The Euphoria Spa is the centerpiece of the Euphoria Retreat, located beside the UNESCO World Heritage Site of Mystras. It is a four-storey building, with an area of 3.000 m2, that is carved into the base of a mountain, between town and forest.

The lighting for each space was considered as a unique piece, contributing to the crescendo of the ultimate relaxation experience. As the presence of daylight would vary substantially from one space to the other, a number of custom luminaires were designed to imitate daylight conditions, thus harmonizing the transitions through the spaces and enhancing the immersive architecture.

Best Hotel & Restaurant Project, LIT Lighting Design Awards 2019

IES Illumination Award of Excellence 2020

Lighting Awards 2020 PLATINUM (Projects)

Lighting Awards 2020 GOLD (Interior Leisure)

A’ Design Awards 2021 GOLD (Lighting Products and Lighting Projects Design)

Architect: DECA Architecture

Photography: Margarita Nikitaki, Giorgos Sfakianakis and Stavros Habakis for Euphoria Retreat

The design of the Spa is meant to be peaceful and subversive, meditative and hallucinatory, orderly and free-flowing. This occurs through a choreographed transition of spaces in which light, sound, temperature, humidity, textures and smells create immersive sensory experiences. The lighting strategy needed to accommodate the sudden transition from the outdoors, into the catacombs, through to the wet areas and identify each of these areas with a unique character and environment.

A destination spa hotel, such as the Euphoria Retreat, is a holistic immersive experience, where the light and the design of it becomes a silent protagonist that can hide and reveal elements, draw visitors to one area or another and play with the human senses, with low levels of illumination, tone contrast and detailing that integrates seamlessly with the architecture. It was good reminder for the design team to slow down, take a moment and understand what is vital to each space and each experience.

Working very closely with the architects, the designers and the Client, we developed and fully incorporated the concept of the lighting scheme in the project direction. In keeping with the Client’s brief for a destination retreat that is ‘respectful in its location and transcending in its form’, a constant balance between the historical reference and the high‐end aesthetic needs of each area had to be established. This drove the lighting design to address each space as a unique experience, as well as a piece of the overall puzzle. The tone palette was highly influenced by the Byzantine era, low lighting levels, high visual contrast, warm and soft light, while materials and luminaire finishes chosen where treated glass and aged metals, to bring the aesthetics of the previous century into the environment of present day. Though luminaires and lighting applications were meant to have a ‘reminiscing’ touch, the full flexibility of latest technology was used in both the design and control strategy.

Entrance level, is a series of carved spaces where elliptical geometries intertwine and guide the visitor through a meandering catacomb-like passage. This reaches a 20-meter well, flooded with natural light, around which the building’s staircase ascends. The lighting strategy needed to accommodate the sudden transition from the outdoors, into the catacombs, through to the attraction point of the staircase light well.

Catacombs– To mitigate the harsh entry from daylight into the catacombs, the corridor and reception area were lit with custom tunable white LED COB ‘daylight tubes’, linked with 2 daylight sensors for a smooth transition. The golden-plated niches were highlighted with warm wall-washers for an even distribution.

Staircase Well– Due to the repetitive openings and varying height along the route of the staircase, custom wall-to-wall luminaire was designed, with up/down component on independent controls. This way, the mystical effect could be balanced throughout the route, in harmony with the daylit well. For the night condition, an inground light dish inside the foot pool hints the moon reflection on the water.

Second level, the most complex and diverse. The visitor moves around alternate centers with variable degrees of light, humidity and temperature.

Sphere Pool– to enhance the shape and the experience of the sphere pool, two custom large scale systems were designed. At the top of the sphere, with the 1.5m deep skylight, a cylindrical lightbox was designed to allow for natural light, as well as artificial diffused light into the sphere. 4000K IP65 LED strips in gradient setting-out for optimum effect were installed on an aluminium cylinder and plexiglass diffuser, integrated within the architecture. The second system, four high-output spotlights aimed at a large custom parabolic reflector to generate a ’light column’ through the bottom glass and the water, for reflections. Additional discrete lighting in the outer wet areas was also introduced in warm tones.

Tepidarium– 3000K flexible LED luminaires were used in a perimeter cove to provide apparent brightness, while keeping the actual light levels low. For the centre of the space, 2500K source was used in the central pendant, for a soft relaxing glow.

