Panton drew on his original designs to create a portable version of the bell-shaped Pantop light. The latest addition to the collection allows users to carry the light with them around the house or even into the garden.
Pantop Portable can be easily carried throughout the house
"Making the Pantop Portable adds a level of usability and flexibility that allows you to bring the light with you – from room to room, or even outside in the garden or at the balcony, and create the desired atmosphere wherever you are," said Verpan.
"The new Pantop Portable has been created in respect to the original Verner Panton design, however in a modern execution using contemporary materials and technologies."
The lights come in a range of bright, playful colours with a glossy finish
Like the larger Pantop lights, the portable version comes in an array of colours such as bright red, forest green and baby pink. All of the lights are finished in a shiny gloss and have a dimmer to adjust brightness.
Thanks to its seven-hour operation time, the portable light can be used inside to illuminate interiors or outdoors on garden tables.
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Producing furniture can have a positive impact on people and planet, according to Marie Cudennec Carlisle of Goldfinger, a design brand whose business model includes recycled materials, a training academy and a community kitchen.
Based in the Ernö Goldfinger-designed Trellick Tower in west London, Goldfinger is a furniture maker that operates as a social enterprise and promotes a circular economy.
It manufactures bespoke furniture for clients including Inhabit Hotels and co-living brand Mason + Fifth, and has just launched its first in-house designed furniture range, the Ayrton Collection. It also operates a retail platform, selling products by like-minded brands.
Marie Cudennec Carlisle is CEO and co-founder of Goldfinger
The company uses only recycled or sustainably sourced wood, to reduce its carbon footprint and minimise waste. All profits are fed back into the business – used to fund Goldfinger Academy, which offers education programmes for marginalised young people, and People's Kitchen, a cafe that offers free meals to local residents.
But Cudennec Carlisle, Goldfinger's CEO, doesn't want the brand to be defined by its sustainable credentials. She believes it's more important for people to love the products for their design than for their social and environmental impact.
"It's about creating beautiful objects that don't look recycled," she told Dezeen.
"I want someone to say, 'I want that table', even if they are not interested in people or planet," she said. "By buying it, they are supporting the social and environmental benefits."
Moving beyond shabby chic
Cudennec Carlisle co-founded Goldfinger in 2013, along with former partner Oliver Waddington-Ball. The business initially focused on upcycling old furniture, but Cudennec Carlisle felt this was the wrong approach.
"Shabby chic didn't excite me," she said. "I always say it's more shabby than chic."
With a background in luxury retail, she saw a gap in the market for creating responsible products without compromising on design quality, so that they would appeal to a high-end customer base.
"The most important thing is making Goldfinger an aspirational brand," she explained. "That's the way you have the most impact because you appeal to the widest audience."
The brand has just launched its first furniture range, the Ayrton Collection
Initially, this was achieved through partnerships with leading architects and designers. Tom Dixon, Arup and Holland Harvey are among the studios that Goldfinger – previously known as Goldfinger Factory – has collaborated with on limited-edition furniture and homeware launches.
However, the brand is now keen to establish its own design identity, which is why it is now developing in-house design collections.
"We're working around timelessness, creating heirloom pieces that draw on old-fashioned joints but are very modern looking at the same time," said Cudennec Carlisle.
"One of the greatest measures of sustainability is how long you use an item," she said. "It's not sustainable to buy something from a charity shop, because you want to do good, but then throw it out a year later. That's why we're not trend-based."
Finding sources of sustainable wood
Launching for London Craft Week, the Ayrton Collection includes a desk, chair, bench and side table. The pieces were created by Goldfinger's designer and maker, Daniele Barco, with Japanese-inspired joints and minimal brass detailing.
The one-of-a-kind first edition, which is being auctioned to raise money for Goldfinger Academy, is made using reclaimed teak donated by Imperial College London, and Douglas Fir sourced from British trees that were felled to make way for building development.
Later editions will be made to order in responsibly sourced English elm and beech.
All Goldfinger furniture is made from recycled or locally sourced wood
Cudennec Carlisle explained that supply chains are key to Goldfinger's operations. The company sources recycled timber from a range of sources including universities, museums and retailers like Harvey Nichols.
It also works with tree surgeons to source timber that has fallen naturally or been cut down for other purposes, and would otherwise be chipped. Some virgin wood is also used, from select British suppliers.
