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Above & right Reflective Flow fills the atrium between the two sections of the Al Hitmi building in Doha, Qatar. The combination of frosted optical crystal encased by convexed semi-transparent mirrored glass softens the harsh light. Hidden cameras create additional interactive input to the pre-programmed low-resolution content.
Opposite McClellan’s Cardume - the Portuguese word for a shoal of fish - circles the glass dome in one private
residence.The design uses McCellan’s signature mirror coating to reflect the natural light during the day, becoming semi-transparent at night to creating stunning lighting effects.
knowledge of lighting to achieve the effects he wanted. Charged with a new challenge, McClellan threw himself into researching the world of lighting design, visiting major trade shows like Euroluce in Milan. It was on this expo-tour that he ended up on the stand of German manufacture Brumberg who he convinced to send him a selection of the technology – transformers, fibre optics, LEDs and the like – that they no longer needed. Back in Portugal, having experimented with the technology, he started producing bespoke contemporary chandeliers for large residential spaces. While McClellan pushed towards experimental, contemporary forms, many of his clients had more reserved tastes. His solution was to introduce another new technology - semi-transpar- ent mirrored pieces that would merge into
their surroundings by reflecting back the more traditional interior design of a space, and yet allow LED light to shine from within when the chandelier was illuminated. These commissions and exhibition showcase in Dubai led McClellan to create one of his greatest masterpieces, Reflective Flow for the Al Hitmi complex. Reflective Flow, is the largest interactive chandelier in the world - a shimmering mass of mirrored crys- tal plates reflecting its surroundings by day, and a mesmerising wave of subtle colour by night. Created from more than 2,300 hand- ground optical crystals containing 165,000 LEDs, the 126 ft long 20 tonne piece hovers 16 metres above the ground, visually pulling the two sections of the building together. Exciting though these big projects are, the costs in both time and R&D are large. Because of this, McClellan started looking at ways to translate these big corporate
art installations into signature pieces for large residential homes and, at the lower end of the scale, into high-quality branded products. He has designed products before – as a ‘signature designer’ for Brumberg, the company that first supplied him with light- ing technology – and indeed all four of those pieces received Red Dot Awards. But now Beau McClellan Design has brought the design and branding process fully in-house, expanding it with a series of new ranges. “We’re trying to avoid fads by going back to the old Italian way of designing pieces – cre- ating more iconic type lamps that’ll stand the test of time,” concludes McClellan. Visitors to the London Design Festival can decide for themselves when the new range is launched at the designjunction show.
www.beaumcclellan.com
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