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

VOLUME II

ISSUE 1

LIGHTING A DARK SECRET THE VERMILION ZHOU DESIGN GROUP CREATES MYSTERY WITH LIGHT

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LIGHT + BUILDING 2024 PREVIEW  HOSPITALITY SPECIAL  INTERVIEW: MARCI SONG  INNOVATIONS ISSUE NO. 3

T OF COVID-19

CHINA LIGHTING DESIGN SPECIAL  LIGHTING AND THE CIRCULAR ECONOMY  LUMINAIRE REUSE  PROJECT FILE  DARK SKIES AND TECHNOLOGY

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SPECIAL FEATURE

3D Printed Luminaires

DECEMBER 2020

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table of

CONTENTS 6 EDITOR’S NOTE An introduction from our editor Ray Molony.

8 PROJECT: Material World Hgld lighting design has brought a restrained theatricality with light and shadow to a new restaurant in Zhengzhou, China.

12 PROJECT: Light Rain LiDAR, LED, fog and sound all combine in a remarkable ‘walk-in’ artwork by London studio Random International.

16 PROJECT FILE

VOLUME 2 ISSUE 1 2024

34 SUSTAINABILITY: We Knew We Had to Do Something Lucie Sidwell, Global Operations Director of Lucent Lighting, discusses the measures Lucent, as a global lighting manufacturer, is taking to cut its environmental impact.

36 LUMINAIRE REUSE: How to Make Sustainability a Win-Win Colin Ball, lighting director at BDP and lead designer on some extremely pioneering sustainability projects, talks to dlg.

40 DARK SKIES: Tech’s Role in Cutting Light Pollution Can a new technology from Lumileds assist with reducing light pollution and its impact on wildlife and our view of the stars?

Some striking projects from around the world.

44 LIGHT + BUILDING 2024 PREVIEW 18 COVER: Lighting a Dark Secret A secret room in a hotel bar has given the Vermilion Zhou Design Group an opportunity to create mystery with light. Ray Molony reports.

Iconic lighting brands returning to Light + Building for 2024 include ERCO, iGuzzini and Zumtobel. Ray Molony reports.

48 INNOVATIONS We curate the stand-out designs this quarter.

22 PROJECT: Poetry and Light

designing lighting global magazine catches up with Marci Song, founding director of SEAM Design, on how smaller lighting design practices can keep up with fast-changing trends in the sector.

28 3D Goes Mainstream 3D-printed luminaires were once viewed as curios, not applicable in the real world. Not any longer. With big-name clients such as McDonald’s and Marks & Spencer getting in the action, 3D-printed luminaires are going mainstream.

Looking to enter your project for recognition and glory? We’ve got you covered. All the key dates you need to know about for all the major awards programmes.

51 TRADE SHOW CALENDAR

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We mark your diary with all the big events in lighting design right into 2024.

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

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

32 CIRCULARITY IN LIGHTING: ’Urban Miner’ Keeps Used Lights in Circulation

56 UP CLOSE

An ‘urban mining’ firm has come up with a way of keeping luminaires in use for longer. Ray Molony reports.

We meet award-winning lighting designer Martin Klaasen, founder and principal of Klaasen Lighting Design.

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Mahá Club in Beijing Photo Credit: Jonathan Leijonhufvud, Ya-Hui Cheng

CHINA LIGHTING DESIGN SPECIAL  LIGHTING AND THE CIRCULAR ECONOMY  LUMINAIRE REUSE  PROJECT FILE  DARK SKIES AND TECHNOLOGY

26 THE BUSINESS OF LIGHTING DESIGN: Marci Song

50 AWARDS DATES

VOLUME II

ISSUE 1

LIGHTING A DARK SECRET THE VERMILION ZHOU DESIGN GROUP CREATES MYSTERY WITH LIGHT

designing lighting

SPECIAL FEATURE

3D Printed Luminaires

LIGHT + BUILDING 2024 PREVIEW  HOSPITALITY SPECIAL  INTERVIEW: MARCI SONG  INNOVATIONS ISSUE NO. 3

CAN LIGHTING SAVE RETAIL?  BENYA’S ART & SCIENCE  IALD MEASURES IMPACT OF COVID-19

An eclectic space gets an eclectic lighting treatment from Light Poetic at the Mahá Club in Beijing.

DECEMBER 2020

ON THE COVER: Lighting a Dark Secret A secret room in a bar at the Intercity Hotel in Shenzhen has given the Vermilion Zhou Design Group an opportunity to create mystery with light. Ray Molony reports. Photo Credit: Jian Quan Wu LIGHTING

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OFFICE IN THE CLOUDS  THE NEW WORLD OFFICE  UP CLOSE WITH BARBARA HORTON

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Download our white paper at: www.dali-alliance.org/downloads

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Hall 8.0, D80 designing lighting global

EDITORIAL DIRECTOR’S NOTEPAD

VOLUME 2 ISSUE 1 2024

Editor: Ray Molony

A WELCOME RETURN FOR LIGHT + BUILDING

Publisher: Randy Reid

Like all exhibitions, the global lighting industry’s show has had a difficult few years thanks to the pandemic. Light + Building’s last outing at Frankfurt Messe in October 2022 was a much reduced event and even had the rather apologetic label of ‘Autumn Edition’ bestowed on it by the organisers. It was certainly a shadow of its former self and many in the lighting industry began writing its obituary.

Associate Publisher, Advertising: Cliff Smith Director of Audience Development: Angie Hullfish Staff Writers: Parker Allen

Published by EdisonReport 1726C General George Patton Drive Brentwood, TN 37027 Phone: +1 615 371 0961 www.designinglightingglobal.com 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. ISSN 2837-2360 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 2023. Reproduction of the material contained in this publication may only be made with the written permission of designing lighting global.

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Announcements of its death were, however, greatly exaggerated, and it looks like this year it is returning as a much stronger and more compelling event. First of all it is back in its usual spring slot, and better still, the organisers have managed to persuade back the iconic and innovative brands that visitors want to see. These include ERCO, iGuzzini and Zumtobel. I’m a big believer in the concept that lighting products need to be seen in the flesh to truly appreciate their quality and lit effect. But, while welcoming back Light + Building to our collective consciousness I am conflicted, because exhibitions can be very environmentally damaging, and I speak as an exhibition organiser in a previous life. It is clear that in previous iterations Light + Building had become slightly overblown, with huge stands costing millions of euros. The construction and disposal of the stands, and all the associated travel, is without question problematic from a sustainability point of view, and I would urge the organisers and all exhibitors play their part in keeping their carbon footprint to a minimum. For my part, I will take the train from dlg HQ in London rather than fly. Having said that, there’s always exciting developments and technology at Light + Building and I will revert to the proverbial kid in a sweetshop in March. To whet your appetite, in this issue we’ve got a sneak peek at some of the luminaires you’ll see there. See you in Frankfurt!

Ray Molony EDITOR

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HOSPITALITY

MATERIAL WORLD

Hgld lighting design has brought a restrained theatricality with light and shadow to a new restaurant in Zhengzhou, China

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Warm highlighting of the wood panelling is complemented by candlelight.

The lighting of the bar area highlights and emphasises materials such as glass, marble, wood and stone.

A refurbishment of the popular Kylin Sheng in Zhengzhou, China has seen Hgld lighting design collaborate with interior practice Daxiang Design Studio to create a space where the materiality is amplified and articulated by a restrained and sophisticated lighting treatment. The concept for the 1,550 square metre eaterie is a blend of Zen garden and a club atmosphere but it’s the contrasting materiality that takes centre stage. Dark grey natural stone, various gold tones and orange accents determine the atmosphere. In addition to the contrasting colours, the design is characterised by fine ornamentation. Inspiration was taken from the colours of the sunset, which appears on digital screens as soon as you enter the restaurant and reflects on the black flooring. Guests can dine in peace on armchairs and sofas covered in beige leather and watch the cooking in the kitchen in the background - over the counter.

In Hgld lighting design’s hands, a huge fish tank above the kitchen area becomes a dynamic blue lantern, while the busy chefs below are lit with dramatic spotlights.

The clients say that diners crave a certain spirituality along with their meal and the interior is designed to provide that. The lighting is designed to complement it and deliver a ‘poetic interplay’ of light and shadow.

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In the dimly lit entryway, colossal cloud formation captivates visual attention, while warm, gentle lighting permeates through the narrow corridor. 10 designing lightingaglobal

HOSPITALITY

Ultra low glare downlights in cool white light highlight the centre of the tables while ambient light and more textural contrast is provided by wallmounted lamps in soft fabrics.