"We try to get wood that has travelled the least possible distance," said Cudennec Carlisle.
Avoid becoming "an above-ground landfill"
The Goldfinger team are also careful to only accept materials they know they can reuse, "otherwise you just become an above-ground landfill".
Cudennec Carlisle hopes that Goldfinger will inspire more designers and brands to be more circular.
The brand is based in the Trellick Tower in west London
"We need to develop more systems for allowing waste to become treasure," she said.
"It all starts with a mindset shift, which is to start seeing waste as a resource," she added. "We don't like to call it waste, we like to call it surplus materials or resources. I often say waste is just a resource in the wrong hands; they just haven't figured out what to do with it."
Read the full interview with Marie Cudennec Carlisle:
Amy Frearson: What led you to set up the Goldfinger brand?
Marie Cudennec Carlisle: My background is in luxury goods. I've always had a passion and a sensibility for beautiful objects, but there was something really lacking for me in that industry that I couldn't put my finger on. Once I started finding out more about sustainability, I realised what I was missing was meaning and purpose. Did creating beauty have to be at the expense of the planet, at the expense of community?
I came to realise this idea was deep within me from quite a young age. I grew up in Hong Kong and I have this memory, from when I was about eight years old, of being on a boat and seeing a fridge floating in the ocean. It was such a graphic image. I remember being so sad to see that humans were destroying our oceans and damaging our planet. That always stayed with me but it took a while for it to fully manifest into what I was doing.
It was my co-founder that discovered the model of social enterprise, of a business that exists for a social purpose but derives the majority of its income from selling goods and services. He is also passionate about sustainability and is a keen carpenter, so we started looking at a business model of making furniture. Furniture making is incredibly powerful both environmentally and socially, because you can reuse materials that would otherwise be destined for landfill and it's a beautiful vehicle for training, apprenticeships and job creation.
There were already a lot of charity shop models and inspiring up-cycling projects, but no one was doing it in a high-end, design-led way. Shabby chic didn't excite me. I always say it's more shabby than chic. With my luxury branding background, I thought, maybe there's an opportunity to do this with the right ethics, but in a high-end way? Maybe we could create a premium brand that is synonymous with helping people and planet? And so that's how we began, in 2013.
Profits are used to fund Goldfinger Academy, which offers training for marginalised young people
Amy Frearson: How has the business evolved since then? Can you explain your business model?
Marie Cudennec Carlisle: We have a 4,000-square-foot space underneath the Trellick Tower, consisting of a showroom, a restaurant and a workshop downstairs.
At the heart of it, we're furniture designers and makers. We sell bespoke furniture to commercial clients: hotels, restaurants, residential, offices, you name it. We also are a platform for artisans and makers that share our values, so we have a retail platform where we sell sustainably made products. All the profits from the commercial arm go back into the social mission, which take form in the Goldfinger Academy and our People's Kitchen.
Goldfinger Academy is our educational arm, which includes many programmes. In our apprenticeship programme, we take on young people from disadvantaged backgrounds, offering them a different career path as a carpenter or maker. We also work in schools, with children as young as 10 or 11, bringing craftsmanship to the curriculum. It isn't just about employment and skills training, but also about craft as a tool for wellbeing.
People's Kitchen is a cafe that offers free meal deliveries to vulnerable local residents
People's Kitchen, our Sicilian restaurant, is the other way we deliver social impact. Pre-Covid we would use surplus food from farmers markets and restaurants to create really beautiful, nutritious feasts that were free for anyone from the community to attend. We started the feasts in 2015 and they were mostly attended by elderly low-income residents from the local social housing blocks, Trellick Tower all the way up to the Grenfell Tower site. In March 2020, we pivoted to become a meal delivery service. We managed to fundraise enough to deliver 150 meals every single Sunday during the lockdown.
Amy Frearson: Why did you choose to associate the business with the architect, Ernö Goldfinger? You are named after him and you are based in one of his buildings, the Trellick Tower. Do you see any comparison between your business and Goldfinger's design ethos?
Marie Cudennec Carlisle: A lot of people think we must have looked for a Goldfinger building space, because it fits our business model so well, but it was the other way round. We lived on the other side of the canal from the Trellick Tower and one day just passed by and saw the space for let.
