini-dedicated retrospective, and eight Compasso D’Oro awards, Bellini is revered for his inventive uses of upholstered materials that redefined the craft of furniture-making and his visionary blending of organic aesthetics with contemporary Italian design and culture.

Antonio Citterio

Furniture and industrial designer, architect and Creative Director for B&B Italia’s sister brands, Maxalto and Arclinea, Antonio Citterio started out an ambitious man. Three years before graduating from the Polytechnic University of Milan, Citterio opened his own studio where he began producing functional, user-friendly furniture designs heavily influenced by the design philosophy of the Bauhaus movement and American designers like Ray and Charles Eames.

With a keen eye for detail and a desire to create pieces that were both purposeful and elegant, Citterio went on to design iconic works for international brands, including the Charles sofa for B&B Italia, a bestseller for over 20 years.  Citterio’s dedication to sophisticated functionality and industry innovation has earned him two Compasso d’Oro awards, as well as a place in the permanent collections of New York’s Museum of Modern Art and the Centre Pompidou in Paris.

B&B Italia Showroom Designer and Creative Director of Maxalto, Antonio Citterio

Charles Sofa by Antonio Citterio for B&B Italia

Patricia Urquiola, Designer of Tufty-Time and Husk

Patricia Urquiola

With every intention to pursue architecture as her sole discipline, Patricia Urquiola’s early academic meeting of the minds with Achille Castiglioni changed the course of her future—and changed the face of the design industry. Now one of the most prolific designers of the day, Urquiola centers the human experience, a willingness to experiment and expert craftsmanship in her design practice. “Design objects can be tools to provoke existential awareness,” she recently reflected in the Women in Design Summit, hosted by Lumens.

Women in Design

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Patricia Urquiola

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Urquiola’s diverse portfolio stands as a testament to the designer’s brilliantly complex and empathetic mind. Whether creating imaginative lighting designs, dimensionally pristine pieces of furniture—like Tufty-Time and the Husk Collection, both produced for B&B Italia—or a richly detailed textile, Urquiola begins each project with the same question her mentor, Castiglioni, would ask: How will people and spaces interact with this thing I am creating?  

Husk Swivel Lounge Chair by Patricia Urquiola for B&B Italia

Tufty-Time Sofa by Patricia Urquiola for B&B Italia

Gaetano Pesce, Designer of Serie UP Armchair + Ottoman

Gaetano Pesce

Interested in exploring the relationship between form and function, Gaetano Pesce takes objects of the everyday and turns them extraordinary. From vases dripping in resin goop and smiley faces painted on the backrests of dining chairs to the cultural commentary on womanhood with his bestselling B&B Italia design, the UP5_6 Armchair + Ottoman, part of the Up Series, Pesce contemplates the modern era through disrupting conventional design.

Working in the heyday of industrial innovation, Pesce took on experimental new materials like polyurethane foam and resin to produce his visionary, daring works that now reside in over 30 museums around the globe. Considering art both a product and a creative response to the times we live in, Pesce’s insatiable curiosity for information—and interpreting that information through design—has made him one of the most wildly experimental (and successful) designers of the last century. 

Serie UP Armchair and Ottoman by Gaetano Pesce for B&B Italia

The post Pushing the Boundaries: The Designers Behind B&B Italia first appeared on The Edit | Lumens.com.