Byzantine Hammam– in keeping with the character of the room, artificial lightubes were designed, with a 2-layer fibre optic system (2700K & 4000K) and frosted glass ‘vases’, for the central treatment pedestal, while the perimeter resting areas were lit with soft indirect neutral white light.

Lighting design of vintage cinemas, 3 screen rooms, bar and members’ lounge inside Selfridges on Oxford Street.

LIT Award 2021, Honourable Mention

Architect: FD Architecture

Designer: DIMORESTUDIO

Photography: James Newton

The Cinema at Selfridges, is the first permanent department store cinema in the world. It houses three screens: a 70-seat main screen, a second 59-seater, and a third 28-seater for private screenings, all filled with curved rows of lush reclining seats and fitted with state-of-the-art AV technology.

The interior is designed by Dimore Studio with the cinema experience in mind and a retro flair in the detailing of the furniture. The audience entering The Cinema are transported to a flamboyant and sophisticated set reminiscent of a David Lynch film. The colour palette of the interior is enhanced and complimented by the dynamic lighting strategy: Accent lighting on saturated coloured surfaces, colourful light wash with RGBW dynamic changes and light play between reflective & matt surfaces.

The Cinema can be accessed from the street entrance, as well as the Selfridge’s Tech Hall at level -1. The Tech Hall entrance of the cinema had to be a bold and graphic statement to lure the audience and signpost the way in, counteracting the very futuristic and vivid lit environment of the Tech Hall itself. The lighting of the canopy, designed to resemble the old, iconic theatre entrances, consists of 400 LED low-brightness light bulbs on a reflective surface. The design was developed by ASlight and realised by Top Notch Joinery for the exact bulb specifications and arrangement to create a homogeneous and warm lighting effect.

Entering the Lobby, the visitor is immersed into an atmosphere with intense colours of a 60s interior. The lighting enhances the bold textures and colours and creates micro-atmospheres within the space. Focusing where needed, one can see different spaces within the lobby: the banquettes for two, the luminous bar as a background, the snag area, which looks like a cosy living room with 12 large reclaimed chandeliers.

Each screen room has its own colour identity and some common lighting features such as the accent lighting onto the seats and the screen velvet curtain. Under seat low level lighting in all rooms provides a soft functional lighting when needed.The lighting concept of the Blue room transforms the space into a lunar landscape with crate like coves on the ceilingproviding a soft and cool indirect illumination. The coves, covering ceiling and walls, were specifically designed to also housethe accent lighting, speakers and other elements.

The ambient lighting of the Red and the Green room is mainly consisted of wall mounted decorative luminaires creating a cosy and welcoming atmosphere. The accent lighting on the chairs enhances the sculptural quality of the space. The bathroom interiors are monochromatic spaces with crisp white light that creates a sci-fi ambience. The feature, ceiling mounted light tubes in the coffers, designed by ASlight and realised by Top Notch Joinery, provide a diffused, uniform lighting, keeping the retro feeling with elegant brass details.

ASlight, in collaboration with David Turner Workshop also upgraded the existing wall mounted fluorescent luminaires, with LED and refurbished the finish to keep a consistent interior style in The Cinema.

Lighting design of fully refurbished hotel resort, including exterior, suites and all specialized FOH areas.

Interiors Awards 2023, BRONZE (ΗοReCa)

Architect: 3XN Architects

Construction: Diarchon SA

Interior Design (F&B): INEDITO Architects

Interior Design (FOH & rooms): MKV Design

MEP: TEKEM SA

Photography: NIKO Seaside Resort – MGallery Collection

Hotel Coral, situated on the picturesque Mirabello Bay in Crete, traces its origins back to the mid-20th century when it stood as a derelict structure along the bustling beachfront. Its transformation from a 3-star hotel to the 5-star NIKO Seaside Resort required architectural ingenuity as well as a complete redesign of architectural lighting.

Respecting the hotel’s existing structural framework, architects embarked on a journey to redefine its interior spaces and elevate its exterior façade to contemporary urban standards. Correspondingly, the lighting highlighted the new architectural framework, while the use of LED luminaires contributed to the energy efficiency of the entire project.

