Ceilings dotted with halogen lights might have illuminated rooms within the 1980s, but today’s focus is on Serge Mouille, whether it’s feature lights within a restaurant or table or standard lamps in homes. And as opposed to blind recipients, the sunshine creates intriguing shadows on walls and ceilings.

“Lighting is now more focused entirely on achieving certain tasks, whether it’s to produce cooking easier, or simply to produce the right ambience,” says architect Jon Mikulic, director of Newline Design whose design skills include creating lights.

For your Dutchess restaurant, a great-dining venue in Melbourne, Mikulic created a striking light being a centrepiece. Set against a black-painted ceiling, the Coil Light is manufactured out of copper water pipes and powder-coated white. “There’s approximately 60 metres of piping within this design,” says Mikulic, who saw the free-form cloud-like light being a contrast up to the more formal lines of your seating. As soon as the brief requires, lights enter in to play, including cathedral-style glass lights for any nightclub that evoke stalactites found in a cave.

One lighting design that frequently finds its distance to Newline’s bespoke homes is definitely the extruded fluorescent tubes that cantilever above island benches in kitchens. Covered with black steel, the 3.5-metre-long lights are pierced at various points to accentuate different qualities of light. As well as fluorescent tubes, there’s also more incandescent lighting in this fixture.

“The brighter part of this light is centered on cooking, during another part it’s about developing a slightly softer light,” says Mikulic, who sees a move towards using technology to produce a more tactile response whether it’s placed into a domestic or commercial setting. “Lighting designers can also be beginning to explore the use of a greater number of materials, whether it’s ceramic, steel and even concrete,” he adds.

Lighting designer Suzie Stanford first stumbled on prominence together distinctive teacup lights. Produced from “up-cycled” fine bone china, these whimsical creations became a feature both in residential and commercial settings. Stanford’s latest selection of lights, made from found brass and by means of animals, fish and magnolias, enliven living and dining rooms and also adding light to bedside tables. “It’s about having the right form in each design, whether it’s a pheasant, a swan or even an eagle,” says Stanford, that has designed a number of floor lamps and bedside tables for this collection.

And also making a conversation piece for a room, Stanford’s lights provide intriguing silhouettes of creatures against walls and ceilings. ‘”I direct light source upwards to make more subtle shadows,” says Stanford, who sees lindsey adelman chandelier as a type of theatre and as a means of engaging people, whether they are relaxing within an armchair or gathered around a dining room table. And making use of found, as opposed to bought, materials adds history to each and every design. “I like the notion of reinterpreting an item. Before it might have been a copper bird getting dusty on someone’s shelf. Now it’s a centrepiece in someone’s home,” says Stanford, who sources her materials from around the globe..

Lighting designer Christopher Boots has also established a reputation in both Australia and abroad for his bespoke lighting. His Prometheus light, a striking solid brass ring embedded 10dexmpky removable crystals, has turned into a feature in both retail and domestic environments. Available in many different sizes with each one intended to order, the Prometheus lights are now supplied to america, Britain and Asia.”As a child, I usually enjoyed a fascination for crystals,” says Boots.

Also in Bocci Pendant is the Diamond Ring light, a considerably larger version of any diamond engagement ring. Made out of solid quartz, these lights vary in proportion from 450 millimetres to 2.1 metres in diameter.

For Boots, the division between work and pleasure doesn’t exist. His desire for lighting extends 24/7, with constant exploration to create lights that will make people feel secure and cozy, whether sitting in their homes or dining within a restaurant. “A property should be a spot for dreaming,” says Boots, who couldn’t possibly have dreamt of seeing his lights happen in the Hermes shop windows, first in New York City in 2014, a year later in Vancouver.