The name 'Kylin' refers to an animal from The Classic of Mountains and Seas which the Chinese consider auspicious. On entering the restaurant, the reciprocal light and shadow creates an immersive experience. Stark contrasts take centre stage, beginning in the hallway. In this dimly lit space, a colossal cloud formation captivates visual attention, while warm, gentle lighting permeates through the narrow corridor. Together, clouds and light set the tone for the entire atmosphere. Two kylin sculptures are strategically placed in the hallway to not only pay homage to so-called etiquette culture, but also to serve as a guide for visitor navigation throughout their journey. By depicting dynamic clouds, from inception to dissipation within scattered areas, the design showcases nature's essence. while transforming intangible elements into tangible structures evoking imagery of rising clouds. Additionally, garden framing techniques are employed on functional windows to further enhance aesthetics.

The rest area exudes a warm autumn atmosphere through the use of dark grey natural textured stone, a wooden tea table, vermilion cloth tea stools adorned with decorative paintings depicting rosy sunrises, and an accompanying flickering fire within the stove. In Hgld lighting design’s hands, a huge fish tank above the kitchen area becomes a dynamic blue lantern, while the busy chefs below are lit with dramatic spotlights. The cool lighting here contrasts with the 2400K recessed flexible LED in the edges of the ceiling recesses. Ultra low glare downlights in cool white light highlight the centre of the tables while ambient light and more textural contrast is provided by wall-mounted lamps in soft fabrics. Furthermore, the outdoor resting platform seamlessly connects to the secondary entrance. As night descends, plum blossom motifs and arc elements outline both light sources and scenery alike, enabling individuals to embrace the cold autumn without fear by basking in the radiance emitted by stars and moonlight. ■

Daxiang Design Studio, led by acclaimed designer Jianyu Jiang, incorporates the five-petaled plum blossom as a fundamental motif, generating framed landscapes, lamps, utensils, tableware, and floor coverings, along with other installations that harmonise in terms of spatial layout and furnishings.

PROJECT CREDITS

These installations materialise unforeseeable elements, thereby concluding the space poetically, while perpetuating the ambiance.

Interior design: Daxiang Design Studio

Project name: Kylin Sheng Restaurant, Zhengzhou, China Lighting design: Hgld lighting design Photographs: 404NF Studio, Fang Wenchen

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LIGHT ART

designing lighting global

LIGHT ART

LIGHT RAIN LiDAR, LED, fog and sound all combine in a remarkable ‘walk-in’ artwork by London studio Random International. The presence of visitors inside the space is key to activating all the elements and making them vary in unpredictable ways. Living Room is notably made possible by the use of LiDAR sensors that track visitors’ movements.

Living Room is a walk-in artwork where space itself is considered as a living being. It shows with the fluctuating architectural domain created by light and fog which are the brick and mortar of the installation. The artwork is conceived as a sentient organism embodied by light, fog and sound. The presence of visitors inside the space is key to activating all the elements and making them vary in unpredictable ways. Living Room is notably made possible by the use of LiDAR sensors that track visitors’ movements to document and create a stamp of presence of anyone and everyone. This same stamp can be turned into an NFT to immortalise this unique moment in time. Random International says that the work explores the idea of space as a living being. Visitors are invited to enter a fluctuating architectural domain, which in itself a sentient organism embodied in light and fog. The organism uses these materials to express itself and interact with those who

inhabit it. Continually altering its form in response to visitors in varying and unpredictable ways, Living Room creates a living labyrinth in real time and in real space. The studio also describes it as a ‘machine’ that allows it to choreograph a precise dynamic and sentient architecture around its audiences. ‘The feeling we aim to create is an entire environment that ‘sees’ us, draws us in to devour us and at the same time invites us to instinctively connect with our fellow visitors and the environment around us,’ says the studio. While the work may present itself beneficently in its relationship to visitors, there is little ambiguity as to who is in control of the dynamic between human and machine. At all times, the machine leads the dance. This can instill in the viewer a kind of navigatory dissonance, with tensions constantly at play between the solid, static, and inert and the ephemeral, transient, and animate.

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LIGHT ART

While the work may present itself beneficently in its relationship to visitors, there is little ambiguity as to who is in control of the dynamic between human and machine.

The artwork is conceived by Random International as a sentient organism embodied by light, fog and sound.

Leveraging blockchain technology in a revolutionary way, visitors can visualise their physical experience within the installation as a looped video, and perpetually mint and collect it on the blockchain. Established in 2005, Random International is a postdigital art group exploring the impact of technological development on the human condition. Best known for their large-scale interactive installations, the

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group works across an array of media including sculpture, light, kinetics, video, print, and sound. Founded and led by German duo Hannes Koch and Florian Ortkrass, the group has a studio in London and comprises a global team of talent. Experimental by nature, Random International says its practice is fuelled by research and scientific discovery. The group aims to broaden the question of what it is to be alive today by experimenting with how we connect — to different kinds of life, to different views of the world, and to one another. ■

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Lightbirds SalesForceTower THÉRÈSE LAHAIE SAN FRANCISCO, USA Light installation artist Thérèse Lahaie takes inspiration from the tides and seabirds she sees as she swims in the San Francisco Bay. Her Lightbirds video installation has now flown atop the SalesForceTower, bringing attention to the migration of bird species that travel the Pacific Flyway. Lahaie – who worked with Hahn Nguyen of Running Reel Films on the project – hopes that watching birds of light soaring lifts spirits in difficult times.

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PROJECT FILE

Covent Garden Market BDP LONDON, UK Contemporary lighting techniques and new technology were key to reinventing the grade II* listed historic market hall. The general lighting has been rebalanced by increasing the number of lanterns while also lowering the power consumption and source brightness of each fitting. Modern optics with a warm colour temperature result in a uniform palette of evenly distributed comfortable lighting, maintaining the character of a predominately gas lit conservation area whilst increasing safety and security at night.

Dorchester Hotel LIGHTING DESIGN INTERNATIONAL LONDON, UK Leading lighting design practice Lighting Design International (LDI) has overhauled the lighting of the famed hotel, The Dorchester, including the Artist Bar with numerous mirrors and crystals. Behind the bar, LDI has uplit each feature alongside a mini downlight in front, behind, and in between each feature. The downlights between the crystal features highlight the gold leaf finish on the front face of the counter, ensuring a 3D effect that allows appreciation of all the beautiful parts of the crystal.

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LIGHTING A DARK

COVER STORY

secret

A secret room in a hotel bar has given the Vermilion Zhou Design Group an opportunity to create mystery with light. Ray Molony reports.

The theme is an Intercity spaceship which takes its occupants on an unexpected journey, whether it be from an actual city or into a virtual universe. 18

designing lighting global

COVER STORY

Integration of the lighting allowed the design team to create diffuse ambient lighting from various heights and angles, adding layers to the spatial atmosphere.

‘Extreme business’. That was the Vermilion Zhou Design Group’s self-given brief for its treatment of the Intercity Hotel in Shenzhen. Visually, it translated into various hints of ‘time’ throughout the building to confirm the sense of security for business travellers and removed the overly sensible cold tone usually encountered in corporate hotels. Instead, it embraces brown tones with wood complemented by warm lighting. The design of the Intercity Hotel inherited German DNA from its operator, and here VZDG emphasised practical and refined functionality and a sensible interpretation of elegant German aesthetics. However, a year after opening the hotel operator has added a

space which calls for a very different treatment. The ‘secret room’ is a concept comprising of a hidden place in the space of the Intercity’s bar. The designers say that the unknowing things behind the door magnify the inner imagination. The surprise brings exciting emotions and a brief relaxation away from reality. The immensity of the space, too, takes the guest out of reality immediately. The theme is an Intercity spaceship which takes its occupants on an unexpected journey, whether it be from an actual city or into a virtual universe, sipping a sip of mellow craft beer and enjoying a temporary escape.

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Most of the luminaires have been incorporated into various interior design elements, including ceilings, floors, and walls.

PROJECT CREDITS Project: Intercity Bar, Shenzhen Lighting Design: Vermilion Zhuo Design Group Designers: Vera Chu, Kuang Ming (Ray) Chou, Garvin Hung, Chia Huang Liao, Ian Zhu Client: H World Group Photographs: Jian Quan Wu

A red neon elements provides a stark contrast to the immersive blue of the space

The immensity of the space takes the guest out of reality immediately and then the unknowing things behind the door magnify the inner imagination.

system. In line with the spaceship-themed visual concept, a single LED strip produces thematic colours and dynamic effects. It can also easily be switched back to white light mode during non-operational hours. The project won a LIT Award in 2023 for the lighting concept and execution.