The new façade, at the ground floor level, arches organically and creates “ridges”, while the rest of the levels’ curved balconies create a repetitive pattern that aesthetically unifies the entire exterior. The ground floor level lighting highlights the building’s organic geometry, while creating luminous gateways, inviting passers-by in. The balconies are illuminated from one side, meeting the functional needs of visitors and reinforcing the curvature of the building, when viewed in perspective. For the patio internal façade, lighting was used to enhance openness, with vertical surfaces illuminated and reflections minimized, where Illuminated glass pools in the atrium provide a unique visual experience.

The hotel also includes a large pool terrace and restaurant with a sea view, as well as a large infinity pool. The lighting highlights the materiality of the spaces, while respecting the view. With regard to the pools, a linear single lighting system was chosen, so that the body of water is uniformly illuminated but the luminaire itself is not visible to the visitors, maintaining an unobstructed view of the sea. In the ninth-floor roof-top bar, lighting levels were kept low and focused on the bare essential functions, so as not to compete with the starry sky.

Lighting design of the refurbished urban hotel’s bar/ breakfast lounge.

Shortlisted DARC awards 2017

Architect: DECA Architecture

Photography: Álvaro Valdecantos

Periscope Hotel is located in the cosmopolitan quarter of Kolonaki, in the centre of Athens. The street is typical of the area, quite narrow, with tall buildings on either side, transmitting the sensation of walking inside a canyon.

The original architectural idea, commissioned between 9/11 and the 2004 Athens Olympics – a time when CCTV cameras and surveillance drones began to speckle the urban landscape, is conceptualized as a vertical container of “periscopic” observation through the urban cityscape. Clean lines, uncluttered spaces, balancing ergonomics match together with urban aesthetics, providing a feeling of order and tranquility.

In 2016, the ground floor level reception-lounge and the main entrance were refurbished and the notion of the inner periscope changed completely. A new architectural approach came to light, aiming to create a totally different ambience. The presence of light played a dominant role, that blends together with visual projections and distinctive textures of the interior.

Concerning the lighting concept, there is the attempt to immerse the central area of the lounge, as if it is being underwater. In the same position of the original “core”, a top screen is now placed, projecting media clips of underwater scenes. Below this screen, the sitting area is washed blue, reflecting the artificial water ripples. In the perimeter of the screen, a number of concealed downlights reinforce this dynamic colour by illuminating the area with cyan filter.

A creative team of visual artists, 3D animators, graphic designers and audiovisual experts enhanced the architectural and lighting design concept, both in the lounge and the hotel entrance.

The downlights are concealed behind perforated metal paneled ceiling. Apart from its industrial-looking impression, this metal mesh reduces the light buffer and develops a smoother and more theatrical glow. The dark ceiling panels, the dark carpet floor and the dark grey walls make sure that light does not appear until a person, an object, a form enters in its range. The space around the core is revealed only when in use.

The illumination of the surrounding area is less intense, in white nuances, in order to contrast with the “blue” lounge. The dramatic atmosphere is also emphasized by the use of wall lights mounted on the four central columns, that wash the lounge area with warmer white light. The interplay of light and shadow, reveals the interior volumes by indirect lighting and shading, the water screening becomes a luminaire itself while all surfaces are treated as reflectors.

The reception area and the lounge bar are also treated with respect to the individuality of each space and function integrated in the architectural design seeking for the absolute balance, where the surfaces become the luminaires and the ‘conversation’ between the forms continues and changes throughout the day. Pre-programmed scenes smoothly transition from one function of the lounge to another (breakfast, drinks, afterhours etc.), revealing each time a different balance and visual hierarchy.

Another key factor is the exterior Periscope logo, once 2D and purely informational, now performs both as a luminaire for the entrance and a signage for the hotel. In keeping with the main design principle that lighting is integral part of the architectural forms and elements, the lighting signage seems to extrude from the wall, promising a supernatural interior user experience from the outside.

Lighting design of private member’s wine club. The design included a custom system that was designed for the wine gallery and the bar wine display. Located in the heart of London, the club has become a prominent destination for connoisseurs of fine wine.

Interiors: Simone McEwan

Photography: 67 Pall Mall

Interior and exterior lighting design for the refurbished high end boutique hotel in an iconic destination.

