The Link Lamp, the iconic fixture featured in our Los Jardines de Abama apartments in Tenerife, has become a reference point in the world of interiors as a symbol of biophilic design, which aims to reconnect people with nature through architecture and interior design.
This standout feature of the newest Abama Luxury Residences development is the creation of Irish designer Ray Power for Valencian company LZF, founded by Mariví Calvo and Sandro Tothill.
We spoke with Power to delve into the creative process behind this perfect example of nature-inspired craftsmanship designed to positively influence emotional wellbeing.
The Link Lamp has become a symbol of organic beauty and biophilic design. Tell us about your design process.
In my creative process, I’m always exploring, experimenting, and researching. The idea for the Link Lamp emerged while I was engaged in this exploration. It’s important to stay alert to things as they reveal themselves, recognising when something feels right and then developing it further. Often, when designing, I feel as if a logical path has been laid out for me to follow. The design is correct when you reach the end of that path. I suppose my role is to guide the design along that journey, avoiding any missteps. There are also specific components I need to process with a clear mind, often through drawing.
How does it feel to see the Link Lamp integrated into the interior design of the Los Jardines de Abama Suites in Tenerife?
I think it’s wonderful. I’m sure it complements the surroundings beautifully. I’ve always enjoyed the Link Lamp that hangs above our dining table, as well as the floor version that I recently placed in the corner of my living room. Both emit a warm glow from what looks like an organic, floating sculpture. It’s the kind of design that helps the mind relax.
As a designer, you’ve explored unique forms and materials, particularly with wood. What led you to work with wood veneers for the Link Lamp, and how does this material influence your designs?
Wood veneer is LZF’s signature material, and it has some fascinating qualities. It provides a warm, diffused light, with each piece showing a unique grain pattern. It’s also incredibly flexible; it bends and curves really elegantly. I was fortunate to be in the right place at the right time to contribute my designs to LZF’s collection.
Your work often features fluid, organic shapes. Are there any artistic movements, artists, or other designers that have influenced your approach in creating these dynamic forms?
I don’t really think so. The wood itself tells me to bend it, so I simply follow that instruction. Of course, I admire many designers, both past and present, but I don’t consciously think, "I want to design something like Charles Eames," or "I want to create shapes like Jaime Hayón." I focus on my own original work, or at least as original as I can make it.
Biophilic design is becoming increasingly important in today’s architecture and interior design. How does the Link Lamp embody the principles of biophilia, and why do you think this is so relevant today?
The Link Lamp has many natural features. While other lamps may appear distinctly artificial, the Link incorporates elements such as twists and swirls, as well as the beautiful, unique wood grain lines, and the warm glow of the diffused light. Most of the world’s population lives in large urban areas, which makes exposure to nature essential to our mental health.
In your opinion, what role does lighting play in creating the atmosphere of a space, particularly in a natural setting like Los Jardines de Abama?
Lighting is one of the most important elements. Sometimes it needs to be practical, sometimes atmospheric. When the Link Lamp hangs above the dining table, it needs to perform both functions. During a meal, we like to have good light, but it’s also important to create an atmosphere.
Sustainability and craftsmanship are fundamental values for LZF Lamps. How do these values influence your work, and how are they reflected in the Link Lamp?
Another key value of LZF is their pursuit of new models that push the boundaries of design. Without their hunger for originality and their willingness to take risks, half of my designs would never have seen the light of day.
The fluidity and repetition in the Link Lamp create a sense of infinite continuity. What draws you to designs that incorporate these mathematical concepts?
I believe mathematics is the true designer of the Link Lamp. The design, by accident, fell out of my pocket one day while I was looking for my keys. I picked it up, and it led me to create the lamp. I’m drawn to these types of designs because they are expressions of geometry, which are also aesthetically stimulating. They exist before I design them. They are larger than the creations of mere mortals. And yes, I love repetition. I’ve been incorporating repetitive forms in my designs since university.
Looking back on your career, is there a particular piece or project, aside from the Link Lamp, that has had a profound impact on your development as a designer?
I’m very proud of the Lola Lamp, also for LZF. It took me a long time to develop the design process for that model. The results were very satisfying, and I’ve continued to create more pieces using the same pattern from the lamp.
Finally, what advice would you give to aspiring designers who want to make a lasting impact with their work?
Try not to spend too much time on social media; preferably none at all, if possible. Be creative on your own creative journey. Keep your eyes open and experiment. Take walks to clear your mind, and pat your animals.