We strategically wanted to be in an area that had a social need, but that was close to an affluent population. It's a high-end product we're selling at the end of the day, so we need to bring these two communities together. North Kensington is the most affluent borough in the country, but Golborne is one of the most deprived wards in London, so the location seemed perfect.
We play on the Goldfinger connection a lot. The name itself evokes so much transformational power, particularly because of the connection with Ian Fleming – the man with the Midas touch, transforming things into gold. It's a very powerful metaphor for what we do, which is seeing the inherent value and potential in discarded material and overlooked talent. There is a lot of similar thinking with Goldfinger too, with his visions for these towers as social utopias.
Amy Frearson: How does the manufacturing process work when you're using reclaimed or recycled materials, rather than virgin materials?
Marie Cudennec Carlisle: It's all about the network and the supply chain, which we've developed over the past eight years. It started with making calls to various different organisations: construction companies, retailers, museums, universities, anyone who might have surplus material, from planks of wood to desks that can be easily taken apart.
In the beginning, we made the mistake of taking everything we were offered, without looking at how reusable the materials were. We're now a lot more picky about what we take on. There needs to be volume and homogeneity for it to be worthwhile, so we only accept solid timber and we make sure we're getting a good amount. Occasionally we make an exception, like if it's an incredible table with beautiful walnut, which would be tragic to throw away. But otherwise, you just become an above-ground landfill.
Daniele Barco is Goldfinger's designer and maker
The supply chain has been developing with increasingly more retailers and universities. Recently we had a donation from Harvey Nichols of about a tonne of Western cedar from their Christmas windows and we have made countless furniture pieces from it. The new collection we're launching for London Craft Week is made from teak workbenches donated from Imperial College. Virgin teak is definitely not sustainable, but these workbenches have been in Imperial College for several decades. There's nothing more sustainable than to give this wood a new life.
We've had material from the Design Museum, the Science Museum – all this wonderful wood with a story – but eventually we realised that was limiting. There's only so much you can get from the reclaim side and, as we started taking more commissions from the hospitality sector, we needed to increase our supply chain. So we do also work with sustainably sourced new material.
We try to get wood that has travelled the least possible distance, by using only native British species and working with a huge network of tree surgeons. Many London plane trees get cut down for urban development, fall down during storms or have to be cut down for safety reasons, and often that wood would get chipped. It's almost like reclaimed wood because it would have been destined to disappear.
Amy Frearson: What is your design approach and how much is it impacted by the process?
Marie Cudennec Carlisle: Our design process is often material-led. What do we have? What can we make with this?
We've been very lucky to work with a whole host of designers. Tom Dixon designed a collection for us in 2016. We worked with Arup in 2017. But inevitably what happened those times was that it became their design aesthetic and we ended up being just the fabricator.
The brand has previously collaborated with brands including Tom Dixon
What's exciting at the moment is that we've just had a rebrand and are launching our own collection for the first time. We're working with a creative director and a designer, who are really helping to bring that strategic direction in really defining the Goldfinger aesthetic.
Until recently it was a lot of just client-led commissions, so there was no recognisable aesthetic. It was very difficult to say 'that's a Goldfinger thing'. That is the focus of our work now.
Amy Frearson: Can you describe the Goldfinger design aesthetic you're hoping to develop?
Marie Cudennec Carlisle: We're drawing on the brutalist architecture of the Trellick Tower, our muse in many ways. There's also a biophilic aspect. We have a manifesto, From Tree to Table, which is about being in sync with nature, so there's a very raw and natural aspect to what we do, letting the natural wood shine through. It's not just about what we do, but what we don't do. We use as few finishes as possible and absolutely no MDF.
For me, the most important thing is making Goldfinger an aspirational brand. That's the way you have the most impact because you appeal to the widest audience. I look forward to being able to fully define a Goldfinger aesthetic because for me it's not just about recycling materials. It's about creating beautiful objects that don't look recycled. That has always been the aim. I want someone to say, 'I want that table' or 'That's a Goldfinger table', even if they are not interested in people or planet. By buying it, they are supporting the social and environmental benefits.
