An interiors studio in Edinburgh, on the second floor of a stone building where the light arrives late in the day and leaves early. The rooms were already complete: deep skirting, tall windows, pale plaster. What they asked for was a slower kind of light, one that would rest on a sample board the way afternoon rests on a wall.

We built the scheme around our Golden Lights pieces. The Nacre pendants hang low over the long table where finishes are laid out, in copper, holding a warm pool just above the surface; the hand-finished shell keeps a little of the room's grey in it. Along the corridor the Moonlit W discs face the plaster instead of the eye, so the wall lights itself. Where the ceiling drops in the front room, the Moonrise turns its face away and leaves the light up there, out of reach and in the room.

Choosing under flame

The studio keeps its samples close: fabric swatches, stone offcuts, a tray of unlacquered brass. The Moonlit holders sit among them, rough iron and aluminium, gold leaf laid by hand, one small flame apiece. Clients arrive in the evening and decide under that. Colour reads one way at 2700K and another way under fire, and a studio has to show both.

A showroom earns its keep when you forget it is one. The gold catches once, quietly. The rest of the room stays calm.