Lighting Masterclass: The Performance of the Object and the Aesthetics of Performance

Join us for a panel discussion during LCDQ’s Legends 2016 design event on May 5th in our Los Angeles showroom. Lighting Masterclass will be a compelling conversation about the beauty and technical performance of lighting from three masters with distinct design viewpoints, Roman Alonso of Commune Design, architect Barbara Bestor, and lighting designer Sean O’Connor.

The three experts will discuss challenges they have explored in lighting design and answer questions about the balance between aesthetics and function of light; successful design on a budget; and how education, taste, and energy code compliance may affect the outcome of a project. Each brings unique insight regarding the effect lighting can have upon a space and atmosphere.

We are looking forward hearing from our distinguished panelists on a topic we are clearly passionate about!

Thursday, May 5 at 1:30 pm. To register click here. 



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Introducing the Newest Atelier Collection: Scofield at Remains Lighting

Remains is proud to introduce Scofield at Remains Lighting, a collection specialized in 17th-19th C. American and European lighting designs based on original oil, candle and gas fixtures. Historic lighting design is united with modern technology in each hand-crafted piece.

The Scofield collection consists of a curated line of interior and exterior lanterns, chandeliers and sconces, fabricated from glass, copper, and tin, often with decorative elements such as gilding, punchwork, crimped edges, and pierced designs.

The company was founded in 1974 in Chester, Connecticut, by Richard Scofield, who spent many years studying the early American lighting in the museum collections in Old Sturbridge Village and Historic Deerfield, Massachusetts, where he was inspired to create his reproduction lighting fixtures and line of original fixtures with classic motifs.

Jon and Doreen Joslow revived the company in 2005 and continued to build upon Scofield’s creative vision. Nearly a decade later, Heritage Metalworks acquired the company and began producing the collection in their foundry and blacksmith shop in Downingtown, Pennsylvania.

The Scofield Collection is entirely hand-built, one at a time, by traditional artisans. Its material, finishes and large selection of traditional exterior lanterns in particular are a distinctive addition to Remains’ product lines, which range from restored antiques to contemporary designs.

The entire Scofield Lighting catalog is available to view online at, and in Remains’ showrooms in New York, Greenwich CT, Chicago and Los Angeles.


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David Calligeros’ Trade Talk: How to Design Custom Lighting

David Calligeros will visit the Jim Thompson showroom in Atlanta, Georgia next week to present a Trade Talk about the custom lighting design process. The event, hosted by the Atlanta Decorative Arts Center, aims to explain the traditional craft of metal and glass work in the modern design world. David will present the steps of lighting design, from product development to material selection; designers can gain insight about the craft and engineering involved in custom production. Audience members will have the opportunity to observe the product of David’s own designs for Remains Lighting in the Jim Thompson showroom.

David has a deep rooted history with manufacturing and restoring lighting fixtures. At Columbia University, David studied grand design traditions and time-honored techniques while majoring in architectural history. His passion and appreciation for lighting design led to the opening of Remains Lighting in a Manhattan loft in 1996.

Visit ADAC’s website to learn more and register,

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Introducing 24 New Sconces

The collection combines my love of flight and my love of the engineering that goes into airplanes. I’m caught between a nostalgic view of slower, simpler modes of transportation (and of life in general) and a love for engineering, innovation, and design.

This collection celebrates very traditional forms of very modern concepts. Echoes of airfoils, propellers, engines, and instrument cases appear as inspiration for an arm or a cup or a wall plate in fixtures rendered in the language of machine details (engine turning, knurling, peening, etc.), cut from solid brass, and finished by hand in a range of tones from dark and aged to bright mirror polished.

My father was an aeronautical engineer. My mother was an antiquarian and a librarian.
If you ever wondered what happens when you put those together…

- David Calligeros


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Introducing the Dandelion 24 Chandelier

Remains Lighting is happy to introduce the newest addition to the Duquette collection, the Dandelion 24 Chandelier. The beaded fixture will join the Dandelion family, alongside the Dandelion 18 Chandelier and the Dandelion 32 Chandelier.

