designing lighting global (dlg) - VOL III ISSUE 1 by designing lighting

designing lighting global

AN ICON REBORN WITH LIGHT

Top lighting designers on where they get their

Lighting designer Patrick Rimoux uses precise illumination to stunning effect at the newly restored Notre Dame Cathedral in Paris, five years after it was gutted in a fire. Exclusive interview by Randy Reid.

Dark and shadows, 60 years after the death of Jun’ichirō Tanizaki

inspiration

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6 EDITOR’S NOTE

An introduction from our editor Ray Molony.

8 DESIGN FILE

Some striking projects from around the world.

10 COVER STORY: An icon reborn Lighting designer Patrick Rimoux has risen to the occasion with a scheme at Notre Dame Cathedral in Paris that’s a deft balance of tradition and innovation. In an exclusive interview in this issue, Rimoux explores the challenges of the project with managing editor Randy Reid.

18 EXTERIOR LIGHTING: Ribbon of light

At Canada Dock Boardwalk in London’s Docklands, Speirs Major Light Architecture has created a sensitive and precise lighting scheme for a serpentine boardwalk.

24 EXTERIOR LIGHTING: Beacon of luxury

For over a century, lighting has played a vital role in defining Harrods’ iconic department store in London. Now, a visionary design by L’Observatoire International is creating a captivating interplay of light, depth, and movement.

26 HOTELS SPECIAL: Crystal clear

Vera Chu of the Vermilion Zhou Design Group has created a glamorous yet understated lighting design for the latest Crystal Orange Hotel at Shanghai’s Zhongshan Park.

34 HOTELS SPECIAL: Illuminating elegance

Set within the iconic Drechsler Palace, W Budapest redefines luxury with a seamless blend of historic grandeur and contemporary design. Aztec Studio’s crafted scheme enhances its architectural beauty while setting a new standard in refined hospitality.

VOLUME 3 ISSUE 1 2025

38 CONTROLS: Set the mood for success

Thoughtful lighting control can enhances the customer experience while saving energy, says lighting consultant Dave Tilley.

40 SPORTS LIGHTING: Pool of light

At the Aquatic Centre at the Olympic Park in Munich, performance of the lighting in the challenging conditions was paramount for Erco.

46 INSPIRATION Art or nature?

Where do top lighting designers go for creative inspiration - art or nature?

We asked 10 leading professionals to share with us their insights on the unexpected places, artworks, and natural phenomena that spark their most innovative ideas.

52 SPECIAL FEATURE: Let’s embrace the dark

On the 60th anniversary of the death of Jun'ichirō Tanizaki, Ray Molony celebrates shadows.

56 INNOVATIONS

We curate the stand-out designs this quarter.

58 TRADE SHOW CALENDAR

We mark your diary with all the big events in lighting design right into 2025.

60 ORGANISATION NEWS

The latest reports from the lighting design community and its representative bodies.

61 ADVERTISERS INDEX

62 UP CLOSE

We meet the founder of Spark & Bell, Emer Gillespie.

63 NEXT ISSUE

We give you a heads up on what you can look forward to the next issue of designing lighting global.

Crystal Orange Hotel at Shanghai’s Zhongshan Park.

ON THE COVER: Notre Dame Cathedral

Lighting design: Patrick Rimoux

VOLUME 2 ISSUE 2 2024

Editor: Ray Molony

Publisher: Randy Reid

Associate Publisher, Advertising: Cliff Smith

Director of Audience Development: Angie Hullfish

Staff Writers: Parker Allen

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designing lighting global is focused on the Business of Lighting Design™ and provides business information to the lighting design community across the world. In addition to the website, designing lighting publishes bi-monthly online magazines featuring original content, interviews within the community and highlights successful and awardwinning lighting designs.

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The opinions expressed in this publication are those of the authors. They do not purport to reflect the opinions or views of designing lighting global or its management. The designations employed in this publication and the presentation of material therein do not imply the expression of any opinion whatsoever on the part of designing lighting global magazine concerning the legal status of any country, area or territory or of its authorities, or concerning the delimitation of its frontiers. © designing lighting global 2025.

Reproduction of the material contained in this publication may only be made with the written permission of designing lighting global.

LIGHTING DESIGN RISES TO THE OCCASION

BIGGER, STRONGER DESIGN PRACTICES CAN ONLY BENEFIT CLIENTS

The relighting of Notre Dame Cathedral is a poignant moment in the ongoing saga of its restoration, a beacon of hope and resilience following the devastating fire of April 2019.

It serves as a powerful symbol of human determination and cultural preservation. This milestone is not merely about the return of light to a historic monument; it is a testament to the collective effort of architects, artisans, historians, and donors from around the world who have rallied to restore what many consider the soul of Paris.

The lighting design profession has come a long way, philosophically speaking, in recent years. First it came to an accommodation of sorts with those practices who create lighting designs and also supply the equipment. This manifested itself in the change of membership rules for the International Association of Lighting Designers to allow socalled design-and-supply members. Personally, I’ve always thought that their exclusion was a harsh rule, a purist view that doesn’t take into account the real world, especially in those territories which don’t have a culture of paying design fees. Additionally, there are some design-and-supply outfits which do superb lighting schemes. In my view, there’s good lighting and there’s bad lighting. It’s not about who’s supplying it.

Lighting designer Patrick Rimoux has certainly risen to the occasion with a scheme that’s a deft balance of tradition and innovation. In an exclusive interview in this issue, Rimoux explores the challenges of the project with managing editor Randy Reid.

Another IALD rule change that has just been the written into the code of ethics is that members should give sufficient weight to sustainability in their designs. This should be less controversial than the previous rule change. While it is an aspiration, it’s a laudable one and it does give designers some ammunition to protect their designs in the face of pressure to compromise.

By incorporating the latest LED technology, Rimoux ensured that the cathedral’s intricate Gothic details are highlighted with precision, while also paying homage to its medieval origins.

Yet, the relighting also invites reflection on the broader significance of Notre Dame. It is not just a religious or architectural icon but a living testament to the shared heritage of humanity.

Further in these pages I talk to the IALD’s CEO Christopher Knowlton about how lighting design practices can grow. Knowlton is no slouch at lighting design and has a roster of great projects to prove it. But he also has an MBA and is business minded, and he’s given a lot of thought to this topic. His diagnosis of the problem and his proposed remedies make interesting reading.

Its restoration underscores the importance of safeguarding cultural landmarks in an era where history is often overshadowed by rapid change. As the lights of Notre Dame shine once more, they illuminate not only the stones of the past but also the path forward—a reminder that even in the face of destruction, beauty and hope can be reborn. This moment is a celebration of perseverance, a tribute to the past, and a promise to future generations.

The lighting design profession has never lacked for creativity, or indeed the tools to create stunning projects. Rather, its weakness has traditionally been on the business side. For, as Knowlton points out, it is well financed and managed practices which can invest in its staff, its knowledge and its resources. And that can only be good for our clients.

Ray Molony EDITOR

INSPIRING LIGHTING DESIGNS CREATED BY WOMEN CURATED BY LIGHT COLLECTIVE

THE NEW BOOK IS NOW AVAILABLE WORLDWIDE FROM AMAZON

LIGHTING ENTERTAINMENT WOMEN IN

COLLECTED LIGHT VOLUME THREE

GROOVE HEAVEN

NEW CHURCH

JANS LIGHTING DESIGN

THE NETHERLANDS

The New Church in Zierikzee, Netherlands has been revitalised with a stunning lighting design, a collaboration between Jans Lighting Design and Lumen Solutions. LEDFlex’s linear LED products are seamlessly blended into the 19thcentury neo-classical architecture.