It has produced bespoke furniture for clients including Inhabit Hotels
One of the greatest measures of sustainability is how long you use an item. It's not sustainable to buy something from a charity shop, because you want to do good, but then throw it out a year later. That's why we're not trend-based. We're working around timelessness, creating heirloom pieces that draw on old-fashioned joints but are very modern looking at the same time.
The plan is to launch at least two collections a year going forward, so you'll see the Goldfinger aesthetic getting more defined with every collection.
Amy Frearson: What advice do you have for other companies looking to adopt a more circular approach to design and manufacturing?
Marie Cudennec Carlisle: We were just ahead of the curve in thinking about the circular economy. That has given us a very privileged position, to be at the forefront of these conversations and to have had huge partners like John Lewis and Hermès from very early on. We hope to be an inspiration to others to do the same. I think there's a lot we can share, not just in the furniture design industry but the fashion industry too.
It all starts with a mindset shift, which is to start seeing waste as a resource. There is no such thing as waste. It's a manmade concept. When you look at nature, it doesn't exist. Everything goes back into the earth and gets cycled back through. We talk about throwing things away. Where is away? There is no away. When we talk about scarcity of resources, it's all there, we just need to get better at reusing and finding it in different places.
At the beginning, it's less cost-efficient and that's one of the biggest roadblocks to the full adoption of this. But the more we start all doing it, the more these networks get set up and we start really seeing the value in waste.
We don't like to call it waste, we like to call it surplus materials or resources. I often say waste is just a resource in the wrong hands; they just haven't figured out what to do with it. Sadly it's often cheaper to dispose of it than find a new home for it. We need to develop more systems for allowing waste to become treasure.
Amy Frearson: What else can we expect from Goldfinger in the future?
Marie Cudennec Carlisle: One of our plans is to develop Goldfinger as a social franchise model, to help in other geographies. Other carpentry workshops could adopt our principles and become Goldfinger-certified workshops. We could be designing from London, but things could be made locally in France, in the US, in Hong Kong, or just wherever there's a new hotel opening. A lot of the brands we work with are global but we don't want to ship things abroad because that's not sustainable. We want to localise the production.
We also want to increase our retail offering. There's still quite a limited portfolio at the moment, but we'd like to be able to sell wholesale with like-minded brands like Heals and The Conran Shop. By working with partners, we can grow the brand awareness and get more people to come here. Once they do, usually that's it – they're sold, they love it and they want to do more.
UK-studio Tsuruta Architects has completed a housing project in south London called The Queen of Catford, which features thousands of cat faces and a pair of blue heritage plaques dedicated to fictional characters.
The Queen of Catford consists of five quirky apartments located above and behind a pair of shops on Catford High Street.
The home are accessed via an external staircase, with perforations in the shape of cat faces
An estimated total of 27,620 feline faces feature both inside and outside the homes, in the form of laser-cut perforations, door handles and embossed details.
The properties are also dotted with references to two characters, Katherine Ford and Raven Bjorn, a pair of fictional roommates whose lives are intertwined with local history.
Blue plaques pay tribute to fictional characters devised as part of the design
Tsuruta Architects designed the scheme for the Catford Regeneration Partnership, a subsidiary of Lewisham Council with the aim of revitalising the Catford Shopping Centre and its surroundings.
The task given to him was to convert a pair of existing terraced houses and infill the space behind, which back onto a car park.
Cat faces are laser-cut into furniture inside all five homes
"The brief was to be a catalyst for the regeneration of the area," architect Taro Tsuruta told Dezeen. "It was quite a naive brief and I took it seriously."
It was this that prompted Tsuruta to start thinking about cats. The name of the area, Catford, is a reference to wild cats that once populated the area. This history is already reflected by a huge black and white cat sculpture that famously features in the town centre.
The rear first-floor flat features built-in storage and a space-saving stair
Given free rein to experiment, Tsuruta decided to create more cat references in these five flats. He developed a simple motif of a cats head, complete with pointy ears, which he used to create all of his decorative details.
Taking this idea even further, he also worked with writer Chris Roberts to create a fictional narrative exploring Catford's history.
The story centres around characters Katherine Ford and Raven Bjorn – named after Catford and the local River Ravensbourne – who started their careers in Catford's once-thriving theatre scene and went on to become showbiz stars.