The heavy lifting fell to VZDG’s lighting designers. Light, after all, is the perfect medium to deliver the expectations set up by that inner imagination. A key was integration. Most of the luminaires have been incorporated into various interior design elements, including ceilings, floors, and walls. This allowed the design team to create diffuse ambient lighting from various heights and angles, adding layers to the spatial atmosphere. Control is via a DMX512 intelligent dimming RGBW

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Vermilion Zhuo Design Group was founded by Kuang Ming (Ray) Chou and Vera Chu in 2002. Ray received an M.A degree at University Politécnica de Catalunya in Spain where he was deeply influenced by European culture. However, his design is informed by a blend of Western logical thinking and the pursuit of the Eastern lifestyle. ‘Always starts with people, and provide them a better lifestyle’, is his response to enquiries about his design style. Consequently, the practice’s design philosophy combines Western logic with analysis ‘with a contemporary Eastern humanistic mindset’. As at the Secret Room, the team tries to emphasise the practicality of spaces and the elevation of aesthetics. It aims to popularise designs that seamlessly integrate beauty and functionality. ■

COVER STORY Control is via a DMX512 intelligent dimming RGBW system. In line with the spaceship-themed visual concept, a single LED strip produces thematic colours and dynamic effects.

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Lighting design is in line with the client’s guidelines to search for ‘simple elegance’ in design while emphasising the interior design content and sense of the space.

Light Poetic says that its efforts as lighting designers are to search for the ‘greatest potential’ and ideas to illuminate the space with a balance of soft and bold, direct and indirect, subtle and vibrant, light and shadow, decorative and architectural. designing lighting global

POETRY AND LIGHT

HOSPITALITY

The overall lighting mood is set to be soft, warm, calm, relaxing, welcoming, sophisticated, and the lighting levels are in balance and harmony with the luxury experience where guests can feel relaxed and calm, and most importantly enjoy themselves.

An eclectic space gets an eclectic lighting treatment from Light Poetic at the Mahá Club in Beijing.

The 3,600 square metre Mahá Club, is a high end project comprising a mixture of public, food and beverage, multifunction rooms and spa and treatment areas. It’s located in the heart of the most popular residential area in Beijing and offers guests a diverse program of activities from morning to late night. Lighting design is in line with the client’s guidelines to search for ‘simple elegance’ in design while emphasising the interior design content and sense of the space. Using simple but tightly integrated luminaires, the lighting strategy approach makes the overall design elements in harmony. Linear LED lights are concealed in The focal points, lighting layers and the balance are carefully arranged and composed for a rhythm within the wall and ceiling to pleasant visual experience. enhance the form and space character. These create eye-catching focal points importantly enjoy themselves. through all the diverse service areas and and allow each individual area its own sense of place. This project is a holistic lighting design scope; besides architectural lighting, FF&E lightings are 90 per cent customThe focal points, lighting layers and the balance are carefully designed by the lighting designer and are carefully arranged arranged and composed for a pleasant visual experience. to create surprises in the space while matching the design The overall lighting mood is set to be soft, warm, calm, theme. relaxing, welcoming, sophisticated, and the lighting levels are in balance and harmony with the luxury experience where guests can feel relaxed and calm, and most High-CRI LED light sources with a good R9 composition

designing lighting global

HOSPITALITY

Immersive light pods are complemented by warm colour temperatures of all linear lighting, dimmed to very warm at night to create a cozy and relaxing atmosphere.

and intuitive lighting control technology were used in this project. All the lighting circuits are connected to a dimming system with the scenes programmable from day to night.

Light Poetic’s design process begins with recognising the space and its key design elements in collaboration with architects, interior designers and its clients.

Architectural lighting in daylight zones is switched off during daytime for energy saving and in balance with artificial lighting in no daylight areas. Lighting scenes are set to be in a smooth transition and in good brightness composition, dimmed down to 20 percent average at late night.

It says that its efforts as lighting designers are to search for the ‘greatest potential’ and ideas to illuminate the space with a balance of soft and bold, direct and indirect, subtle and vibrant, light and shadow, decorative and architectural.

Besides using the dimming system for energy saving, another strategy used to minimise general lighting was by using reflective light from accent and joinery lighting.

‘The human touch is significant for us,’ says the firm. ‘We design for humanity and enjoy having our clients see the light poetically and meaningfully.’ ■

Human-centric lighting was also considered in this project to ensure the guests' wellbeing. The colour temperature of all linear lighting is dimmed to very warm at night to create a cozy and relaxing atmosphere.

PROJECT CREDITS Company: Light Poetic International Lead Designers: Ya-Hui Cheng, Xin Mei Zeng Client: Hopson Development Holdings Limited Photographs: Jonathan Leijonhufvud, Ya-Hui Cheng 24

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Cool white lighting and recessed LED tape in the coffers contrast with the warm lighting in the dining and relaxation areas.

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We need to ask:

HOW CAN WE

THE BUSINESS OF LIGHTING DESIGN™

Song: 'It’s a challenge to gain knowledge in one’s home country – local regs, laws, sustainability measures can be vastly different from one country or region to another.'

designing lighting global

'Where regs or standards for a project in one country are positive and sensible, we might adopt those as best practice within SEAM,' says founding director Marci Song.

make change happen?

designing lighting global magazine catches up with Marci Song, founding director of SEAM Design, on how smaller lighting design practices can keep up with fast-changing trends in the sector.

THE BUSINESS OF LIGHTING DESIGN™

How does a smaller firm like yours keep up with fastchanging environmental trends and developments? It is quite hard to keep up, to be honest. Especially during and after the Covid years, and the work-from-home trend. The exchange of information, dialogue, group problem solving is limited and limiting. The in-person engagement, which includes trade shows, conference attendance, in person product presentations, CPDs and in person training is not at the same levels as before the pandemic. People are so used to staying at home or near home, not wanting to face the inconveniences of commutes to work or to meetings or to events, and Covid still is around. Transitioning out of that ‘everyday’ that we were used to, takes effort, and again, it starts with a shift in mindset or attitude. Professional responsibility, gaining skills and knowledge takes time, effort and inconvenience; we all must do our part. For us, we are working on ourselves at the moment and how the studio and the team works in this new hybrid-normal. We do appreciate that working remotely and the reduction of in-person meetings reduces our footprint. Is there special challenges to working across various geographies with different environmental laws and expectations? Of course there is! It is a challenge already to gain knowledge in one’s home country – local regs, laws, sustainability measures can be vastly different from one country or region to another. There are different design cultures that we must adapt to, when designing in other areas of the world. If we know how to ask the right questions, we can understand our parameters and restrictions early. Communication and collaboration are so important to have an open exchange of information.

It is a chance to deconstruct what is being asked of the lighting performance for the lighting design of the project, understand what they mean and if they don’t make sense. If we see other areas of improvement to maintain efficiency and not at the expense of the design or end-user comfort, the dialogue can start there. Also the earlier the better, not at the end of Stage 4 when most of the coordination has been completed. Course correcting is a constant check along the way. We all have to be our own agents of design advocacy especially for lighting. That starts with asking the questions – where do I need to be to make change, how can I make change happen? We also have to educate ourselves where possible. My starting point was the Green Light Alliance which I learned about from Recolight. From there, I learned about the Life Cycle Assessment platform that Leela Shankar has been spearheading which endeavours to create a set of circular economy design principles for the industry. Through the LCA meetings, I’ve met a number of people who are truly passionate and truly concerned about the profession’s impact to buildings, the built environment and climate change. They are all very approachable. ■

We are lucky in that all of our team comes from different parts of the world. This enables us to conduct deeper research to understand the requirements, culture and trends, but we still have to ensure that everyone in the team has SEAM core standards in their mind and that they can be applied to our work across all of our projects. Where regs or standards for a project in one country are positive and sensible, we might adopt those as best practice within SEAM and apply to other projects that can benefit from that standard. Often we determine the right approach to lighting – wherever we are designing – is about our attitude, our design ethos which includes our responsibility to building strong legacies. Sustainable and successful design often takes the banner of these new limitations to all projects regardless of location. How does a practice like yours influence the development of laws and codes? I would love to know! Lighting designers need to have a seat at the table when it comes to writing regulations at the policy level. So how do we get there? Please send me their contact details. As a starting point, there are many tables at which we can already take a seat. For example, on projects where there is a sustainability consultant, perhaps that is one of the first teams to talk to, not just to ask ‘what are the rules on this project’ but also why.

Song: 'We still have to ensure that everyone in the team has SEAM core standards in their mind and that they can be applied to our work across all of our projects.'

designing lighting global

3D GOES MAINSTREAM

It’s fair to say that Signify has been a real pioneer in the area of 3D printed luminaires in terms of scale and global reach.