Warm white tones from LEDFlex’s Ultimo Neon 16, an IP68 silicone-encapsulated solution, bathe the tower in a soft glow, accentuating the intricacy of its grand columns, pediments, and arched windows. The even illumination creates a balance of light and shadow, preserving the historic charm of the façade while offering a contemporary elegance.

Groove Heaven is a store for trainers, yes, but the lighting and interior are actually based on the transformation of sound waves into a multi-sensory spatial experience. The design integrates rhythm into rotating shelves, textured floors, and dynamic lighting. The centrepiece ‘Love Seat’ offers tactile comfort, contrasting with rhythmic surroundings. This immersive environment fosters connection, countering urban disconnection through music’s unifying power.

‘A

CHILDHOOD DREAM’

VISO LIGHTING

MIAMI ART WEEK

Pininfarina teamed up with VISO Lighting for the illumination of this immersive collection of sculptural light fixtures. They ‘transform childhood wonder into tangible, illuminated forms’, redefining the intersection of design, technology, and storytelling. Guests were invited to step into a world of limitless imagination that offers an unforgettable sensory experience. Suspended in mid-air, the sculptures combine advanced materials, construction complexity and integrated DMX lighting control to create a floating, magical effect.

LIGHTING THE OF NOTRE DAME Soul PART I

An Interview with Patrick Rimoux

BY RANDY REID

When I arrived in Paris early in the morning, I headed straight to the newly reopened Notre Dame. With my phone in hand, I took nearly 100 pictures, capturing the cathedral’s breathtaking lighting design.

Later that day, in a Paris studio displaying his art, I sat down with Patrick Rimoux, the lighting designer behind Notre Dame’s new illumination. As we reviewed my photos, he walked me through the intricate details of his work, sharing insights into his

creative process and the challenges of restoring the cathedral’s lighting after the devastating fire.

The Call to Illuminate Notre Dame

“When the fire broke out, I was in Portugal,” Rimoux recalled. “I saw it on TV—it was awful. About six months later, the architects contacted me and asked if I wanted to contribute to the lighting project. I thought it was a beautiful opportunity.”

©Julio Piatti

Rimoux’s involvement in the project was unconventional. Rather than assigning the lighting design to the usual Ministry of Culture architects, officials chose him, an artist known for his cinematic approach to light. “Often, when state architects handle projects like these, they focus only on architectural lighting,” he said. “But Notre Dame isn’t just an architectural wonder—it’s a place of worship. It needed lighting that reflected its sacred purpose.”

A Balancing Act of Light and Shadow

For Rimoux, lighting is more than just illumination. “I don't just consider myself a lighting designer; I'm a shadow sculptor,” he explained. “Without shadows, there’s no light.”

His approach to Notre Dame was deeply intentional. “The central cross in the cathedral is illuminated by six projectors,” he said, pointing to one of my photos. “We adjusted the angles meticulously to ensure the lighting enhances the space without overwhelming it. The challenge was finding the right balance between ambient architectural lighting and the dramatic illumination needed for worship.”

“I don't just consider myself a lighting designer; I'm a shadow sculptor,”

— Patrick Rimoux

Notice the uniformity of the centerpiece and the illuminated arches, highlighted against the contrasting shadows in the background. Photo by Randy Reid

Each chandelier was removed, cleaned and rewired. Photo by Randy Reid

Modern Technology, Historic Sensitivity

The Notre Dame restoration project presented unique challenges. “Initially, the cathedral had major electrical issues due to its age,” Rimoux said. “But with the restoration, we were able to place new electrical systems exactly where needed.”

To achieve his vision, Rimoux used a mix of Zumtobel, Lucy Matera from Portugal, SILL from Germany, and OSRAM LED systems. “I prefer working with German brands—they offer exceptional quality,” he added.

Rimoux designed the lighting for two distinct audiences. “With seven masses per day, we needed specific

lighting tailored for worship services,” he explained.

“The larger audience, however, comes to admire the art, architecture, beauty, and history, requiring a more ambient architectural lighting approach.” The system, controlled by Pharos, allows adjustments in intensity and colour. “During mass, the lighting is brighter, while outside of service times, it transitions to a softer architectural glow.”

One of the most delicate tasks was lighting the Crown of Thorns, one of Christianity’s most sacred relics. “The designer asked if I wanted to light it—of course, I did!” Rimoux said. “Instead of electricity, I used fibre optics to avoid fire risks. This relic is over 1,200 years old—we had to be incredibly careful.”

This photo was taken before sunrise, as evident by the absence of sunlight passing through the stained glass windows. Photo by Randy Reid.

“Instead of electricity, I used fiber optics to avoid fire risks. This relic is over 1,200 years old—we had to be incredibly careful.”

— Patrick Rimoux

Photo

Randy Reid

A Race Against Time

The restoration timeline was tight. “We installed 1,400 Zumtobel projectors without the ability to fully test them beforehand because of ongoing construction,” Rimoux revealed. “The final testing took place in early December, a few weeks before the cathedral’s reopening.”

Despite the challenges, the results exceeded expectations. “People often come up to me in cathedrals and thank me for the lighting,” he said. “Some find it too bright at first because they’re used to darkness. But overall, the feedback has been positive. My goal is to create something people love. If they don’t, I feel my job isn’t done.”

Lighting the Future

Looking ahead, Rimoux remains passionate about transforming sacred spaces through lighting.

“Historically, many Latin churches had poor lighting— just a single fluorescent bulb screwed in,” he said. “Now, with LED, we have the opportunity to do more, to bring light in a way that enhances these spaces without erasing their history.”

As I left the studio, I couldn’t help but admire how Rimoux's work blends art, technology, and spirituality. Notre Dame’s new lighting is not just a technical feat— it’s a tribute to its history, its resilience, and its purpose. Thanks to Rimoux, light now fills the cathedral, illuminating not just its architecture, but its soul.

In Part II, we will take a look at how Rimoux used shadowing as his personal signature to the lighting and we’ll also look at the restoration of the chandeliers.■

“Now, with LED, we have the opportunity to do more, to bring light in a way that enhances these spaces without erasing their history.”

— Patrick Rimoux

Photos by Randy Reid

RIBBON OF LIGHT

At Canada Dock Boardwalk in London’s Docklands, Speirs Major Light Architecture has created a sensitive and precise lighting scheme for a serpentine boardwalk.

Hayes

The undulating ribbon like structure, colour and material qualities of the boardwalk are clearly articulated after dark © Luke Hayes

Speirs Major Light Architecture's refined, sensitive lighting approach for the new boardwalk and seating area at Surrey Dock creates a stunning after-dark identity, balancing a vibrant, safe and welcoming experience for pedestrians with protecting the wetlands reserve's revived ecology.

The concept centres on seasonal control of intensity and colour, supporting the local bat population and the local biodiversity as a whole.

The new ribbon-like boardwalk designed by Asif Khan connects Canada Water Tube station with the emerging mixed-use development around the Dock. It forms part of British Land’s Canada Water Development, which includes a Lighting Vision for the area created by SMLA in 2019.

After dark, warm white light integrated into the balustrade washes the boardwalk's distinctive, red-stained timber, highlighting its undulating form, colour and materiality.

The soft, graduated wash of light onto the deck, guard rails and exterior fins is carefully tuned and controlled so pedestrians feel safe and secure, but brightness and spill light are minimised. This helps boardwalk users to better see and connect with the newly restored

wetlands while limiting the impact on local ecology. Low-key lighting integrated within the benches also facilitates moments to pause and enjoy the views across the water.

