After fourteen years of peaceful, purposeful development from Vancouver, lighting brand A-N-D is opening its first long-term showroom outside Canada– in a listed Copenhagen courtyard building that when printed paper. Three floors, 3 functions and a style approach developed on version, not repeating.
Canadian lighting brand A-N-D opens its first long-term showroom outside Canada this June, during 3 Days of Design in Copenhagen all images thanks to A-N-D, unless stated otherwise|image © Luis Valdizo At some time in the conversation, words stop sufficing. Lukas Peet has been talking for twenty minutes– about refinement, about the measured speed of fourteen years, about a structure in Copenhagen that utilized to print paper and will soon hold light– and after that he says: let me just show you. The screen shares. The renders open. And what language had actually been circling around becomes, unexpectedly, visible. Grounded in color. Generous in proportion. Not loud. There is a darkness to the combination that feels thought about rather than trendy, and a weight to the objects that the pictures had not quite ready you for. This, it ends up, is what Canadian design looks like– not as a meaning, but as a collection of notions. This June, throughout 3 Days of Design in Copenhagen, A-N-D will unlock to their first permanent display room outside of Canada.
the brand was founded in Vancouver fourteen years earlier by Lukas Peet, Caine
Heintzman and Matt Davis|image © Gabriel Cabrera three designers who came to lighting from different instructions and recognised they were trying to find the very same thing|image © Gabriel Cabrera A-N-D was founded in Vancouver fourteen years back by 3 individuals who emerged from various directions and recognized, when they fulfilled, that they were trying to find the same thing. Lukas Peet, a Design Academy Eindhoven alumnus and winner of Canada’s Emerging Designer Award, brought a nearly restless interest about objects, materials and production: a desire to challenge the familiar and the normative. Caine Heintzman, trained at ECUAD and the Kunsthochschule Berlin Weißensee, brought rigorous product research and a sculptural sensibility– a concentrate on modularity where repetitive types expose a commercial beauty. Matt Davis brought over a years of senior service experience in lighting, and the clearness of vision to hold all of it together. The word skills is never selected– instead, there is a deep and apparent regard for what already exists.
there is no signature formula throughout collections: different products, different scales, different methods|image © Gabriel Cabrera
only a consistent methodology– LED-first, function-led, refined towards the necessary|image © Gabriel Cabrera What that looks like in practice: various materials, various scales, various methods across every collection. No signature formula, no single visual gesture repeated throughout collections– just a constant approach: LED-first, function-led, refined towards the necessary. Just the continuous, sometimes pricey pursuit of the very best possible answer to each individual question. I have no interest in making something that currently exists, Peet says.
‘Design is not a compromise. Design is a conversation’
That concept has a cost– and A-N-D are candid about it. Asked about failure, Peet doesn’t reach for the word. What he describes rather is a technique: slow development, constant model, every item notifying the next. The Pebble — a sculptural glass pendant first revealed at Euroluce 2019– tells that story well. It started as a handcrafted piece, with craftsmens producing kinds within a controlled series of variation. The range ended up being too wide. Customers anticipated what the picture showed, and A-N-D has actually constantly insisted that what you see is precisely what you get– genuine photography, no renders, no flattering range between image and things. The repercussion was years of advancement across countries and manufacturers, up until the kind could be recreated regularly from a mould. A revised version shows up in Copenhagen. Design is not a compromise, Peet states. Design is a conversation.