3D printed luminaires were once viewed as curios, not applicable in the real world. Not any longer. With big-name clients such as McDonald’s and Marks & Spencer getting in the action, 3D printed luminaires are going mainstream. Shoplight’s Colt Bio is a recessed fixed downlight made from sustainable bioplastic. 28

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Signify 3D printing facilities are also operational in the United States of America in Burlington, Massachusetts, serving both professional and consumer markets.

The luminaires are designed to be re-used, repaired and re-manufactured, with recycling or industrial composting being the last option. ■

Also going down the bioplastic route is UK retail lighting specialist Shoplight. Its Colt Bio is a recessed fixed downlight made from sustainable bioplastic. The housing is made from Greentech Pro, a material with excellent flexural strength and little warping, as well as a high-quality surface. It’s food-safe and biodegradable to DIN EN ISO 14855. Digital printing means the outer bezel on the downlight can be manufactured to any size up to 300mm diameter, making it suitable for replacing existing, larger downlights. It’s also made from recycled, recyclable and biodegradable materials, is designed to remain in use

At least 55 percent of Signify’s Essential series is made from materials derived from waste and residues of biological origin from agriculture, forestry and related industries, such as tall oil from the wood processing industry and used cooking oil.

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Any design evolution can be easily integrated without the need for lengthy and costly tooling modifications.

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The Essential range – 3D printed at Signify’s factory in Turnhout, Belgium – is available in three sizes and can be mounted in three different ways.

It future proofs product maintenance and remanufacture, as replacement parts can be produced in required volumes with no time constraints.

G O E S G O E S

It says that the entire supply chain from the granulate supplier to the filament and luminaire production is certified by the International Sustainability and Carbon Certification, an independent certification system supporting climate-friendly supply chains.

With the manufacturing process of 3D printing, there is no requirement for hard tooling, eliminating the need for stock holding and subsequently reduces any potential waste through product obsolescence and product evolutions.

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Signify stresses that the materials are thus not made from crude oil but from natural sources.

Luminaire components can be manufactured in the same location where final assembly is completed, greatly reducing transport related carbon emissions.

M A I N S T R E A M

At least 55 percent of the Essential series is made from materials derived from waste and residues of biological origin from agriculture, forestry and related industries, such as tall oil from the wood processing industry and used cooking oil.

The company says the material is particularly good for translucency. PHA in white gives a ‘beautiful warm glow’ when lit whereas PHA natural is more translucent and has a ‘warm pearl-like’ finish.

G O E S

It has supplied major clients such as UK retail giant Marks & Spencer and more recently, the company has introduced a range of pendants manufactured from what the company terms ‘bio-circular materials’.

PHA is created by a naturally occurring process called fermentation. It's 100 percent bio-based and biodegradable and results in no microplastics.

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It’s fair to say that Signify has been a real pioneer in this area in terms of scale.

Another UK firm, start-up LumiAdd, is focusing on printing with biodegradable plastic. The Origin series of pendants is made from polyhydroxyalkanoate, or PHA, a bioplastic that ‘fades back into nature’.

•

Crucially, 3D printed luminaires often showcase enhanced sustainability. The additive manufacturing process used in 3D printing minimises material waste and the ability to use eco-friendly and recycled materials further contributes to their sustainability.

and, when it does reach end of life, can be handed back to Shoplight under its buy back scheme, when it can then be reconditioned.

M A I N S T R E A M

This capability enables designers to experiment with innovative shapes, patterns, and textures, resulting in luminaires that push the boundaries of conventional aesthetics.

LumiAdd, is focusing on printing with biodegradable plastic. Its Origin series of pendants are made from polyhydroxyalkanoate, or PHA, a bioplastic that ‘fades back into nature’.

G O E S

One of the key advantages of 3D printing in luminaire production is the unparalleled flexibility it offers in terms of design. Traditional manufacturing methods often impose limitations on intricate and complex designs, but 3D printing allows for the creation of highly detailed and intricate structures that were once deemed impossible.

3 D

3D printed luminaires represent a revolutionary intersection of technology and design, transforming the way we perceive and interact with lighting fittings. The advent of 3D printing technology has empowered designers to create intricate and customised luminaires that not only illuminate spaces but also serve as unique pieces of art.

M A I N S T R E A M

3D PRINTED LUMINAIRES

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Marks & Spencer, the UK high street retailer, has installed thousands of 3D printed LED luminaires from Signify.

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Marks & Spencer, the UK high street retailer, has installed thousands of 3D printed LED luminaires from Signify in stores in London, Manchester, Belfast as well as Dublin and Cork in Ireland. The project is part of a big renovation to improve store performance and generate significant energy savings. In the stores, different types of luminaires are being replaced by 3D printed LED versions. These bespoke products are sized to fit perfectly into the existing fittings ensuring the continued use of current ceiling tiles. The rollout is part of M&S’s commitment to use more sustainable technologies in its stores. ‘We’ve been working hard to create a greener, low carbon M&S for a number of years and were proud to become the first major retailer to be carbon neutral back in 2012,’ Oliver Knowles, Research & Development Manager within the Property Group at M&S, told dlg. ‘3D printing has been around for a while, but these luminaires are the first real retail lighting application we’ve seen that improves the sustainability of our stores and are extremely complementary to our sustainability strategy.’

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MARKS & SPENCER PIONEERS 3D PRINTED SPOTLIGHTS

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‘We are hoping to have the Philips MyCreation lighting solution in more than 100 countries across the globe in our McDonald’s stores in 2023. From Argentina to Japan, Alaska to Australia. Also, having no stock gives us a huge benefit: it makes us flexible and it helps in reducing costs.’

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‘With the design intent, the drawings, and the idea in mind, we started the conversation with Philips MyCreation. And did two rounds of samples.

‘Philips MyCreation was able to deliver sustainably on a global scale by pushing the point of production closer to the point of use. This also helps solve the huge issue of speed.

M A I N S T R E A M

Marc Pochert, Senior Director of Global Design Integration at McDonald’s, says the key features of the pendant is a customised, hemispherical, translucent pendant which he says should ‘shimmer like velvet’.

‘After we fixed the design part, we recognised that with 3D printing we would also benefit from using sustainable materials,’ says Pochert.

G O E S

In north America, the lights are printed by the Signify-owned Cooper Lighting Solutions in Pennsylvania, while in Europe the company has a 3D printing works in Maarheeze in the Netherlands.

McDonald's says that it has ambitious targets for sustainability. In 2030 it has set itself the target of reducing its carbon footprint by 60 percent.

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It was important to McDonald’s that it retains the design rights, as well as Signify’s ability to print the polycarbonate luminaires relatively locally.

‘We had the final round of samples approved in less than three months, which is an unbelievable speed when it comes to the production of a pendant light. This whole process exceeded our expectations by far.’

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The translucent pendants – created earlier this year by Signify’s Philips MyCreation to McDonald’s specification – are semi-spherical and feature an embossed pattern.

‘After we saw the second sample we were so close to the original design intent, we never thought that this could be possible.

G O E S

Global hamburger chain McDonald’s has begun rolling out 3D printed pendants to its restaurants and says it wants to have them in 100 outlets this year.

3 D

It was important to McDonald’s that it retains the design rights to the 3D printed pendants, as well as Signify’s ability to print the polycarbonate luminaires relatively locally.

3D PRINTED PENDANTS ‘EXCEEDED OUR EXPECTATIONS’, SAYS MCDONALD’S.

M A I N S T R E A M

3D PRINTED LUMINAIRES

AustraliaUnited Museum, Sydney, Australia National Museum ©2020 Duncan R. Millar Australia Museum,States Sydney,Army Australia Australia Museum, Sydney, Australia National United States Army Museum ©2020 Duncan R. Millar Australian Museum @ Rosie Hastie

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Providing advanced museum lighting Providing advanced museum lighting products & services with Fiber Optic and Providing advanced museum lighting products & services with Fiber Optic and LED technology. products & services with Fiber Optic and LED technology. • Conservation LED technology.

