TONY EKSKLUZIVNE VILE - DalCasa

DIZAJN RASVJETE U HODNIKU KOJI POVEZUUJEHOTELSKE SOBE I SPA CENTAR RESORTA NOVILIGHT DESIGN IN HALL WHICH CONNECTSHOTEL ROOMS AND SPA CENTER OF RESORT NOVIdarker room, and that they will change their behaviour if youturn on a cold, strong, white light. The shades and variationsbetween those two extremes reveal our creative strength.What are some of the obstacles and challenges during thecourse of your projects? What are your experiences with investors,architects and interior designers?I always emphasize the importance of integration in lightingdesign, which assumes a close cooperation with architectsand interior designers. I am fortunate enough to often fi ndmyself in situations where the architect and I mutually inspireeach other, which results in lighting and structural installationsin the space. Constructions procedures that are performed inthe interior with the purpose of light become integral parts ofthat space, regardless of whether the light is turned on or not.We have an example of an architectonic simulation of fi g-leaf veins in Novi Vinodolski, which resulted in the entire objectbecoming a lighting object. It is fair to say that Lumenart’sand Skira’s three-dimensional approach to lighting design isvery specifi c and recognizable to many. Unfortunately, therearen’t always opportunities for those scenarios, as the relationshipsbetween myself, the architect and the investorbecome crucial. If one of the links in that chain breaks, theidea is dead. There are numerous obstacles. I recently had asituation where everybody involved in the project agreed onan idea, which was admittedly rather radical. Idea, in whichwe wanted to transform the driveway to the Four Seasons Hotelin Baku into a gigantic Azerbaijan carpet, wasn’t backed51