Associate Partner Benz Roos comments:

'While it was a priority to ensure that pedestrians had a great experience of crossing the boardwalk, it was equally important to consider the needs of the other living inhabitants of the site. We worked hard to carefully integrate, direct and shield the light to deliver the image, ambience and functionality we wanted while limiting potential disruption and unwanted impacts. This included considering the needs of local bat, bird and insect populations in particular, the surrounding areas of natural wetlands, and the needs of the residents of planned future developments.

'During the mock-ups, we identified the need to add a louvre to the balustrade lighting to control the reflection of the light source in the water. We also chose light sources with an appropriate spectral profile, including little to no UV light.'

The Docks area is a designated bat corridor. Working closely with the site ecologist, SMLA's lighting concept includes seasonal timed

adjustments in intensity and colour temperature to support the local bat population.

Roos continues:

'We created a lighting control profile specifically designed to reflect the needs of the bat population. The lighting switches on half an hour after sunset and off

half an hour before sunrise. When the bats hibernate in winter, the lighting comes on at a warm white 3000K in the evening to support commuters. It then shifts gradually over a few hours, becoming much warmer and dimmer as night falls.

'During summer, the bats are active, and most commuters will be on the move during daylight hours.

With the sun setting so much later, when the lighting switches on, it does so at a minimal brightness in a very warm colour to minimise any impact on the bats. '

Using timber and other eco-friendly materials reflects the importance of sustainability within the project. SMLA chose to work with designer

Asif Khan to detail the integration of individual, repairable luminaires, rather than an encapsulated linear fixture, in support of a circular economy.

The Southern Steps and Dock Walk provides a space for people to gather and enjoy the site through various seating areas and benches near to the water.

‘We worked hard to carefully integrate, direct and shield the light to deliver the image, ambience and functionality we wanted while limiting potential disruption and unwanted impacts,’

— says associate

partner Benz Roos of Speir Major Light Architecture

A plan view of the Boardwalk after dark © SMLA

Supporting a natural and intimate atmosphere after dark while maintaining safety and security was a key priority for this area. High-level lighting was included within the planting areas to provide functional lighting for pedestrian routes, adding low-level and integrated lighting at a more human scale to create an inviting ambience. Highlighting the colour and texture of the planting and providing soft focus around the seating areas and across the steps encourages social interaction and time to dwell and enjoy the

serenity of the restored urban wetlands.

SMLA Senior Partner Mark Major comments: 'This is the first major intervention realised from the Lighting Vision for Canada Water we created in 2019. It perfectly encapsulates British Land’s aspirations for the public realm after dark: A strong visual identity, sensitivity to both the natural environment and the needs of local residents, whilst delivering a safe and enjoyable pedestrian experience.'■

PROJECT CREDITS

Client: British Land

Architect: Asif Khan

Lighting Design: Speirs Major Light

Architecture

Project team: Mark Major, Benz Roos, Neville de Sa

Photography: Luke Hayes

Careful detailing and customised louvres limit spill and avoid direct reflection of the light source in the water © SMLA

BEACON LUXURY of

Harrods, the world-renowned department store in London, was established in 1849 by Charles Henry Harrod. Since then, it has become an enduring symbol of sophistication and refinement.

More than just a retail destination, Harrods is a cultural icon, drawing visitors from across the globe to experience its unique interior.

The Harrods building, located in Knightsbridge, is a masterpiece of late-Victorian architecture. Designed by Charles William Stephens in 1905, its terracotta façade and baroque detailing have made it a quintessential London landmark.

Lighting has played a pivotal role in accentuating its architectural grandeur, particularly during its formative years. In the early 20th century, Harrods pioneered the use of electric illumination, setting a new standard for architectural lighting. This innovation transformed Harrods into a radiant beacon of luxury, especially at night.

Today, the lighting of Harrods is an ongoing project led by the acclaimed lighting design firm L’Observatoire International.

The practice says its brief is to re-envision the iconic building with a new interplay – or play – of lighting layers; bringing depth of design, clarity of use, and introducing a dynamic quality that allows for light to dance across and for the building to be reimagined each night.

Over time, the 12,000 bulb lights strung across its exterior have become an integral component of the store’s famous façade. However, the original lighting—which was first installed in the 1950s as part of a temporary Christmas installation—only illuminated one part of the building. The temporary display became permanent in the subsequent years, but additions to the installation lacked regard for the lighting’s impact on the entire building, causing the details of an ornate architectural marvel to disappear at night.

L’Observatoire International’s design for the upgrade of Harrods’ façade lighting ushers the department store

into the future. New LED technology modernises the building’s exterior, reducing maintenance needs and enabling dimmability, while respecting Harrods’ legacy by maintaining the building’s historic character.

L’Observatoire drew upon Harrods’ core values in the updated lighting plan, beginning with ‘take pride’, which prompted the team to retain the iconic festoon lighting in the new design. Replacement fixtures are color changing, transitioning from warm white to cooler white over a nightly cycle, and taking on colours for special events.

Festoon lighting is supplemented by a new layer of architectural lighting, which reveals the building’s layers and history, enabling the Harrods story to be played out across the façade in a new way.

Additionally, layers of light create a sense of hierarchy for the building and its uses, which also helps express the activity within the department store. For example, denser portions of the lighting design are located at the building’s two wings and centre, providing the public with subtle reminders of the store’s uses at night.

Together, the updated festoon lighting and architectural lighting activate the street level and first floors of the store, engaging people outside and visually grounding the façade, while creating a strong base from which the building rises.

Rethinking the festoon lighting’s placement on the façade, as well as careful consideration of the placement and density of new architectural lighting, enabled L’Observatoire to curate a modern experience that also respects the building’s iconic appearance. GVA supplied luminaires for the cove, façade washing and wall grazing including its Highlighter, FL, STR9, and Lira.

L’Observatoire’s design also provides a final homage to Harrods’ and what it represents, capturing the magic of the interior and having it play out across the exterior, as the iconic bulbs are programmed to move across the façade in a twinkling play of brilliance after dark—creating a fairytale-like display for all people, everywhere. ■

PROJECT CREDITS

Client: Harrods

Architect: Charles William Stephens

Architect of Record: Kendall King Scott

Lighting Designer: L'Observatoire International

Principal: Hervé Descottes

Project leader: Leah Xandora

Team: Akito Aiba, Billy Wong

Main Contractor: Restore London

Construction Consultancy: Kendall Kingscott Ltd Cove, façade and wall grazing lighting supplier: GVA

Electrical Consultant: Collina MEP

Electrical Sub-contractor: AM Electrics (DAC)

Photos: Ed Hasler

L'Observatoire International principal Hervé Descottes led the team behind the reimagining of Harrods’ exterior lighting.

CRYSTAL CLEAR

Vera Chu of the Vermilion Zhou Design Group has created a glamorous yet understated lighting design for the latest Crystal Orange Hotel at Shanghai’s Zhongshan Park.

‘Guided by light, passing through moments of cleansing and transformation, the brilliance of crystal flows freely through different mediums and spaces, comfortably and effortlessly, gradually filtering out the disturbances of the external world. Its brilliance is radiant, but not overwhelming, and energy instantly fills the heart.’

The bar area, seen from below. The evenly illuminated vertical elements bring warmth to the feature while the delineation elements are in a cooler colour temperature.

The bar is a great example of how the brief has been translated into reality. The combination of 2700K vertical LED elements and a curving curtain of cut glass create a stunning centre piece.

The brief for the illumination of the latest Crystal Orange Hotel, this time at Shanghai’s Zhongshan Park, was for it to offer the guest ‘an elegant, but not extravagant, pure, yet unpretentious’ accommodation experience ‘through the cleansing and transformation of light’.