Greatly influenced by nature, the Dandelion Chandelier incorporates Tony Duquette’s vision of fireworks, sunbursts, and supernovas. In typical Duquette fashion, the Dandelion Chandelier turns to a simple and often overlooked element of nature, the weed, and transforms it into an extraordinary and opulent ‘exclamation point’ for a room.

Tony Duquette’s iconic designs constantly built upon one another. His ornate jeweled brooches resemble colorful and extravagant flowers, which Mr. Duquette always insisted could be blown up to become a chandelier. The Dandelion Chandelier combines Mr. Duquette’s passion for natural beauty and his elaborate jewelry designs in an eye-catching chandelier, which takes his idea of a fixture entirely made of flowers and turns one dandelion seed head into an entire decorative extravaganza.

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2015 Stanford White Awards Celebrate Traditional Architecture and Design

On Wednesday, December 2nd, the New York Chapter of the Institute of Classical Architecture & Art (ICAA) celebrated the winners of the 2015 Stanford White Awards in a sold-out event at the Prince George Ballroom. David Calligeros, president of Remains Lighting and the ICAA’s New York Chapter, presented the awards, which recognize achievement in individual projects in architecture, interiors, landscape, urbanism, and building craftsmanship & artisanship through New York, New Jersey, and Fairfield Country, Connecticut.

Over 300 guests mingled with award recipients at a reception and exhibition showcasing the winner projects. Co-chairs for the 2015 Stanford White Awards Rodrigo Bollat Montenegro of Ferguson & Shamamian Architects, Clay Hayles of Remains’ partner, Robert A.M. Stern Architects, as well as Remains’ very own Alice Kriz welcomed guests, award recipients, and sponsors.

David Calligeros, spoke of the ICAA’s values, saying, “We believe that a thoughtful approach to architecture in the present starts with a thorough understanding of the substance and the grammar of the past. We provide a solid foundation and a set of tools for making great contributions to our cities, regardless of their stylistic expression.”

Justin Davidson – a critic for architecture and classical music at New York magazine and a 2002 Pulitzer Prize winner – served as a humorous emcee for the awards ceremony, and announced the 12 awards for classical and traditional architecture to each recipient.

Mr. Davidson highlighted the omnipresence of the past in his introductory speech, “The Stanford White Awards honor design that is nourished by the classical tradition. That phrase, “classical tradition,” has nothing to do with being stuck in the past. Rather, it implies that history is ever-present, that the most powerful conventions are also the most flexible, adaptable, and renewable. White the man was not marmoreal. He was thoroughly modern. In his work, his tastes, and even his vices, he was thoroughly a man of his time. And he left distinctive sediment in the layered history of New York. By honoring him, we also honor the city he helped build, a city that recreates itself anew in each generation but that has also learned to preserve its past. Each of the architects and designers who will collect prizes here tonight have mastered that paradoxical skill: how to evoke the past in contemporary ways.”

The award winners were selected by a jury composed of Dell Mitchell of Boston, Suzanne Lovell of Chicago and Stanley Dixon of Atlanta.

Accepting on behalf of the award winning firms and individuals were:
Peter Pennoyer Architects – Peter Pennoyer & Thomas Nugent
Sawyer | Berson – Brian Sawyer & John Berson
Andre Tchelistcheff Architects – Andre Tchelistcheff & Eric Hildebrandt
Ferguson & Shamamian Architects – Oscar Shamamian & Brian Covington
Historical Concepts – Andrew Cogar
Voith & Mactavish Architects – Daniela Holt Voith
Fairfax & Sammons Architects – Richard Sammons
Allan Greenberg Architect – Allan Greenberg
Doyle Herman Design Associates – Kathryn Herman & James Doyle
Walter B. Melvin Architects – Robert C. Bates & Joseph R. Perella
Emily Bedard
Andrew Califano

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Is Preservation Elitist?

As part of the Museum of the City of New Yorks Saving Place, 50 Years of New York City Landmarks exhibition and lecture series, a group of prominent historians, developers, planners, preservationists, and journalists gathered for a public symposium on June 20th to debate the politics of preservation law and its impact on the economic and cultural life of the city. The topic was Is Preservation Elitist?