IES Award of Merit 2017

Architect: Divercity Architects

Interior Design: SMK interiors, Fifth Element Interior Design

Photography: Serge Detalle

Grace, a luxury boutique Hotel in Santorini has gone through a complete renovation in order to incorporate new areas and upgrade the existing ones. Key objective of the lighting design has been the unification of all areas in a holistic design philosophy. Aiming to follow the simplicity and purity of architecture the lighting study for all interior and exterior areas is based on a purely architectural lighting with minimum use of decorative elements.

The illumination of the outdoor communal plateaus derives from a bespoke linear floorwasher that prevents glare, maintains the breathtaking views and defines the boundaries. Dew to the harsh environmental conditions the detail has been designed with minimum use of metallic components. A special fully integrated trimless profile of EPS (expanded polystyrene) has been developed to house a linear IP66 polycarbonate luminaire that washes the floor with a soft diffused indirect light.

All communal areas are located on the subtly lit plateaus with no in-between connection. Each space has a distinctive unique character designed with elegance and luxury. The lighting design concept aims to establish a narrative based on the fundamental attributes of each space providing a thread stitching all spaces together.

The concept of lighting the reception area- a circular domed all-white space with minimum openings to the outdoor – is based on the concept of adaptation. In order to balance the transition from a sunlit outdoor environment to the cave-like interior a special artificial skylight has been developed to allow for a dynamic colour changing palette triggered via a daylight sensor transforming the space in an ever changing white canvas.

The key factor of the Champagne lounge is the contrast. An onyx bar is located in front of a volcanic black rock wall. The balance though contrast is defined by enhancing the diverse character of each material and texture. A special fibre optics installation has been designed to backlight the 3dimensional onyx bar while warm white accent lighting has been applied to reveal the texture of the volcanic wall.

Lighting for the 21 refurbished rooms is designed one-by-one as there is not typical room. Key details developed to all rooms include the custom detail integrated in the wardrobe shelves and mini bar, the linear lighting detail to the wardrobe doors for functional and general indirect lighting and the linear lighting to the mirror for indirect lighting to the ceiling and the double vanity unit.

Designing the lighting for Grace Santorini has been a great challenge. The harsh environmental conditions, the breathtaking world class setting, the luxury of the hotel and the uniqueness of the architectural complex led to a bespoke approach. Each space interior or exterior has been individually designed with sense and sensitivity like illuminating a sculpture. The minimalism of architecture, the scale of things and the absence of typical spaces led to the design of many incorporated details avoiding visual clutter. Simultaneously, the urge to find a common language between the individuality of each space respecting the character of the surrounding led to a design approach where the guest discovers the space gradually.

All outdoor areas have been illuminated in order to keep a consistent night image from different views (far from the sea, from the top approaching the hotel and from the adjacent settlements). The views to the sea and the sky are the best sellers of the hotel. With total respect of the night sky and the nocturnal views, all interior and exterior lighting has been designed to prevent glare. At the same time all functional requirements met easing the access to all private and communal areas. Lighting design techniques have been applied to unite the different areas and reveal the morphology of the architecture.

The Cape Los Cabos is the new hotel of the Thompson Hotels group, located on the beach in a tourist area of Mexico with a collection of luxury hotels. It consists of a complex of hotel facilities, with three restaurants, a spa, an outdoor pool and apartments, as well as surrounding areas that connect the various functions of the complex.

Architect: JSa Architects

Designer: Ainteriores

Photography: Thompson Hotels

In collaboration with Lighteam, Mexico

The Lighting Design was called to meet a number of requirements both architectural and landscape, as well as high operational standards. The distinctive architecture, with exposed concrete and local materials led the team to an approach of fully integrating architectural lighting into specific details. The design process, in which the entire design team participated, ‘gave birth’ to a lighting effect that was precise and unobtrusive in its presence but dynamic in its feel, as was also the intention of the client and the team.

The lighting of the public spaces enhances the mood of the ‘open’ landscape, as they are directly linked to the surrounding area and one space borrows light from the other. The bedrooms maintain an aesthetic hierarchy that helps the smooth use of the spaces and highlights the high-end finishes. In close collaboration with the Interior Architects decorative lighting was positioned in such a way that does not compete with the architectural lighting.