This centrality of light and lighting has been a hallmark of the hotel chain and its collaboration with Vermilion Zhou Design Group has been fruitful for both parties over the years.

At this, the latest edition, Vera Chu was inspired by starlight and crystal light.

The retrained integrating lighting continues into the buffet area. Local task lights illuminated the food.

Upon entering, guests are greeted by a beautifully lit lobby area, where lighting is designed to evoke a sense of sophistication and warmth. A combination of chandeliers, recessed lighting, and accent lights provides layered illumination that enhances textures and materials, such as marble floors and wooden finishes.

The bar is a great example of this brief has been translated into reality. The combination of 2700K vertical LED elements and a curving curtain of cut glass create a stunning centre piece. Underside elements are delineated with a high-colour rendering flexible LED integrated into the sides.

The combination of LED sheets and metal meshes are used to strong effect in the restaurant and corridors, as well as the dramatic underside of hotel entrance.

By contrast the interior of hotel rooms are more functional, with cooler colour temperatures to create a calming and practical space. The wardrobes features a full ceiling of backlit LED, and the mirrors are side lit with twin linear elements.

Established in Shanghai in 2002, Vermilion Zhou Design Group has completed over a thousand interior design projects, encompassing various types such as public, commercial, office, hotel, restaurant, and residential spaces. The firm constantly strives to explore new possibilities.

It’s particularly strong with branded hotels, providing accommodation experiences for a staggering 100 million people.

Understanding the needs of different space users has been, it says, key to its designs.

Through precise task allocation in team collaboration, the group develops comprehensive design solutions, from conceptualisation to implementation, taking an interior design perspective.

Starting from what the practice says is a ‘contemporary Oriental mindset’, Vermilion Zhou Design Group emphasises the practicality and aesthetics of human experience in space, aiming to popularise designs that

The combination of light and infinity mirrors continue the crustal theme to dramatic effect.

Underside elements are delineated with a high-colour rendering flexible LED integrated into the sides.

combine beauty and functionality, while assisting projects in achieving overall success.

The Vermilion Zhou Design Group says it treats each client and user's requirements with the utmost care and consideration, addressing their needs and exceeding expectations to provide the most suitable solutions.

The practice is also attuned to sustainability. It says it bears a greater sense of social responsibility, using fewer social resources and incorporating more environmentally-friendly materials in every design project. ■

The combination of warm colour temperature and golden metal mesh in the corridors provides visual interest and a welcoming ambiance.

The combination of LED sheets and metal meshes create the dramatic underside of hotel entrance.

PROJECT CREDITS

Creative director: Kuang Ming( Ray) Chou

Concept design: Ting Ho

Brand positioning: Vermilion Zhou Design Group

Interior design: Garvin Hong, Jim Wang, Jingyi Xu, Bin Lu, Changsong Li, Weilong Tu, Bo Liu

Lighting design: Vera Chu

Furniture, fixtures and equipment design: Sundi

Operations goods design consultant: Vermilion Zhou Design Group

Vera Chu was inspired by starlight and crystal light. ‘Its brilliance is radiant, but not overwhelming, and energy instantly fills the heart.’

The interior of the hotel rooms are functional, with cooler colour temperatures to create a calming and practical space. The wardrobes features a full ceiling of backlit LED, and the mirrors are side lit with twin linear elements.

ILLUMINATING ELEGANCE

Set within Budapest’s iconic Drechsler Palace, now a UNESCO-listed landmark, W Budapest seamlessly melds historic grandeur with contemporary luxury.

The hotel offers 151 stylish rooms and suites and three innovative gastronomic concepts inspired by Budapest’s rich history, creativity and diversity. It’s housed in the iconic Drechsler Palace on the UNESCO World Heritage-listed Andrássy Avenue – the ornate building has been carefully restored and transformed by London-based Bowler James Brindley and interior designers Bánáti + Hartvig, drawing inspiration from the palace’s rich cultural history and its multifaceted identity as a former café, social hub and Hungarian State Ballet Institute.

The lighting design is by Spanish practice Aztec Studio, which says its concept enhances the classical through the new intervention, respecting the place while adding freshness through state-of-theart integrated LED lighting. ‘Set like jewellery in precious metal’, the lighting is not meant to dominate but subtly illuminates spaces with high-quality comfort levels, providing a duality of perception between the architectural legacy and the new proposal, establishing a bold and unique hotel identity.

Every lighting detail, in the common areas, the rooms, and the spa, has been crafted to enhance the essence of the place, creating light scenes for each type of space and contributing vibrant atmospheres of light and warm glows, making guests feel part of a fascinating and sophisticated experience.

The Budapest-based Solinfo Group worked with Artec to provides

The lighting of the restaurant and bar, where integrated LED crafts an atmosphere of understated luxury, complements the opulent decor.

The duality of perception between the architectural legacy and the new lighting establishes a bold and unique hotel identity for the hotel.

professional lighting, interior design and decoration consultancy services, along with the design, production, management and distribution of high-end design brands and products.

Solinfo Group, tasked with capturing this unique character, specified LEDFlex’s premium linear lighting to enhance the architectural beauty without overpowering it.

LEDFlex's Ultimo Neon 10—a silicone-encapsulated, IP68-rated solution—delivers a welcoming glow to the hotel’s arches and latticework, subtly guiding guests with a refined radiance. This lighting extends into the

restaurant and bar, where it crafts an atmosphere of understated luxury, perfectly complementing the opulent decor.

In the spa, LEDFlex’s Aqua Neon 16, engineered for underwater use with a double-injection-moulded PVC encapsulation, highlights the pool’s contours, lending a tranquil glow to the retreat. This IP68-rated solution assures durability in aquatic environments, seamlessly fusing aesthetics and function.

Solinfo Group contributes to more than 300 projects a year, whether as a supplier of lights, furniture and accessories, or as a designer and contractor. ■

A complex materiality of marble, brass, glass and fabric sofas and chairs is set off by both integrated and pendant lighting.

‘Set like jewellery in precious metal’, the lighting is not meant to dominate but subtly illuminates spaces, says Artec.

PROJECT CREDITS

Client: W Hotel Group

Interior designer: Bowler James Brindley, Bánáti + Hartvig

Lighting design: Artec Studio

Suppliers: LEDFlex (Ultimo LED strip, pool lighting), iGuzzini (Spotlights), Flos (Spotlights), LED Linear (VarioLED LED strip), Reggiani (Spotlights)

Set the mood for SUCCESS

To survive in the hospitality sector, businesses must create inviting, flexible spaces that cater to diverse customer needs. Thoughtful lighting control can enhances the customer experience while saving energy, says lighting consultant Dave Tilley.

The hospitality sector is extremely challenging and fiercely competitive, a fact punctuated by the closure of over 400 pubs and 1400 restaurants in the UK alone in 2024. The outlook is just as bleak with record numbers of hospitality venues predicted to close in 2025. The need for hospitality to attract and secure customers has never been more important to survival.

The balance between space functionality, ambiance and energy efficiency are key factors to meeting these challenges and, ultimately, business survival.

Hospitality now, to survive, must consider a range of customer requirements, social gatherings, business meetings, workspace, events and sometimes even a relaxing drink.

Of course, there are businesses with a strong local following that simply turn the lights on and the customers come in. However, many businesses must compete for customers who are now far more discerning and expect more from their time and money.

Lighting control does not have to be sophisticated; a simple honeycomb lens, dimmer switch or sensor may well support the customer experience.