On the panel were …

  • Paimaan Lodhi, land use and public policy expert and the vice president of Urban Planning for the Real Estate Board of New York
  • Tia Powell Harris, arts educator and the president and executive director of the Weeksville Heritage Center in Brooklyn
  • Nikolai Fedak, the founding editor of New York YIMBY, a pro-development website
  • Claudette Brady, community preservation organizer and co-founder of the Bedford Stuyvesant Society for Historic Preservation
  • Kerri Culhane, architectural historian and associate director of Two Bridges Neighborhood Council.

The discussion was moderated by Laurie Beckelman, the chair of the NYC Landmarks Preservation Commission from 1990 to 1994.

The panel dug into these questions with frequent, spirited vocal disagreements and challenges:

  • What happens to affordability and supply of housing when we restrict certain types of development in one area but not in an adjacent area?
  • How do you preserve a neighborhood and a culture, not just a streetscape of facades?
  • Whose history are we preserving and memorializing when we create a historic district?

The preservation movement has long history, starting with frankly elitist and nativist motives in places like Monticello and the American Wing of the Metropolitan Museum of Art, evolving through a less overtly political “beautiful buildings” phase and in recent decades embracing a very wide range of social histories (preserving industrial sites, working class immigrant neighborhoods, etc.). Historic preservation, in my opinion and in the opinion of several of the panelists, is primarily a tool for recording and transmitting a story. Preservation is no more or less elitist than a hammer or a pen and paper; the patron who pays for the work may or may not be elitist. Answering the question of whether preservation is or is not elitist is really an inquiry of whose history is being preserved and retold. Kerri Culhane, Tia Powell Harris, Claudette Brady, and Laurie Beckelman discussed many examples of decidedly non-elitist preservation initiative such as Tin Pan Alley and the Bowery in Manhattan, Weeksville, Crown Heights, and Bedford Stuyvesant in Brooklyn, and Mott Haven in the Bronx.

The NYC Landmarks law has the happy (again, in my opinion) coincidental ancillary effect of slowing the pace of change in landmarked neighborhoods, preserving affordable housing, and keeping communities of people bedded down and connected in one place. The Landmarks law, and others like it around the country, however, has had perhaps-unanticipated effects such as gentrification and its counterweight to affordability as well as “Disney-ifiaction”. Cities are incredibly complicated organisms and our urban planning policies (the NYC Landmarks law included) have all sorts of unanticipated (and frankly unpredictable) effects.

The pro-development panelists seemed to put the burden of creating affordable housing on the preservation movement. Their simple argument is that landmarks law restrictions on development increase the upward pressure on prices by restricting supply. This argument is the central “elitism” criticism of preservation movements from developers. However, developers have a pretty lousy record of building affordable housing on a purely altruistic (and not publicly subsidized) basis. Preservation has a contribution to make to affordable housing and it may also work against affordable housing at times; that is not however, its raison d’être. Affordable housing, not unlike historic preservation, is likely a social good that is just not quantifiable with our currently crude tools for pricing non-material goods.

Preservation and the NYC Landmarks law are a check on unrestrained market capitalism. Preservation and the NYC Landmarks law are an assertion of a public demand for history and education and quality of life (and other qualities) that are not accurately valued by (and therefore not supplied by) an unfettered capitalist system. In the absence of a consensus on how to adequately price these things, the government makes laws to provide them, which by large margins the public supports. Perhaps one day we will find a way to put an accurate price on things like diversity and history (and for that matter: clean air, water, quiet, and darkness at night). At that point, I’m sure we will all be happy to observe the invisible hand most efficiently deal out goods and services. Until that point, I am glad we have the NYC Landmarks law and I was certainly glad to hear an overwhelming defense of it in the packed hall of the museum.

-David Calligeros

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Manufacturing in Brooklyn iGraphic

Community, Inspiration, Feedback, Talent and Access are just a few of the advantages that David Calligeros, Rick Mast, Diana Pincus and Charlie Herman called out about manufacturing in Brooklyn at the Make it Brooklyn Summit….

Manufacturing in Brooklyn iGraphic from the Make it in Brooklyn Summit

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