A family house in Hanoi, three floors deep, with a narrow courtyard that carries daylight from the front of the building to the back. The brief was quiet: rooms that stay cool through the humid season, surfaces left bare, and lighting that disappears into the architecture until dusk. We kept the ceilings clear and moved the light onto the walls.

Light held flat against the wall

The Ledram discs carry most of the house. Thin aluminium circles set low along the corridor and beside the stair, they read as small dark objects through the day and as soft haloes after sunset. Their direct LED washes down textured plaster, so the wall itself becomes the lamp: a slow gradient that gives the passage depth without one visible fitting. In the bedrooms the same discs sit at bedside height, dimmed low enough to read by and low enough to sleep beside.

Above the long dining table we hung a single suspension from the same family, a slender line of curved discs warmed to 2700K, drawing the room together in one continuous stroke. It is the only pendant in the house. Everything else stays on the surface, clear of the light reflected off the courtyard, which turns green with the rain and pale again by morning.

The rooms were finished before the lamps arrived, and they asked for very little. A few circles on the wall, one line over the table, and the space left to itself. Light first, form second.