Many hospitality spaces have basic lighting control functions – such as ‘clean', ‘lunch’, ‘dinner’ and ‘security’ – but this does not consider natural light, branding, points of interest and areas that have multiple activities. This very simple approach to lighting control may provide a degree of energy efficiency but light levels are constant.

A famous national chicken restaurant brand has a hand painted logo, traditional artwork, restaurant information and in larger restaurants designated event areas. Natural light, generally along the front of the restaurant, will always interact with the artificial light and provides the opportunity for additional energy saving.

Lighting controls enables every area and application to be managed balancing light levels, creating ambiance and proving a comfortable relaxing environment.

During the day advantage can be taken of natural light while in the evening when the general lighting levels are reduced while the logo and artwork can be highlighted. The events area can have the ambiance and light levels managed adding to the customer experience.

It is worth noting that lighting control systems do require management. There is little point installing a system that is left until there are no scenes with all the circuits defaulting to standard.

As with lighting many business owners do not appreciate how the benefits lighting controls contribute to the customer experience and comfort. But how often are places dimly illuminated or the glare from an LED causes discomfort?

If the key lighting design principle of ‘light what you want to see’ and perhaps include the appropriate light level it would be a good place to start.

Lighting together with lighting control enables the owner to present the business at its best and provides the space required by customers.

Anything the hospitality sector can undertake to reduce the number of closures has to be positive. ■

At the W Hotel in Edinburgh, lighting design practice Light Alliance ensured that the lighting controls systems were ‘intuitive’, optimised for the spaces and easy to maintain. The project won a prestigious Build Back Better Gold award in 2024.

At the Aquatic Centre at the Olympic Park in Munich, performance of the lighting in the challenging conditions was paramount for Erco.

In 1972, Munich served as the venue for the 20th Summer Olympics. The design by Otl Aicher and the architecture by Frei Otto and Günther Behnisch emphasised lightness, sympathy and transparency.

Since 1998, the sports facilities in the Olympic Park have been recognised as part of the canonised architectural heritage of modernism.

Six years later, however, the Aquatic Centre at the Olympic Park under the iconic tent roof required an update.

The original lighting system had reached the end of its life cycle. The expansive, suspended grid structure for the spotlights was reduced to a single, longitudinal lighting bar during refurbishment.

In 2004, Erco supplied state-of-the-art spotlights equipped with high-pressure metal halide lamps. A manufacturer inspired by Otl Aicher, the designer of the Munich Games, was a perfect fit.

Munich’s only public 50-metre indoor pool is intensively used for recreational swimming, training and competitions in various water sports. The renovated lighting system served excellently for years, so its replacement during the 2016 remodelling was initially not planned.

However, rapid advancements in LED technology convinced lighting designers to include the swimming pool in the refurbishment plan. This forward-looking decision addressed increased maintenance needs and the challenge of sourcing replacement parts for the aging system.

Relighting promised a number of advantages, above all low maintenance and higher energy efficiency. LED spotlights can be dimmed and integrated into digital building control systems, unlike the previous system.

Finding LED spotlights that delivered sufficient lumen output while maintaining visual comfort and robustness was

The Olympic Park’s Aquatic Centre in Munich, originally designed for the 1972 Games, receives a state-of-the-art LED lighting upgrade.

challenging. After a large number of trials and samples, the planners finally found what they were looking for at Erco: After a routine lumen update to the Kona spotlight family, driven by advancements in LED technology, their most powerful models delivered sufficient luminous flux to meet the requirements of the Aquatic Centre.

Visual comfort was crucial for the project, especially given the off-centre lighting platform 16 metres above the pool.

Kona floodlights, with their glare protection, proved ideal for this set-up. ‘Asymmetrical illumination of the water surface was the main challenge’, reported lighting designer Beatrice Seidt from Munich's 3lpi office. ‘Our solution, developed through

‘Installing luminaires on the asymmetrical lighting bridge above the pool was necessary but challenging for achieving uniform lighting’

— Beatrice Seidt, 3lpi

numerous tests and calculations, works with multiple layers of light’, Seidt explained.

‘We use wide-beam floodlights for the area directly beneath the bridge and narrow-beam floodlights for areas farther away.’

The arrangement perpendicular to the swimming lanes and the recessed position of the LED modules in the Kona floodlight housings protect swimmers from glare.

‘The new LED spotlights are dimmable via DALI, allowing staff or trainers to adjust individual lighting groups if needed, should athletes feel dazzled’, added her colleague and partner at 3lpi, Florian Zach.

The new concept easily meets the client’s requirement for a minimum of 200 lux with good uniformity and, as Zach put it, ‘delivers a simply beautiful light image – bright, crisp and brilliant.’

‘The design process took years, and the requirements changed several times, but the ERCO sales team remained committed throughout’, noted Seidt.

Beatrice Seidt, 3lpi

Installing the system was by no means trivial. While the total connected load is now lower due to the highly efficient LED

technology, it is distributed across 194 luminaires compared to just 100 floodlights previously.

To stay on schedule during the on-going operations of the refurbishment project, the electrical designers and installers adopted unconventional methods.

‘Erco equipped the luminaires with pre-assembled connectors, allowing us to pre-assemble the entire system on the ground, test it and label the components", explained Michael

Industrial climbers transported and installed 194 luminaires onto the elevated lighting bridge during the annual maintenance period.

Kona’s flicker-free dimming ensures the lighting meets professional broadcast standards for TV and photography.

The new system ensures glare-free illumination, enhancing comfort for swimmers while maintaining a crisp, brilliant light quality.

‘Erco maintained excellent glare control – just as they did 20 years ago.’

— Michael Riemhofer, electrical designer

Erco’s corrosion-resistant coatings and durable materials withstand the Aquatic Centre’s harsh chlorine-rich environment, ensuring longevity.

Riemhofer, the electrical designer and expert who had already designed the existing system.

The individual components were then transported piece by piece onto the lighting bridge by industrial climbers during the Aquatic Centre's annual three-week maintenance period.

A basic condition of the new lighting design was to ensure camera-compatible light

The Aquatic Centre has frequently hosted media events and TV shows. While TV producers often bring additional lighting for such events, the Kona spotlights inherently meet the lighting requirements for photos and videos during training and competitions.

‘The standard, flicker-free constant-current dimming gave ERCO products an edge over the competition’, confirmed Florian Zach.

The good condition of the previous housings also supported the decision to stick with Erco. ‘There are few environments with harsher atmospheric conditions than swimming pools, except perhaps heavy industry’, explained the lighting designer, who has extensive experience in pool lighting.

Chlorine, moisture and fluctuating high temperatures take a toll on materials and technology. To counteract these effects, Erco uses specialised powder coatings, stainless steel mounting parts and advanced seals to protect against corrosion and moisture.

Designers and operators can therefore trust that the new lighting system in the Aquatic Centre at the Olympic Park will provide optimal visibility and a pleasant atmosphere under the iconic tent roof for years to come. ■

PROJECT CREDITS

Client: Stadtwerke München GmbH

Architecture: Behnisch & Partner, Stuttgart

Frei Otto: Roof construction

Planplus GmbH Architects, Munich (refurbishment, renovation, property)

Lighting design: 3lpi lichtplaner + beratende ingenieure partnerschaftsgesellschaft mbb, Munich, Beatrice Seidt, Florian Zach

Electrical engineering: Ingenieurbüro Riemhofer, Munich Paul und Michael Riemhofer, Munich

Products: Kona Projectors

Construction management: ap architektur und projekte, Munich

Photo credits: © ERCO GmbH

Photography: David Schreyer

Lighting designers at 3lpi meticulously tested various LED options before selecting ERCO’s Kona spotlights for their high output and glare control.

