Ålesund sits where the sea comes in: a working harbour, a fishing fleet, and a seafood restaurant built close to the water. Pale timber, long grey afternoons, and a room that had to feel warm after dark without shining too hard on the plates. The ask was simple. Low light, true colour, quiet.

We began with the Stella Moon forms above the long table. Each bowl is lined to send its light back up and out, so the surface below stays readable while the ceiling goes soft. Guests meet the glow before they meet the source.

Coils above the counter

Over the raw bar we hung the Jacqueline pendants: thin blue cables, nickel coils, small pools of direct light falling where the fish is prepared. At dusk the coils pick up the harbour lamps through the glass, and the room fills with reflections that drift as the water drifts.

Two families of light, one room. Nothing bright enough to argue with the sea. We dimmed the scheme low and left the windows dark, so the harbour could come in.