Academy Museum of Motion Pictures © Joshua White

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• Conservation • Functionality • Conservation • Functionality • Color & Focus quality • Functionality • Color & Focus quality • Color & Focus quality

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‘URBAN MINER’ KEEPS USED

CIRCULARITY IN LIGHTING

Since 2020, Concular has been focusing on the development of circular material flows for buildings.

lights in circulation

‘An ‘urban mining’ firm has come up with a way of keeping luminaires in use for longer.' Ray Molony reports. 32

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CIRCULARITY IN LIGHTING

A German ‘urban miner’ is assisting developers and building owners in keeping light fittings and other construction materials in use during upgrades and refurbishments. Concular, based in Berlin, provides a comprehensive circularity service which includes recording and cataloguing all material in a building, including luminaires, and managing their reuse including dismantling and testing. The successful business model is being seen as a possible template for similar ventures in other European countries. The company has carried out over 350 projects to date: •

At the Behrens/Väth building, an 18,000 square metre office in Düsseldorf, Concular arranged the removal and recertification of 800 Zumtobel luminaires as well as the repurposing of partitions.

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During a refurbishment of the 10-year-old B&B Hotel in Lübeck in northern Germany, the company arranged the removal and sale of the building’s bedside lights, wall sconces and beds.

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At a building in Zillestrasse in Berlin, the company arranged the reuse of the interior and exterior lights.

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At a retailer’s showroom, also in Berlin, it arranged the sale of the lights and cable trays on its own eBay-style exchange website.

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At Augsburg University, it was able to give 80 percent of the components in a demolished building a second life.

Concular started in 2012 when it launched ‘restado’, Europe’s largest marketplace for recycled building materials. Since 2020, it has been focusing on the development of circular material flows for buildings. The 60-strong team includes consultants, architects, software developers and engineers. The company’s website currently lists the contents of 14 projects, from a Munich school to a university in Dortmund. Listed for purchase and collection are freestanding LTS lights for €79, opal glass wall lights for €15 and Bega wall lights for €50. Concular’s success is partly driven by legislation. The state of Berlin now requires the examination of the reuse potential of all public buildings with its new administrative regulations. The EU Commission is also exerting pressure by recommending that builders reuse up to 90 percent of the materials used in demolition and obliging project developers to obtain 30 percent of the materials used in new construction from reclaimed sources. Recently Concular has teamed up with other stakeholders in the construction industry to develop a standard for the circular economy in the construction. The DIN SPEC 91484 will define the procedures for recording construction products for Pre-Demolition Audits (PDA) as well as the methodology of ensuring their subsequent removal and reuse. ■

Concular, based in Berlin, provides a comprehensive circularity service which includes recording and cataloguing all material in a building, including luminaires designing lighting global

SUSTAINABILITY

‘We knew that we had to

DO SOMETHING’

Lucie Sidwell, Global Operations Director of Lucent Lighting, discusses the measures Lucent, as a global lighting manufacturer, is taking to cut its environmental impact.

Lucent Lighting has for many years put sustainability at the forefront of its manufacturing process. Lucie Sidwell, Global Operations Director, explains how the company started on their journey towards producing more sustainable lighting products: ‘We knew that we had to do something,’ says Sidwell. ‘We had to change the culture of waste in the industry, and we are incredibly committed to being part of that. ‘We began by analysing our packaging and reducing our

use of plastics, before focusing on modularity of our ranges. We were lucky to already have 80 per cent of our ranges completely modular in design, but we made the conscious decision to continue promoting modularity in everything we make going forward.’ Lucent boasts a variety of accreditations, including ISO 14001, an EcoVadis Silver Medal, and was awarded Carbon Neutral status in 2021 and 2023. The company has also introduced its own initiative, ProCycle, which offers a 20-

‘Although the reuse of luminaires is increasing, we have still got a way to go in the industry before this will be accepted into all projects.'

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SUSTAINABILITY

year duty of care following the supply of luminaires. Once a luminaire reaches the end of its life, the LED and driver can be returned to Lucent for refurbishment of the LED module, while the driver is re-supplied with a new fiveyear warranty. ‘I completed a course on the circular economy and sustainability strategies which has helped me to understand on a global scale what we need to be achieving within the company, which we have implemented with the launch of ProCycle,’ adds Sidwell. ‘The sustainability of the company and products we produce is a constant part of our processes; in management meetings we are always discussing what more we can be doing and what client bases are calling out for.’ Although strides have been made in the industry, Sidwell believes that there is a remaining stigma when it comes to reusing luminaires. ‘Although the reuse of luminaires is increasing, we have still got a way to go in the industry before this will be accepted into all projects. For example, we brought out a range of raw aluminium projects. As soon as paint or a finish is applied to this, the sustainability of it is reduced. We are happy to offer the solution, but it is up to

the clients to decide how far they want to go with that. ‘Whether the margins are there on reconditioned products remains to be seen, but we are prepared to give it a chance by delving deeper into the ProCycle initiative and receiving stock to be reconditioned and used for other projects.’ There is increased demand from specifiers for products to have Environmental Product Declarations (EPDs), and Lucie explains how Lucent have incorporated this into their products, but also discusses the challenges this presents. “We have a department dedicated to producing EPDs and life cycle analysis for our products, and 14001 for tender documents, as it is important for specifiers to have this information in order to make the most sustainable choice. ‘The issue for us is that we work on a global scale, and different countries and clients have different requirements to which to work. We encourage a standard format across the market to make it easier for manufacturers to supply the agreed requirements for each client. ‘If we work together we can make it easier for manufacturers, specifiers, suppliers and clients to make more sustainable choices in lighting products.’ ■

RANGE USES STANDARDISED COMPONENTS The Lucent TubeLED Mini HE (High Efficacy) represents a change in the company’s design thinking and an active shift towards modularity. By using standardised components, Lucent can reuse, recycle and upgrade the technology within the same body of the original lighting fixtures. This, says the company, will allow more of a move from the ‘throw away’ mentality in construction and a change towards a circular economy within the lighting industry. A 60mm diameter LED Spotlight with integral 250mA driver, available in 12 and 24 degree beam angles with a delivered 900 lumens and a CRI of 90.

The Lucent TubeLED Mini HE won prestigious Build Back Better Gold and Green Awards in 2022 for its sustainability credentials.

For the integral LED, Lucent developed a ‘plug and play’ module with an easy-to-install system within the spotlight. Alongside the modularity of the fixture, it also provides an efficacy of 117 lm/W using only 5.6W of power.

"‘We have made the conscious decision to continue promoting modularity in everything we make going forward."

— Lucie Sidwell

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LUMINAIRE REUSE

How to make

SUSTAINABILITY A WIN-WIN

At the Enterprise Centre at the University of East Anglia, up to about a third of the building has lighting just from low level furniture,

When we approach a project, we talk about the whole light experience with the client. So if we're able to model the daylight, which we may be able to influence, we look at how much of the space actually needs artificial light when in use. We try to interview everyone who is going to be using the building for how they intend to use it. So we came up with a phrase, where and when? If it means that we only need low level or accent lighting in a specific area, we emphasize the placement of light fittings accordingly. But thereafter, the focus is on flexibility.

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So for instance at the Enterprise Centre at the University of East Anglia, up to about a third of the building has lighting just from low level furniture, so it's really the ceilings that we pulled back and that increased the height of the room and the access to daylight as well. So it's a win-win situation on many of the different areas. It works when you’ve got a lot of open plan and you've got low level furniture, so the light can get through. Currently we've got three projects on our books that are

LUMINAIRE REUSE

Colin Ball, lighting director at BDP and lead designer on groundbreaking sustainability projects, talks to dlg. Ball: 'We're still demonstrating with our final schemes an energy use of around 2W/sq m and lower.'

Some 350 luminaires removed from a London office fit-out were reused in the exemplary sustainable building for Cambridge University.

signed up to net zero and also some of the latest government codes for a maximum 4.5W per square metre. So all of these techniques that we have, we're discovering it's quite different if you have a concrete ceiling or if you have many cellular rooms, you're not just losing access to daylight very quickly, but you're also increasing the absorption inside the room. So our technique is having to be adapted quite a lot. The Entopia Building in Cambridge was for the same client from the University of East Anglia. When they set up the

Cambridge Institute for Sustainable Leadership, they wanted to take all the lessons learned from the Enterprise Centre. We tried to implement the same type of lighting, but it was very interesting when we went through the availability of light fittings that are being pulled out of Cat A fit-outs. If we were able to reuse fittings that had been shortlisted for the skip, then our embodied carbon model changed a lot. And working with Max Fordham, we were able to rescue fittings from the skip.

designing lighting global

LUMINAIRE REUSE

In all, some 350 luminaires removed from a London office fitout were reused in the Entopia Building. We ended up using more fittings, but then that gave us the better granular control to keep the energy down. When you're reusing an existing building or converting the existing building, you don't quite have the perfect daylight that you'd get on a greenfield site. So a number of the different scenarios change in the final model, but we’re still demonstrating with our final schemes

in-use energy of around 2W/sq m and lower. At the University of London Senate Steps (see box out), we knew that this process [of reusing luminaires] could work. And we actually just checked with our supplier chain, knowing actually the vast quantity of LEDs that do get manufactured, or will know there's a sell by date on some products which we’re quite surprised by, but where we’re looking at out of stock or end of stock, we've been able to again rescue light fittings from the skip. ■