ART

Where do top lighting designers go for creative inspiration - art or nature? We asked 10 leading professionals to share with us their insights on the unexpected places, artworks, and natural phenomena that spark their most innovative ideas.

NATURE? OR

The use of light across all art forms is a constant source of interest whereas light in nature is a source of awe and inspiration. Light in the arts elicits subjective response whereas natural light is objective, universal and a unifying element across humanity. It is bigger than our biggest creations and attuned to our physiology. The arts offer us humanities’ insights and interpretations whereas nature is limitless and incomprehensible; sometimes simple and calming and other times psychedelic and mesmerising. In simple terms, our work is all about chasing after the same experiences and emotions that natural light inspires within humanity.

Keith Bradshaw

Speirs Major

Art is a massive influence on my work. As I’m more influenced by subtraction than addition, I don’t add decoration for the sake of it, but I am interested in material texture. Therefore, artists like Carl Andre, Donald Judd, Ben Nicholson, Eduardo Chillida and Rachel Whiteread are just some of the artists that inspire me. Sometimes while in a gallery looking at art I have a strong desire to get back to the studio and work. It’s not that I have necessarily seen something that has had an immediate effect, it is just that I am enthused to create my own work. That said, a beautiful sunrise always lifts the spirits!

Terence Woodgate

Studio

Woodgate

Inspiration often finds me in unexpected moments—images appearing in my mind seemingly out of nowhere. While nature and art can spark creativity, my process begins with a clear challenge that occupies my thoughts. The Genius Loci — the spirit of a place — guides me. As a lighting designer, I draw inspiration from the unique essence of a specific object, piece of art, architecture, or landscape. Whether it’s the way light moves across a building’s façade or how shadows bring life to a sculpture, it’s this connection to the environment that fuels my creativity, transforming fleeting moments into meaningful, illuminated stories.

Dean Skira Skira Architectural Lighting

Natural light inspires me, continually renewing my creative energy and vision, but it’s also a key part of how I communicate with clients. Describing a lighting effect through familiar natural phenomena - my favourite is komorebi, the Japanese word for how sunlight filters through leaves - creating an instant understanding. Both my clients and I can share images of aranyhíd, Hungarian for the sun reflecting on water, or mångata, Swedish for the moon reflecting on water, to translate complex lighting ideas or goals into shared experiences. This mutual inspiration enhances clarity and engagement, giving deeper meaning and purpose to design choices.

Paul Beale 18

Degrees

I’m a keen runner and take on the London Marathon each year, which means training through the darkest depths of winter—often with my dog by my side. Some mornings, stepping out into the cold and dark feels like a battle. But persistence brings reward: a sunrise of pure gold, filling my heart and nourishing my soul. That warmth, that light—ah! Later, in the studio, I find myself talking about the transformational power of light, and I’m taken back to that moment. How it looked, how it felt, what it did. Light changes everything.

I take great inspiration from artwork since art and light are intrinsically linked. Rothko is a master in the combination. On the face of it, his pieces are simple blocks of colour, but with the right light, and time spent looking at them, the subtle layers and drama are revealed. One exhibition that I return to time and again is the Seagram collection in the Tate. It was originally commissioned for the Seagram building in New York, on which Richard Kelly, a grandfather of lighting design, created the lighting scheme. The lobby is a triumph of design done in the 50s, and so it creates a beautiful cycle of light, design, and art.

Marcus Steffen Akarui

Chiara Carucci

Noctua

Deepu Raj

LET Design Lighting Consultants

Nature played an important role in my journey from smalltown dreamer to established lighting designer. The interplay of light and shadows, with elements of nature, gave me the inspiration to begin. My surroundings were abundant; from vintage gadgets to mystical lamps illuminated for temple festivals, to brightly coloured fruits and flowers, and the scenic beaches and mountains. And to not consider the art and rich culture that added fuel to my passion; the vibrant celebrations and traditional art forms were equally important. Together these components shaped my transformation into a renowned lighting designer and guided me in the formation of LET Design.

Mary Rushon-Beales

Lighting Design House

Sorry to sit on the fence but I’m equally inspired by nature and art! ‘Light is the child of art and nature’, and I find it hard to separate one from the other. It’s great to embrace the glorious strength and power of natural light, its unpredictability, its unexpected colours, but this can be tempered by an artist’s vision. I remember discussing techniques for a glass exhibition and the team said: ‘there are 10 ways to light glass – and eight of those will be right’. I worked with Dawn Bendick who made light – natural and artificial – inherent in her work. Her pieces respond totally differently to natural light and the particular light source.

Poonam Mehta

Senior Lighting Designer, Studio Lumen

My inspiration comes primarily from nature. Shaped by my time living in Australia where I split my life between a rural country farm and coastal Sydney. This expanded my connection to the natural environment, observing the way light shifts throughout the day, filters through trees and reflects off the water - all influencing my work.

In my practice, I strive to translate these organic experiences into built environments, using contrasts and layers to create beautiful spaces and experiences. Nature's rhythms are a constant source of creativity in my work.

Susan Lake

Susan Lake Lighting Design

I’ve always found inspiration in nature, the dappled sunlight filtering through trees, the vastness of the starlit night sky, or the way natural light interacts with architecture. In Japan, the contrast between serene gardens, dense bamboo forests, and futuristic cityscapes deeply influenced me, as did the minimalist interiors, where daylight is an integral part of the design culture. Visiting the Guggenheim Museum in New York, I was struck by how light played across the undulating forms of the building. I’m also inspired by sci-fi films such as Ex Machina, Blade Runner, and Star Wars. The way cinematography uses light to evoke emotion, especially in Star Wars, where it reinforces good and evil, resonates in my work.

David

Vinod Pillai Partner and Design Director, Studio Lumen

Our work is deeply inspired by nature, which serves as both a reference and a guiding force in our designs. Unlike artificial creations, natural environments have a profound and lasting impact on people, offering a sense of comfort and connection. As designers, we strive to bring order to our work, yet nature itself is rarely orderly - its beauty lies in its inherent symmetries and unpredictability. This presents both a challenge and an opportunity, pushing us to explore the nuances of natural light and its effect on human perception.

By studying how nature influences us geographically and demographically, we gain a deeper understanding of human interaction with light, allowing us to create designs that really push boundaries.

Robertson

DHA Designs

When I was a teenager, I saw my first West End shows: Les Misérables and Miss Saigon. It marked the beginning of the era of bigbudget musicals with extravagant designs — moving barricades, flying helicopters — all enhanced by brilliant lighting by David Hersey. I learned that even in an epic production, lighting was an essential storytelling tool, directing the audience's focus and evoking emotion. I can still remember a single exquisite cross-fade in Miss Saigon to this day. Within ten years, I was working with David’s company, DHA Designs, using these techniques to bring drama, narrative, and intimacy to museum lighting

REPURPOSE REUSE

ECYCLE

WEEE Compliance. REUSE Hub. WEEE Recycling. & more for Lighting

Recolight is the leading UK WEEE compliance scheme for lighting, taking on responsibility for its members’ WEEE compliance. O ering free integrated Lamp and Luminaire collection and recycling and the biggest UK-wide network of collection points for all WEEE lighting.

Recolight go beyond recycling, by o ering circular economy services, facilitating the reuse of lighting equipment, and helping to avoid unnecessary recycling of surplus new lighting.

Working with the lighting industry, Recolight o er support and services to help their Producer Members transition to a Circular Economy.

DARK LET’S EM BRA CE THE

It’s sixty years since the death of Japanese literary giant Jun'ichirō Tanizaki, author of In praise of shadows, a literary masterpiece and a seminal work on light.