the showroom in Copenhagen inhabits a noted heritage building, a former paper printing
press in a Copenhagen yard|image © Gabriel Cabrera Three floors, each with a various function: gallery, technical laboratory, coffee shop The building as instrument The area itself is a listed heritage structure– a former paper printing press, somewhere in a Copenhagen yard. High ceilings, large commercial windows, a timeless yard staircase causing the entryway. In a few weeks, the courtyard will be crowded. Music will wander below the upper floors. For now, there are renders. Three floorings, each with a various function. The word that keeps returning is improvement. The display room is not a stage set, not an atmosphere workout. It is an instrument– created, as Peet puts it, to make the product understood. On the ground floor, the Showroom Gallery: the newest collections
provided with a clarity that is almost austere.’Canada and Scandinavia merely feel natural together. A shared relationship to quality. A comparable restraint towards the loud’ To the left, Caine Heintzman’s Pace series. To the right, Peet’s Tier. On a table just over five metres long: Contour and the revised Pebble. Even more back, the Column — now with an unlimited extension capability– and Pipeline, Heintzman’s really first style for the brand, revised and returned. Furniture by Vancouver maker Christian Woo, a buddy, gives scale and recommends use without contending. Along the walls, large-format LED lightboxes with brand photography glow at a frequency that is somewhere in between art and argument. The message on getting in is implied to be immediate and particular: this is a lighting business.
the ground flooring of Copenhagen’s display room provides the
most recent collections with near-austere clearness the basement strips out daylight completely, offering a controlled environment for understanding surfaces, modularity and installation in information In the basement, the Technical Laboratory, things become darker and more accurate. The heritage flooring is unblemished– a restraint that became a decision. All light in the space comes from walls fully lined with wall components, and from lit up sample racks running through the centre. Dimmers and switches permit every product to be experienced in a totally controlled, daylight-free environment. Finish examples, models, procedure items. The basement is perhaps the most telling floor of all– constructed not for impression, but for understanding. It’s about giving individuals confidence, Peet states. That they truly understand what they’re ordering.
‘If someone walks in and asks: where are you from? What is this?– that is when a discussion begins’
On the second floor, the COFFEE SHOP A-N-D Bar — an extension of the activation format A-N-D first presented the year before. La Marzocco, the Italian company understood around the world for its handmade, comprehensive high-end espresso machines, is partnering again this year. At the centre of the space, a column installation with noise, dimmed at various levels. A little like a church, Peet says, then fixes himself immediately. But not actually. A contemplative area. Coffee, light, music still to be chosen.
the revised Pebble pendant (2019) arrives after years of development to bring a handmade glass type to consistent reproduction
< img src ="image/gif; base64, R0lGODlhAQABAIAAAAAAAP/// yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" alt="I have no interest in
making
something that currently exists: in conversation with lukas peet -11″width =”818″height=” 955″data-src =”https://static.designboom.com/wp-content/uploads/2026/05/A-N-D-interview-designboom-15.jpg”/ > a story that captures how A-N-D works: sluggish development, consistent version, every product notifying the next Why Copenhagen The practical answer: a trusted regional partner– Ken, a Dane– and the logistics that followed. Import structures, warehousing, time zone. The less useful response, provided with a slight smile: Canada and Scandinavia merely feel natural together. A shared relationship to quality. A similar restraint toward the loud. There is also the structural argument. 3 Days of Design happens every year. Euroluce every two. For a brand that has constantly grown by itself terms, the annual rhythm matters more than the prestige of the larger platform.
A-N-D has been cultivating the European market since 2018– Milan, London, Paris, Copenhagen– building slowly, as they develop whatever. The showroom is the next rational step, and likewise something more: a signal that they are here, within reach, in the very same time zone. That the questions clients can just ask personally– about modularity, about finishes, about what something really appears like when it is set up– now belong to be asked.
A-N-D has been cultivating the European market since 2018|image © by Studio Brinth the Copenhagen showroom is the next action– and a signal that they are here
, within reach, in the exact same time zone|image © by Studio Brinth The reaction What the three are most looking forward to throughout 3 Days of Design is not a number. It is the reaction of visitors during those very first June days. The concerns. If somebody walks in and asks: where are you from? What is this? — that, Peet says, is when a discussion starts. And discussions, for A-N-D, are where everything starts.
We are already curious. And we will have significantly more concerns once we’re there face to face.