The Senate House Steps features specified Ecosense luminaires which were upcycled from existing stock. Picture: Nick Caville

TAKING SUSTAINABILITY STEP BY STEP Senate House Steps at the University of London is a fully flexible and demountable architectural installation, as well as a symbol of opportunity and a new place for students at the heart of the university estate. As part of an estate-wide review, BDP recommended a series of small-scale interventions aimed at making the Bloomsbury estate feel more welcoming; small changes but with the potential to make a massive impact. ‘Senate House Steps’ is an inspiring space to visit, instilling a sense of belonging as a place where students want to relax with their peers. Timber beams positioned just below the underside of the steps were the mounting point for luminaires to uplight the elegant and dynamic design of the structure. This highlights the Spanish-Steps style form and flexibility whilst

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illuminating the intricate architectural logic. This up lighting focuses on the underside of the steps, minimising light pollution. Indirect spill has been orchestrated to bounce light around the beams and reflect light through the gaps between the steps, visible from the front. Aligned with the architect’s sustainable vision, the lighting design promotes the circular economy by using specified Ecosense luminaires which were upcycled from existing stock. Standing in the shadow of the University’s iconic Bloomsbury HQ, the 7.3 metre-tall structure is a symbol of the dynamism of the students and the wider university community. Introducing orange as the primary colour signifies opportunity, and the form and flexibility of the Spanish Steps style delivers a sense of stage and presence. The success of the social value delivered is reflected by the huge popularity of the structure. The lighting designers on the project were Sarah Alsayed and Colin Ball.

VISIT US! Hall 3.0 Booth B21 Bowery/Houston Mural Wall, New York, NY Artist: Banksy

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‘This technology is a revolutionary moment for outdoor lighting and its ability to support the nocturnal environment’ — David Scott-Maxwell, Managing Director, Forge

TECH’S ROLE IN DELIVERING DARK SKIES Can a new technology from Lumileds assist with reducing light pollution and its impact on wildlife and our view of the stars? 40

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Forge has partnered with Lumileds to create turnkey solutions for professional lighting products, combining Lumileds’ Luxeon NightScape technology with Forge’s rapid product realisation capabilities.

Lumileds has unveiled a new technology which minimises the blue component of LED modules. Could it be part of a technological solution to the problem of light pollution? On the face of it, it appears that the NightScape technology is a breakthrough. After all, blue light content is a critical factor as it has been shown to have a significant impact on the circadian rhythms and behaviours of humans, plants, and wildlife. It is increasingly the focus of attention for local authorities, municipalities, policy makers and legislators. Communities across the world are grappling with how to reduce the impact of artificial light at night and municipalities and governments are addressing the issues of light pollution and wildlife impacts with lighting ordinances that proscribe both the design of light fixtures and the nature of the light that they emit.

Some local authorities – such as Maui in Hawaii – even limit blue to under 2 per cent of new exterior light. Designers often want warm colour temperatures of 3000K and 1800K for outdoor applications but these can still have relatively high percentages of blue light content and cannot come close to achieving less than 2 per cent. Phosphor-converted amber, or a 3000K white LED and an amber filter or amber optics are options, but both have significant downsides. NightScape Technology is the first white light to significantly reduce the percentage of blue content between 400nm and 500nm to less than 2 per cent. It is now possible, thanks to this advanced LED technology, to start with the right light for night-time illumination.

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DARK SKIES The technology is available in Luxeon 3030 HE Plus and Luxeon 5050 Square LED emitters, two workhorses of the outdoor lighting industry. Over time, the technology can be applied to Lumileds’ full range of white LEDs. These products with NightScape Technology will have a correlated colour temperature of 1850K and blue light content of just 1.8 percent in the 400500 nanometer range of the visible light spectrum. One of the first firms to harness the technology is UK firm Forge. It has partnered with Lumileds, the global leader in innovative LED technology, to provide outdoor lighting solutions dedicated to preserving dark skies. The partnership sees the creation of turnkey solutions for professional lighting products, combining Lumileds’ Luxeon NightScape technology with Forge’s rapid product realisation capabilities. The disruptive effects of blue light from LEDs on human melatonin levels and sleep regulation are well documented, says Forge, but as the world comes to a greater understanding of the devastating effects of this blue component on nocturnal wildlife, legislation has been implemented to seed real change. In the UK, the Institution of Lighting Professionals’ GN08/23 gives comprehensive guidance on mitigation steps to help preserve bat populations.

The book addresses a significant gap in knowledge in relation to perspectives from the arts, humanities, and social sciences.

BROUGHT TO BOOK Nick Dunn and Tim Edensor’s new book on Dark Skies brings together engagements with dark skies from a variety of disciplinary backgrounds, empirical studies, and theoretical orientations. The book addresses a significant gap in knowledge in relation to perspectives from the arts, humanities, and social sciences. In providing a new multi- and interdisciplinary field of inquiry, this book brings together engagements with dark skies from a variety of disciplinary backgrounds, empirical studies, and theoretical orientations. Throughout history, the relationship with dark skies has generated a sense of wonder and awe, as well as providing the basis for important cultural meanings and spiritual beliefs.

The regulatory shifts being made have placed the onus on manufacturers to limit blue wavelength emissions and tackle light pollution head-on. The British Astronomical Association’s Commission for Dark Skies suggests that 90 percent of the UK population has no access to the celestial night sky. Forge says the NightScape technology provides a unique spectral distribution that delivers high-quality white light at the highest flux while emitting less than 2 percent of blue light in the 400-500nm spectrum. ‘This technology is a revolutionary moment for outdoor lighting and its ability to support the nocturnal environment,’ says Forge Managing Director, David Scott-Maxwell. ‘NightScape is a world-class LED innovation and Forge can rapidly integrate it into lighting products. Our global experience in LED product manufacturing delivers finished components, assemblies or luminaries, wherever and whenever they are needed which means that we can drive forward the adoption of this important new technology around the world.’ Allan Horne, director, EMEA Distribution for Lumileds, adds: ‘Lumileds Luxeon NightScape technology and the partnership put us on the cusp of creating sustainable and compliant lighting solutions that will keep customers and end users ahead of the curve as regulation evolves. ‘This truly is a powerful collaboration and sets a new standard for intelligent, sustainable exterior LED lighting.’ ■

However, the connection to darks skies is now under threat due to the widespread growth of light pollution and the harmful impacts that this has upon humans, nonhumans, and the planet we share. This book examines the rich potential of dark skies and their relationships with place, communities, and practices to provide new insights and understandings on their importance for our world in an era of climate emergency and environmental degradation. The Open Access version of this book is available at www. taylorfrancis.com.

designing lighting global

The NightScape technology provides a unique spectral distribution that delivers high-quality white light at the highest flux while emitting less than 2 percent of blue light in the 400-500nm spectrum.

pro·gres·sion:

(n.) the process of developing or moving towards a higher, better, or more advanced state.

THE POWER OF LIGHT Always at the forefront of promoting excellence in the field of lighting design, the IALD is making significant strides for members and the broader lighting design industry. Comprised of and working for professionals worldwide, all effort focuses on advancing lighting design through leadership and advocacy. The IALD has made remarkable progress in recent months, advancing the interests of its members and the lighting design industry overall. Through its programs, events, platforms, and partnerships, the association continues to shape the future of lighting design, ensuring its members are wellequipped to thrive in an ever-evolving profession.

JOIN THE IALD Learn about the benefits of IALD membership and how being a part of this global community works for you throughout your career.

FOR EDUCATION

The IALD delivers continuous learning opportunities, workshops, and seminars to keep its members informed of industry trends and emerging best practices. The forthcoming Lighting Education Resource Network (LERN) online platform will provide global access to those opportunities as part of membership.

FOR CONNECTION

The IALD digital platform facilitates a robust global network of lighting design industry professionals, where all can collaborate, share insights, and follow developments. Enlighten conferences and other events let members engage with thought leaders and experts, fostering a vibrant, diverse community.