Tanizaki’s poetic and at times Shakespearean peaen to light’s daily play of shadow, light and half light, is as instructive as it is lyrical.

It sensitises us anew to natural light’s endless variants,

especially the wan light of dawn and evening. He notes, for instance, that neutral walls in Japanese homes are favoured ‘so that the sad, fragile, dying rays can sink into absolute repose’.

Japanese discernment goes back through generations who, forced to live in the dark rooms dictated by climate and available building materials, ‘presently came to discover beauty in shadows and ultimately to guide

On the 60th anniversary of the death of Jun'ichirō Tanizaki, Ray Molony celebrates shadows.

shadows towards beauty’s ends’.

‘The beauty of a Japanese room depends on a variation of shadows, heavy shadows against light shadows – it has nothing else,’ wrote Tanizaki. ‘Westerners are amazed at the simplicity of Japanese rooms, perceiving in them no more than ashen walls bereft of ornament. Their reaction is understandable, but it betrays a failure to comprehend the mystery of shadows.

'We delight in the mere sight of the delicate glow of fading rays clinging to the surface of a dusky wall, there to live out what little life remains to them. We never tire of the sight, for to us this pale glow and these dim shadows far surpass any ornament. And so, as we must if we are not to disturb the glow, we finish the walls with sand in a single neutral colour.’

We in the West, by contrast, have been keen to maximise light in our buildings and enthusiastically embraced electric lighting when it arrived in the nineteenth century. We have spent the last century chasing shadows.

True, Tokyo today isn’t known for its visual restraint but Japan has a unique relationship with light in architecture from which we could learn.

To eshew uniformity in lighting would be a welcome start. But we could go further. Innovative lighting design practices such as Speirs Major Light Architecture have long consciously deployed darkness in their schemes to both subtle and dramatic effect.

‘The beauty of a Japanese room depends on a variation of shadows, heavy shadows against light shadows – it has nothing else,’

— Jun'ichirō Tanizaki

Jun'ichirō Tanizaki in 1951

Tanizaki’s poetic and at times Shakespearean peaen to light’s daily play of shadow, light and half light, is as instructive as it is lyrical. Pic: Ade Oshineye

We instinctively understand that many great buildings –cathedrals for instance – would lose much of their allure and most of their contribution to contemplation and reflection were every side chapel, alcove and crevice evenly illuminated.

‘Black box’ museums and retailers such as Hollister and Abercrombie & Fitch use the theatre of accent lighting punching through blackness to direct the narrative and aid the sale.

Without dark, there is no light, after all.

But dark has got itself a bad name. From the Bible to Greek mythology and its Stygian gloom, the metaphorical use of darkness throughout history as a symbol of evil is legion. In today’s built environment, to that list of we can add health and safety considerations. At least the ancient Greeks didn’t have to do risk assessments in the Underworld.

There are, apparently, practical benefits to dark. It can aid creativity, according to researchers at the University of Stuttgart. The effect is explained by the perceived freedom and a ‘creativity-supportive processing style’ that dark brings. ‘Darkness elicits a feeling of being free from constraints and triggers a risky, explorative processing style,’ they concluded. It’s interesting to note that the darkness-related increase in creativity disappeared when using a ‘more informal indirect light’ instead of direct light or when evaluating ideas instead of generating creative ideas.

So are we ready to truly embrace ‘darkitecture’?

Because 60 years after the death of Tanizaki, it would be a significant maturation of our professions if we were, finally, to embrace our dark side. ■

WITHOUT DARK, THERE IS NO LIGHT, AFTER ALL.

The Priory Church of Saint Bartholomew, London, in a lighting scheme which celebrates shadows, by Light & Design Associates.

INNOVATIONS

New architectural lighting products available for specification

Glamox’s Motus Line is a pendant luminaire designed for office spaces. Its form is created from a single piece of material, offering a clean aesthetic while maintaining performance. The luminaire provides controlled glare and consistent light distribution, with features that allow for adjustment of direct and indirect lighting through infrared touch switches. It is adaptable for various types of workspaces, providing functional lighting solutions that align with Scandinavian design principles.

Zumtobel

Zumtobel’s Izura pendant is designed with a focus on sustainability. It incorporates recycled materials and features a modular structure that allows for easy adaptation. The luminaire comes with a digital product passport, providing details on the materials used and the product’s lifecycle. It is compatible with DALI drivers and wireless control systems, making it suitable for various modern work environments.

Trilux

Rail is a flexible lighting system designed for office environments. The trunking structure allows for modular configurations and can be adapted with plug-and-play luminaires. It offers both direct and indirect lighting, and its mounting options include ceiling and wall installations. Rail is intended to be versatile and can be adjusted to meet the needs of changing workspaces.

CLS’s Topaz Series includes a range of fixtures designed for use in museums and galleries. The luminaires have a compact form and incorporate optical systems that ensure uniform light distribution. The series includes several models with adjustable beam angles, light distribution, and colour temperatures, offering flexibility for lighting specific areas and creating tailored lighting setups for exhibition spaces.

LIGHTLY

Lightly’s Glow Direct pendant is made from eco-conscious materials, including wood and wool. The design eliminates metal, plastic, and glass, which reduces the environmental impact of its production. Glow Direct offers a glowing arch profile with 100% direct light distribution. It’s available in different colour temperatures and offers a glare-free lighting experience, making it suitable for spaces focused on sustainability.

IZURA

RAIL

TOPAZ CLS

GLOW DIRECT

IQ LUX XAL

XAL’s IQ Lux collection features luminaires produced using 3D printing and sustainable materials. The series includes a variety of spotlights, pendants, and downlights, each crafted from recycled and bio-based filaments. XAL’s approach aims to reduce waste and carbon emissions during production while providing customizable lighting solutions. The collection supports a more eco-conscious method of producing lighting for modern spaces.

HEDRON Mickus Projects

The Hedron chandelier from Mickus Projects is a 3D-printed light fixture made from renewable bioplastic. Its hexagonal structure features tapered walls that help diffuse light in a particular pattern. Available in both translucent white and ceramic-coated finishes, the Hedron combines technology with material innovation. The piece reflects Mickus Projects' approach to sustainable design, blending digital tools with natural-inspired forms.

LE PERROQUET IGUZZINI

Renzo Piano’s Le Perroquet floodlight is designed for both professional and aesthetic lighting needs. Originally created for the Centre Pompidou, the updated version now includes a mini model. Available in multiple colours, the luminaire can be mounted on Filorail tracks or suspended, providing flexible lighting for different environments. Its optics ensure a balance of light quality and visual comfort while also offering compatibility with advanced light control systems.

HEILIS LUMIADD

Heilis from LumiAdd is a range of luminaires made using plant-based polymers and reclaimed materials. The series includes downlights and pendants that can be customised in over 180 RAL colours. The product’s materials are chosen for their reduced carbon footprint, and the company offers a buy-back scheme to support product reuse at the end of its life. The Heilis range is designed with efficiency and sustainability in mind.

MINI G-CAT Stoane Lighting

The Mini G-Cat by Stoane Lighting is a small outdoor luminaire designed for catenary mounting. It is IP66rated and features optics that help reduce glare. The luminaire is intended for use in public spaces, including paths and gardens, as well as high-end residential applications. It offers multiple beam angles and colour temperatures to fit different outdoor lighting needs.

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ORG NEWS

SLL seeks to balance light and dark night scapes

The Society of Light and Lighting is organising a one day conference on 27 March 2025 at the University of London that dives deep into the complexities of night-time lighting.