The upper level serves as a bedroom and small workspace
Extracts of this narrative can be found on the blue plaques, which claim to be issued by Heritage of Catwanda, as well as in laser-cut details inside kitchen cabinets.
"This may be a small project but it captures some big ideas that are linked to both Catford's regeneration and also the history of the area," said Tsuruta.
"We tell stories to record impressions of a place and architecture can be a part of this as well."
More cats can be found in the construction details
The five flats are all accessed via an external staircase, which sits adjacent to an alleyway on one side of the property. Many of the cat faces can be found here, in the perforations of the staircase enclosure and as bright red door handles.
Due to the complexity of the site and the existing elements of the building, each flat has its own unusual layout. Three are located on the first floor, with a further two on the levels above.
The two upper-level flats have high ceilings
To make the most of space, and to bring efficiency and cost savings to the build, Tsuruta has fitted out each of the homes using digital fabrication.
The story of Katherine Ford and Raven Bjorn can be found inside cupboards
Kitchen cabinets, closets, furniture, lighting fixtures and staircases were all made using CNC-cut plywood. This helps to give the homes a unique design character, with highlights including floor-to-ceiling room dividers, space-saving staircases and striped wall panelling.
Cats faces are etched into cupboard doors, onto the walls and also form coat hooks.
On the bed decks, large windows frame views of the brutalist Catford Centre
The two upstairs flats both feature mezzanine levels with huge windows, offering views of the brutalist architecture of the Owen Luder-designed Catford Centre.
On the level below, one of the apartments features a narrow roof terrace, while another features a balcony overlooking the alleyway.
These additions, along with a new window for one of the shops on the ground floor, increase natural surveillance over an area that has been a hotspot for crime and drug use.
Tsuruta's aim was to make the space feel like a small boulevard, rather than a dark alley.
Laser-etched plywood creates wall panelling with yet more cat details
The flats are now being rented out, to help raise funds for Catford's wider development. Tsuruta hopes they will appeal to a design-savvy audience.
"Hopefully, people will be attracted to the whimsical spirit of this project and see how it represents a love of the area," he added.
Dezeen promotion: built within a secret garden and surrounded by forest, the Aman Kyoto designed by the late Singapore-based architect Kerry Hill was crowned Hotel of the Year at this week's AHEAD Asia awards.
Following on from last week's MEA awards ceremony in Dubai, AHEAD – which stands for the Awards for Hospitality Experience and Design – revealed its Asia 2021 winners during a virtual awards ceremony. The event celebrates striking new hospitality projects from across Asia.
Guestrooms at the Zannier Hotels' Bãi San Hô
This year, Japanese hotels were particularly successful with The Aman Kyoto taking home the prestigious AHEAD Asia Hotel of the Year award, as well as an award for the best resort.
Part of the Aman resorts group – a Swiss-headquartered multinational hospitality company that has 33 resorts, hotels and private residences in 20 countries – the Aman Kyoto is built in a secret garden at the centre of a forest and a stone's throw away from the golden Kinkaku-ji Temple.
The lobby ad public spaces at the Park Hyatt Niseko Hanazono
It was renowned Australian architect Kerry Hill's final project for Aman before he passed away in 2018.
The judges praised the hotel for its simplicity and the way it seamlessly blends into its surrounding environment. The panel described it as "an exceptional creation that has embraced and enhanced the existing forest garden where it is located".
The Lijiang Hylla Vintage Hotel, designed by Guantang Design was the biggest winner of the night scooping three awards including the New Concept, Landscaping and Outdoor Spaces and Hotel Newbuild awards.
The Lijiang Hylla Vintage Hotel was the biggest winner of the night scooping three awards
Located 2,400 metres above sea level within a spectacular mountainous landscape within the ancient Naxi kingdom, the Lijiang Hylla Vintage Hotel was praised for the way it blended in with its surrounding environment.
Built using reclaimed and local materials, the judges appreciated the way its natural and sustainable approach linked its past with a forward-thinking philosophy.
The judges felt that the project's success rested on "the manner in which it blurs the lines between the natural and constructed environments", describing it as an "absolute original, dreamy, nothing like it in Mainland China.
Too High Bar is the highest bar in Hong Kong
Other winners included Zannier Hotels' Bãi San Hô – a luxury beach resort located in Phu Yen, Vietnam, which took home the Guestrooms award. Built using local materials and finishes, the hotel's 73 free-standing villas are made up of different room typologies inspired by diverse vernacular styles.