FOR RECOGNITION

The IALD advocates globally for the importance of quality lighting design in enhancing the built environment. Our chapters collaborate with architects, planners, and policymakers to integrate lighting design considerations into projects and initiatives. The annual IALD Awards honor lighting design excellence and inspire the industry.

 iald.org FOR INNOVATION

Supporting initiatives that explore new technologies, sustainable practices, and human-centric design creates a culture of mindful innovation. Members are empowered to develop lighting solutions that meet aesthetic and functional requirements while demonstrating energy efficiency and environmental sustainability. designing lighting global

LIGHT + BUILDING 2024 PREVIEW

RETURN OF THE BIG BEASTS Iconic lighting brands returning to Light + Building for 2024 include ERCO, iGuzzini and Zumtobel. Ray Molony reports.

The good news is that for this year’s Light + Building, the organisers have managed to woo back a raft of big brands including ERCO, iGuzzini and Zumtobel.

The Dreispitz from Artemide is a single product with double emission which adapts to the three dimensions of space with different standalone and systemic versions.

The global lighting industry’s blockbuster exhibition has had a rocky few years, thanks to the pandemic. Its last outing in October 2022 was a much delayed affair which the organisers rebranded the ‘Autumn Edition’. Crucially, it lacked the wow products from the big innovative brands. The good news is that for this year’s show (3-8 March 2024, Frankfurt Messe), they have managed to woo back a raft of big beasts including ERCO, iGuzzini and Zumtobel. Expect the big trends this year to be miniaturisation, connectivity and sustainability. Artemide is always a must-visit stand. The Italian design gods will show Eggboard Circle, a pendant the combines acoustic control and comfortable lighting. 44

designing lighting global

Artemide will show Eggboard Circle, a pendant that combines acoustic control and comfortable lighting.

LIGHT + BUILDING 2024 PREVIEW Its cylindrical body is formed by a panel with a distinctive sinusoidal section. This construction helps to reduce sound reverberation in a room as well as the cylindrical cavity trapping sound waves. The material is specially chosen for its sound-absorbing characteristics, particularly its optimal effect on speech frequencies. The company will also be showcasing the Dreispitz, a single product with double emission thus adapting to the three dimensions of space with different standalone and systemic versions. Dreispitz has a simplicity to its geometry and the freedom it allows to create graphic compositions that combine horizontal and vertical elements. Dreispitz is sustainable, says the brand, thanks to its intelligent industrial optimisation and the use of partially recycled, recyclable and easily dismantled materials. Its use leads to a good energy balance due to high efficiency and dynamic management of emissions. What’s being acclaimed as the first professional lighting product made from linen will be unveiled at Frankfurt by iGuzzini. The Italian brand says that the new linen version of its Light Shed is lighter and more sustainable than the others in the range. The company says it is the result of innovative research into materials and processes that can cut environmental impact. iGuzzini points out that flax, the plant from which linen is made, absorbs carbon dioxide throughout its lifetime. To grow, flax needs only rainwater, and no artificial irrigation. Flax is also very sturdy and therefore needs no pesticides or fertilisers, so it preserves soil and groundwater too. It is also extremely light.

Italian brand iGuzzini says that the new linen version of its Light Shed is lighter and more sustainable than the others in the range.

A light sensor built into the Light Shed Linen luminaire activates artificial light only when natural light needs replacing. Alternatively, integrated wireless or wired sensors like Organic Response, Bluetooth and DALI-2 can also easily be managed by voice command, smartphones or smart buttons, helping to lower energy consumption with overall savings of up to 90 percent. The light has an efficacy of 136 lm/W and a variable colour temperature, from 2700K to 6500K, that follows the dynamism of nature. iGuzzini says that the light distribution from Light Shed Linen increases the perception of space by balancing luminance on different planes and helping achieve optimum horizontal and vertical semi-cylindrical lighting levels. It has a glare index of UGR<19. Zumtobel will be showing the Ambitus, which provides both uniform indirect lighting for ceilings and walls and precise, glare-free direct lighting for workspaces. At just 24mm high, it features an invisible power supply and an anodised aluminium light ring. Micro-lenses arranged in a circular array spread light evenly across the 60-centimetre diameter, made possible by an extremely slim and flat light ring. It’s designed by renowned luminaire designer Yorgo Lykouria of Rainlight Studio in London.

Zumtobel will be showing the Ambitus, which provides both uniform indirect lighting for ceilings and walls and precise, glare-free direct lighting for workspaces.

The VIVO II from Zumtobel has been designed for circularity, longevity and a minimised environmental

designing lighting global

LIGHT + BUILDING 2024 PREVIEW

THE MUST-VISIT BIG BRANDS:

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A.L.P. Europe

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Artemide

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Bartenbach

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Bega

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B.E.G

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BJB

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Casambi

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Eaton

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ERCO

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Gewiss

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Holophane Europe

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iGuzzini

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LEDVANCE

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Linea Light

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L&L Luce & Light

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Lumileds

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Willy Meyer + Sohn

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Nichia

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Pharos Controls

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Robe

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Simes

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Thorn

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XAL

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Zencontrol

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Zumtobel

designing lighting global

footprint. Zumtobel teamed up with innovative industrial design practice EOOS to create what it terms a conscious counter-trend to the many ‘one-short-life’ spotlights on the market. Over 90 percent of the material used in the luminaire can be reused. It’s built to order in a high efficiency automated process, with short end-to-end supply routes. ERCO’s Quinta family brings darklight lens technology from the Eclipse and Uniscan spotlight ranges and puts it in the ceiling. Thanks to identical installation details, Quinta luminaires fit into the proven system of Erco downlight sizes such as Atrium, Iku and Quintessence. This creates quality of light and visual comfort in a uniform design, for example for a lobby or café in museums. ERCO will also be showing Invia, a light structure which can take on all architectural lighting tasks – including wallwashing in museums and galleries, general lighting in public buildings and standard-compliant task lighting in offices. It not only includes diffuse light lines but is a fully-fledged system for all architectural lighting tasks ranging from general illumination to accenting, and also offers technical lighting innovations such as continuous wallwashing right into corners. Digital connectivity and tunable white are options. ■

The VIVO II from Zumtobel has been designed for circularity, longevity and a minimised environmental footprint.

ERCO’s Quinta family brings darklight lens technology from the Eclipse and Uniscan spotlight ranges and puts it in the ceiling.

ERCO will be showcasing Invia, a light structure which can take on all architectural lighting tasks including wallwashing, general lighting and standard-compliant task lighting.

THE VOICE OF THE LIGHTING INDUSTRY, CELEBRATING 25 YEARS IN 2024.

designing lighting (dl) • designing lighting global (dlg) Today in Lighting • EdisonReport.tv Visit us at Light + Building at Hall 4.1 FOY8

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INNOVATIONS New architectural lighting products available for specification IGUZZINI

CRYSTAL Crystal was created as a linear solution for high comfort and efficiency, designed for office environments but also ideal for retail, hospitality and infrastructures. The light is soft and provides a broad perception of space by distributing luminance over all levels. The frame gathers the light emitted by the reflector and spreads it over the ceiling, thereby combining decor and function for better spatial perception. The rounded corner refines the outline and makes it more harmonious. Maximum compactness (only 58mm) ensures minimal use of material, thereby facilitating sustainability and installation flexibility, even with small false ceilings.

VIBIA

PLUSMINUS Designed by Diez Office, Plusminus is a versatile lighting system that takes the concept of the light rail to a new level. The conductive textile ribbon at its core allows for free placement of the luminaires and the creation of unique light solutions on the spot. Featuring a textural, fabric belt that conducts electricity, it enables light to flow through space. Plusminus provides professionals a toolkit for creating personalised lighting effects and unique atmospheres with different luminaires.The toolkits feature multiple elements—component pieces, colours, textures—that can be freely adapted and combined to suit the characteristics and constraints of specific spaces.

DIESEL

Reglobe A family of three suspension lamps made of recycled plastic, this eye-catching addition features Diesel’s design language with Lodes’ technical know-how in one introduction. In the design of Reglobe, rotational molding was employed to assemble variously-hued plastic grains to create the terrazzo-like effect. These speckled accents feature random chromatic variations that render each design unique. Developed with circularity in mind, the shade uses partially recycled plastic derived from production waste, including 5 percent virgin LLDPE (linear low-density polyethylene) and 50 percent recycled polymer. The light is available in three sizes.

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IGUZZINI

Spacepad Spacepad is a lightweight, minimalist yet comfortable and efficient mains voltage track luminaire. It can rotate 360 degrees in the vertical plane and slide in the track, allowing for continuous and easy adaptation to new layouts or visual needs. Spacepad's optics are Opti Diamond, suitable for the office environment, with UGR<19 and controlled luminance. Additionally, they are suitable in any environment where soft light is sought, enhancing the space and those who live in it. Spacepad also achieves high efficiency values, up to 150 lm/W, with special attention therefore to energy saving. This can be even increased through the use of control systems, both wired DALI and wireless.