Illuminating the Future will feature experts from various fields, including environmental science, urban planning, criminology, and social psychology, offering a balanced examination of the pros and cons of artificial light after dark. A debate will form an integral part of the day.

Topics include the impact on nocturnal species, an exploration of the latest research on how artificial lighting affects wildlife, including shifts in behaviour, migration patterns, and ecosystem health.

Experts will discuss potential strategies for minimising disruption while accommodating human needs.

Crime reduction and public safety is also a key topic. The event will look into the contentious issue of whether increased lighting truly reduces crime rates. You’ll be able to hear from experts who will present data and case studies that either support or challenge this notion, considering the nuances of urban design and community dynamics.

IALD to explore AI and multidisciplinary collaboration

The International Association of Lighting Designers has

The conference will also assess how night-time lighting influences social behaviour and community interaction. Discussion will include the role of lighting in fostering a sense of safety, encouraging night-time activities, and its psychological effects on different demographics.

There will be consideration of design issues for women. Experts will discuss best practices in urban planning that promote safety and accessibility in night-time environments.

The event is aimed at urban planners, environmentalists, law enforcement officials, community organisers, designers, and anyone interested in the implications of lighting in urban spaces.

announced two events for the spring of 2025.

First up is a workshop on artificial intelligence and lighting with with IALD member Faraz Izhar,

Sponsored by Intra lighting, the event takes place on 21 February at the Al Safa Art & Design Library in Dubai. Best of all, each attendee will have a one-month MidJourney licence—on the house!

In Bangkok the association is planning a seminar on lighting and multidisciplinary collaboration in design, organised by its Southeast Asia Chapter, the seminar will delve into how lighting integrates seamlessly into every aspect of design, with engaging discussions on: Lighting + Well-being

Lighting + Events/Festivals, Lighting + People, Lighting + Architecture and Lighting + Interior Spaces, Discover how thoughtful lighting design can elevate spaces and create meaningful experiences.]

Sponsored by Intra lighting, the IALD on collaboration takes place on 21 February at the Al Safa Art & Design Library in Dubai.

salutes and thanks its advertisers for their support.

We applaud the achievements of lighting practitioners and recognize the importance of their work in architecture and design.

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EMER GILLESPIE

UP CLOSE WITH FOUNDER, SPARK & BELL

At the Atlantic Technological University in Galway, I was part of the art college, a separate, experimental space. The programme encouraged us to push boundaries, and I threw myself into projects involving light and textiles. I wove large fibre optic pieces, turned them into projection screens, and created Super 8 video work that explored movement and light. My honours degree focused on textile design, which became the foundation for my creative career.

From there, I pursued my dream of a master’s degree in photography, moving to London with my four-year-old daughter in 2006. I studied at Central Saint Martins and later at the London College of Communication. Photography became my focus. I exhibited internationally, with work featured in the Irish Gallery of Photography.

My projects ranged from deeply personal family documentaries to a major work on forced adoptions in Ireland.

Teaching became a natural extension. I ran photography departments, managed darkrooms, and mentored students. But while I loved teaching, it could be draining.

Around this time, we bought our first home, and I decided to make a light for my daughter’s room. I researched everything, ordered parts, and put the fixture together. It was painted parts and bright pink cables but something about the process reignited my love for hands-on creativity. That light turned into an obsession.

I then learned everything I could about lighting. Every moment, I was experimenting at the kitchen table, testing materials, refining my techniques. Lighting design felt like the perfect balance between creativity and function. It was so rewarding to make something beautiful that people needed and wanted. This was a welcome shift from the the art world, where success can be elusive and recognition hard-won.

By 2015, during maternity leave, I decided to launch Spark & Bell. I started selling on Etsy, where I could connect directly with customers and test the market. By the end of my maternity leave, the business had gained enough traction

for me to run it full-time.

The early days were all about learning. As a small maker, I worked with the materials I could access and reinvested income into better parts. I’ve always believed in building a business methodically, focusing on quality and sustainability. Many businesses stretch themselves too thin or chase trends, but growing organically allowed me to stay true to my vision and style.

One key lesson I learned is to design for longevity. Some of my most successful pieces have come from designing lights for my own home. I aim for timeless designs, avoiding shortlived trends.

Sustainability is also central to what we do. For example, we’re about to launch a chandelier made from recycled CD cases. While the story behind it is important, the product itself has to be beautiful and functional. Aesthetic appeal ensures it stays in use for years, reducing waste.

Another decision that shaped Spark & Bell is our focus on direct customer relationships. Unlike many companies, we don’t sell wholesale. Every light is customisable, and we work with customers to adapt designs for their spaces. This personal approach results in unique, quality pieces that customers love. It also minimises returns, which is great for sustainability and customer satisfaction.

Today, Spark & Bell is a family business with a fantastic team of eight. My husband joined last year, and even my daughter helps out. We’re based in the creative hub of Brighton, where I’ve been able to hire talented graduates from local universities. Passing on skills and seeing the team grow has been incredibly rewarding.

For anyone starting in the creative industry, my advice is simple: take your time, focus on quality, and stay true to your aesthetic. Don’t rush to scale or chase trends at the expense of your vision. Build a strong foundation, keep customer relationships at the heart of what you do, and let your passion guide you. Creativity and craftsmanship take time, but the results are worth it. ■

In your next issue of designing lighting global…

VOLUME 3 ISSUE 3: CONTROLS

A new generation of lighting controls technology is quietly revolutionising the way lighting systems are managed and operated. In this special detailed report, we will look at the latest lighting technologies and platforms and take a deep dive into challenging control projects. The current state of professional lighting controls reflects a dynamic blend of innovation, sustainability, and usercentric design. With the advent of smart technologies and the Internet of Things (IoT), lighting control systems have evolved into sophisticated platforms offering unparalleled flexibility and efficiency. We’ll also explore the exciting trend is the integration of artificial intelligence into lighting controls.

LANDSCAPE LIGHTING

We look at the stand-out landscape lighting projects and explore the technologies and designs that make them possible.

Published in November 2025, advertisement deadline Thursday 16 October 2025.

VOLUME 3 ISSUE 2: SOCIAL PURPOSE

Lighting plays a crucial role in shaping social spaces and influencing human behaviour, making it an essential tool in promoting social purpose. In public spaces, effective lighting can enhance safety and accessibility, encouraging positive interactions and community engagement. Well-lit environments reduce the risk of accidents and crime, fostering a sense of security, while also making spaces more inviting for social gatherings, education, and collaboration.

3D PRINTED LUMINAIRES

As well as a host of start-ups, big brands including Signify and XAL is investing in additive manufacturing for luminaires. We explore the trend and look at the latest designs.

Published in April 2025, advertisement deadline Thursday 20 March 2025.

A new generation of lighting controls technology is quietly revolutionising the way lighting systems are managed and operated.

The Orientkaj Metro Station, Copenhagen, Denmark by Light Bureau is an example of lighting with a social purpose. It was the winner of a coveted Platinum in the Build Back Better Awards.

EdisonReport.tv serves as a hub for all digital content in the lighting industry. A premier source for critical information surrounding lighting, EdisonReport.tv is dedicated to delivering industry news by way of video and serving its audience by spotlighting product launches and up-to-date educational videos, as well as information about upcoming webinars.

Max Robson Recolight to unveil a LCA and EPD service

Janet Lennox Moyer Discusses Key Landscape Lighting Technique

'Why can't lighting manufacturers warranty other brands?'

Paul Beale: Waste Luminaires –My journey to connect the dots

designing lighting (dl) magazine launches a global issue

Bastiaan de Groot, founder of INGY, discusses Smart Buildings

designing lighting global (dlg) - VOL III ISSUE 1