From Here Now is a minimalist exhibition taking place at this years 3daysofdesign in Copenhagen, Denmark presented by Lee Broom. The wooden crates stand like sentinels throughout Asia House, their weathered surfaces catching pools of light from Lee Broom’s luminaires above. Each container tells a story of journeys taken and treasures gathered, but here in Copenhagen, they serve a different purpose – as vessels for design contemplation rather than maritime cargo. In this carefully orchestrated collision between industrial heritage and contemporary lighting, Broom has created something that transcends mere exhibition to become archaeology of the creative process itself.

The designer’s choice to inhabit Asia House during 3daysofdesign represents more than opportunistic venue selection. Built as headquarters for the East Asiatic Company in 1897, the building embodies the same spirit of global exploration that defines Broom’s aesthetic philosophy. Captain H.N. Andersen’s shipping empire once connected distant cultures through trade; Broom now connects disparate design languages through light. The floor lamp pedestals and suspended chandeliers become navigation points in this domestic landscape of discovery, each piece marking coordinates in the designer’s evolving journey.

What distinguishes From Here Now from conventional retrospectives is its material honesty. The Orion Light in antique brass does not simply showcase technical prowess but reveals the designer’s ongoing dialogue with metallurgy. Bronze patinas develop their character through time and touch, much like Broom’s design vocabulary has matured through a decade of refinement. The Crescent Light, celebrating its ten-year milestone in blackened brass, demonstrates how surface treatments can fundamentally alter our perception of familiar forms. These are not merely new finishes but evolutionary mutations, each responding to contemporary desires for authenticity and tactile richness.

Broom’s curatorial strategy of pairing historic artifacts with signature lighting pieces creates productive tensions between past and present. Draped fabrics suggest dust sheets pulled back from forgotten heirlooms, yet the gesture is theatrical rather than nostalgic. This is design as performance, where each pendant and sconce becomes both illuminator and illuminated object, casting shadows that transform throughout the day.