Two hotels belonging to the Rosewood hotels and resorts group also took home awards from the ceremony.
The landscaping and outdoor space of Lijiang Hylla Vintage Hotel
With its two outdoor lap pools, a private gym, wraparound landscaped gardens and magnificent harbour views, Harbour House on the 57th floor of the Rosewood Hong Kong won the Suite award while the Rosewood Guangzhou won in the Bar, Club or Lounge category for its opulent Too High bar on the 107th floor – the highest bar in the city.
To learn more about the AHEAD Awards, visit its website.
Partnership content
This article was written by Dezeen for AHEAD Awards as part of a partnership. Find out more about Dezeen partnership content here.
Danish interior design brand Hay has completed the renovation and expansion of its shop in central Copenhagen, Hay House 2.0, which has been given a colourful update by the company's in-house team and now also holds a showroom and an events space.
Located in an art nouveau-style building on Amagertorv in central Copenhagen, Hay House 2.0 now spans four floors in the building, which has been home to the Danish interior and homewares brand for years.
A new showroom was created on the fourth floor
After an upstairs neighbour moved out, the company took over the two upper floors and used them to create a showroom and an events space that can also be used as a restaurant.
"We have been in the building for more than 10 years," Hay co-founder Rolf Hay told Dezeen. "We started out on one floor and two years ago we added another. And now we've added two more floors, so basically we have the whole building."
Vibrant colours and tiles by Nathalie du Pasquier decorate the store space
Co-founders Mette and Roy Hay designed the interiors of the new rooms themselves, together with Hay's in-house design team. The brand unveiled the spaces during 3 Days of Design, the annual Copenhagen design festival.
While the Hay store on the lower levels features plenty of the brand's signature vibrant colours, the new showroom, while still colourful, has a slightly more muted colour palette with a multitude of soft greys, greens and blues.
"This is a bit more of a professional space; it's a place where we meet architects, designers and dealers," Rolf Hay said.
A more muted colour palette was used for the upper floors
It also features some standout signature pieces, including a vibrant yellow sofa embroidered with dandelion flowers, wine glasses and vodka bottles called "The Aftermath of a Garden Party" by Icelandic artist Loji Höskuldsson.
For Rolf Hay, it was important to have these kinds of collaborative pieces on display in the showroom.
Artworks decorate the walls of Hay's new workspace
"When Hay is at its best it is somewhere in between art, architecture and the time we live in," he said.
"I think it has always been important for us to bring in artists," he added. "I think it's exciting with the right starting point. So it's nice to work with artists on and off – also in an industrial design context."
Large spherical lights hang from the ceiling of Hay House's top floor
An office space where the Hay team or clients can sit and work was also added to the fourth-floor showroom.
At the top floor, which has been turned into a space for events and was hosting lunches for visitors during 3 Days of Design, clusters of Hay's Nelson Ball Bubble Pendant hang from original wooden beams that create an intricate pattern beneath the high ceiling.
The Hay team undertook a minor renovation of this new floor.
"We kept it quite true to the existing character; we took down some walls, enlarged some door openings and put a new floor up here – which is a process when you're on the fifth floor," Hay head architect Susanne Furbo told Dezeen.
"But apart from that we haven't made any structural changes to the building, we just looked at what we had and gave it a better flow."
Comfortable furniture is spread out in the events space
The events space also has a softer, paler colour palette than the store and the showroom, in order to make it clear that you're "entering another universe," Furbo added.
The main store space, which covers the lower two floors of the building, was also updated as part of the renovation.
Among the new features here is the New Order shelving system by Stefan Diez for Hay. Painted in a new blue colour, it entirely fills one of the rooms.
Stefan Diez' New Order shelving for Hay fills one room
Artworks by V1 Gallery in Copenhagen's meatpacking district as well as geometric tiles and paintings by artist Nathalie du Pasquier now decorate the walls of all floors of Hay House.
Hay House 2.0 opened during 3 Days of Design when the brand also launched a new handmade collection of origami dolls by Clara von Zweigberk and a furniture and accessories collaboration with Muller van Severen.
Hay House was unveiled during 3 Days of Design in Copenhagen, Denmark. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
