Project Cases

Transparent crystal reads as light and almost weightless in daylight, then gains a warmer, deeper glow once lit — present in the room without ever feeling heavy.

What makes a chandelier like this work is not the number of tiers but proportion: overall dimensions against the room, the drop above the furniture below, and the relationship between the fixture and the double-height volume around it. Every one of those was set on site.

One continuous tier-by-tier assembly, hoisted and levelled, then tuned in place until the crystals fell exactly as drawn.

Conventional pendant lighting was set aside here. A continuous cove of linear light follows the ceiling's organic curves, so illumination travels along the architecture instead of falling from a fixture — the rough stone walls and vaulted ceiling becoming a canvas of shadow and glow.

The light itself is hidden: recessed into ceiling grooves and wall joints, released only where it matters. Each table receives a soft pool of light that reveals linen and porcelain, while circulation areas stay at low luminance so a sense of privacy holds. Warm orange seating lifts the coolness of dark stone.

The result is not a brighter restaurant, but a slower one. Guests settle in, conversation quietens, and a meal becomes an occasion.

This residence has been taking shape over recent months. More than the number of fixtures installed, what mattered was whether the light truly serves everyday life.

The hardest part of residential lighting is not making a room bright — it is knowing when to hold back. No pointless fittings, no distracting patches of light on walls, no undue emphasis on the fixtures themselves. Base lighting, wall wash and accent are layered and colour-tuned to each room's materials, so every space has light exactly where it is needed.

Good lighting design is not about noticing lots of lights at first glance. It is about feeling comfortable, natural and at ease once you live in the space — and continuing to appreciate it over time.

A large, shallow ovoid of textured glass, mounted close inside an existing coffered ceiling. The brief was a fixture with real presence that would not lower the ceiling line or fight the panelling.

Because the glass is lit from within and the profile stays close to the plasterwork, the piece reads as part of the ceiling rather than an object hanging beneath it. The warm band of the frame is left visible, so the fitting still has a crafted edge in daylight.

Shown here at the end of installation, shortly before the room is handed over.

An art light does not belong only in the living room. This kitchen is finished in dark timber veneer and grey stone; with base lighting alone, the space read as heavy and short of focal points.

The answer was a long rectangular crystal fixture, its length set to echo the island below. The open crystal structure keeps the visual mass of the piece without lowering the perceived ceiling height, and once lit, the warm light softens the hard edges of the dark cabinetry and stone.

A good art light is not one that looks beautiful on its own. It is one where size, material, drop height and spatial proportion all land right.