SIGNIFY

Water cooler pendant ARTEMIDE

ALE.01 Italian lighting brand Artemide is using certified wood waste from the bottling industry to create its latest pendant. ALE.01 (Adaptive Lighting Experience) is a suspensionlamp featuring a shell composed of 30 percent biocomposite material containing natural wood fibres, mixed with a base of bio-based (PHB) or recycled polymers. The design reportedly salvages and reuses FSC-certified wood waste from the production of bottle stoppers for the spirits industry. In terms of the lighting, the pendant offers separately controlled up- and downlighting and multiple adjustable options. It can follow different lighting requirements over the course of the day.

Signify has unveiled a pendant made from the recycled plastic of water coolers. The material is processed at the company’s specialist plant in Maarheeze, the Netherlands, and then 3D printed in Turnhout, Belgium. Signify says that 3D-printed luminaires represent up to 76 percent lower emissions from material supply and manufacturing, and up to 28 percent savings in transport. As well as reusing ocean plastic, 3D printing process helps reduce waste and contributes to a circular economy, says the company. Items can be printed locally on demand, so no excess stock is produced. There is no glue, fewer screws and it is easy to disassemble.

ZUMTOBEL

Tramao Zumtobel describes Tramao as a pendant luminaire which merges light quality, effective sound absorption and contemporary design. Available in two sizes, 19 colour variants, two optics, various colour temperatures, and control options, it strikes the perfect balance between standard and bespoke design. It uses a high proportion of recyclable materials and is handcrafted in Austria's Vorarlberg region. It comes in two textile optics—opal and coffered. The opal optic provides uniform light distribution, creating a calm, harmonious ambience, while the coffered optic enhances sound absorption with a striking design reminiscent of antique coffered ceilings. Photo: Till Hückels.

ZUMTOBEL

Artelea An office luminaire has become the first Zumtobel product to receive the latest version of the Cradle to Cradle certification. The Artelea free-standing unit is made from up to 80 percent recyclable materials. It was designed to Zumtobel's Circular Design Rules and is one of the first lights on the market to receive Cradle to Cradle Certified® Product Standard Version 4.0 certification. The unit’s aluminium, steel, and sheet steel, were chosen for their ease of separation and reuse at the end of the luminaire's 100,000 hour life. It is estimated to last approximately 48 years based on a standard 40-hour work week.

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LIGHTING AWARDS COMPETITIONS (d)arc Awards ENTRY DEADLINE EXTENDED 25 January 2024 JURY SHORTLISTING 29 - 31 January 2024 VOTING OPENS February 2024 THE (D)ARC NIGHT PRESENTATIONS 27 March 2024, Fabric, London

Build Back Better Awards (Lighting Category) OPEN FOR ENTRIES Monday, 20 May 2024 EARLY BIRD ENTRY PRICE DEADLINE Friday, 26 July 2024 ENTRIES CLOSE Friday, 6 September 2024

Build Back Better Awards (Energy Categories) OPEN FOR ENTRIES Monday, 9 October 2023 EARLY BIRD ENTRY PRICE DEADLINE Thursday, 1 December 2023 ENTRIES CLOSE Friday, 22 March 2024 ENTRIES EXTENDED Friday, 29 March 2024

Espenes Rest Stop, Hardanger, Norway by Light Bureau The Espenes Rest Stop – a ‘destination experience’ by the Norwegian Scenic Routes' initiative – won both PLATINUM and GREEN in the lighting category of the Build Back Better Awards 2023 for independent practice Light Bureau. The building seamlessly blends nature-inspired aesthetics with intelligent lighting design to create a landmark that subtly enhances its environment while respecting its essence. Picture: Fovea Studio.

ONLINE JUDGING OPENS Monday, 1 April 2024

LIT Design Awards

iF Design Award

FINAL JUDGING MEETINGS W/C Monday, 15 April 2024

FINAL SUBMITTAL DATE 25 October 2023

ANNOUNCEMENT DATE mid-April 2024

WEBSITE PREPARATION WEEK W/C Monday, 29 April

ANNOUNCEMENT DATE November 2023

AWARD NIGHT 29 April 2024, Berlin

WINNERS ANNOUNCED Thursday, 9 May 2024

AWARD NIGHT 20 June 2024, Banking Hall, London

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TRADE SHOWS

3-8 MAR 2024

12-15 MAR 2024

6-9 APR 2024

16-21 APR 2024

FRANKFURT

TOKYO

HONG KONG

MILAN

9 -12 JUN 2024

21-22 Jun 2024

1-3 SEP 2024

17-20 SEP 2024

GUANGZHOU

LONDON

SAO PAULO

9 OCT 2024

15-16 OCT 2024

20-21 NOV 2024

LONDON

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A NEW VOICE IN THE A NEW VOICE IN THE GLOBAL LIGHTING DESIGN GLOBAL LIGHTING DESIGN COMMUNITY COMMUNITY

EVERY-ISSUE EDITORIAL EVERY-ISSUE EDITORIAL DEPARTMENTS/COLUMNS DEPARTMENTS/COLUMNS PROJECTS PROJECTS THE BUSINESS OF THE BUSINESS OF LIGHTING DESIGN™ LIGHTING DESIGN™ CIRCULARITY CIRCULARITY LIGHTING + HEALTH LIGHTING + HEALTH INNOVATIONS INNOVATIONS UP CLOSE: UP CLOSE: CONVERSATION WITH A CONVERSATION WITH A LIGHTING DESIGNER LIGHTING DESIGNER

ORG NEWS Teresa Aguilar Carrasco named SLL Young Lighter 23 Teresa Aguilar Carrasco was named SLL Young Lighter 2023 with her project, CircaLight, a new circadian light assessment tool for Grasshopper environment. This year’s final was hosted by SLL President-Elect, Dan Lister FSLL and took place at LiGHT23 on the 21st November, with all four finalists delivering their presentations to a live audience of their peers. Teresa was announced as the 29th SLL Young Lighter winner at Light2Perform on 5th December 2023 at ExCel. Teresa is an architect, who graduated from the University of Seville in 2019, and is now a researcher at the Department of Architectural Construction of the Higher Technical School of Architecture of Seville. Teresa is studying for a PhD in Architecture. Her doctoral research encompasses two main lines of research: lighting and energy efficiency. It focuses on the impact of lighting, both natural and electric, on visual comfort and the health of individuals, particularly regarding its effect on circadian rhythms. She is a member of the research group TEP130: “Architecture, Heritage and Sustainability: Acoustics, Lighting, Optics and Energy”. Her work brings a novel approach to the challenges of better integrating different metrics into a an accessible and easy to follow workflow. The judges felt that this original work collected a number of different processes and presented a new way to tackle the challenges of undertaking the daylight assessment of different metrics, delivering a consistent methodology to present and communicate the outcomes in a consistent manner. An analysis tool that has the potential to bring much wider support to the lighting industry and increased implementation of good daylight design. The 2023 finalists and presentations were as follows: •

Anna Freiesleben, Michael Grubb Studio - Light Beyond Earth: Illuminating life on exoplanets.

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Irene Mazzei, Edinburgh Napier University / Stoane Lighting Ltd (Knowledge Transfer Partnership) Improving sustainability in the lighting industry.

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Teresa Aguilar Carrasco - CircaLight, a new circadian light assessment tool for Grasshopper environment.

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Tom Ruddle, EGG Lighting - Lighting Remanufacture.

The judges were impressed by the quality of entries from the initial entry stage, maintaining an exceedingly high standard throughout the competition. All the finalists received a cash prize, along with a year's free membership to the Society. “All presentations were fantastic, delivered in a confident and accomplished manner – the finalists should all be commended for the exceptionally high standard of work, commitment they have put into their research and preparation for the competition. Setting an incredibly high bar for the future. Because of such a high standard of submissions all the way through from the initial submission, video submission

Teresa Aguilar Carrasco of the Department of Architectural Construction of the Higher Technical School of Architecture of Seville receives her award from SLL President-Elect, Dan Lister FSLL and the final presentations; the judges were looking for very small areas of differentiation between the finalists. All four finalists showed a deep knowledge of their subject, presenting with confidence and in an accomplished way. In the end the Judges looked to identify the submission that represented something new in the field, demonstrating an innovative approach with original thinking and a practical approach that could benefit the lighting industry now," commented SLL President-Elect Dan Lister. 2023 marks the 29th annual SLL Young Lighter competition and after three years online the competition was back in front of a live audience. Open to anyone with an interest in light and lighting, the competition is designed to test not just the finalists’ ability to develop a lighting project, but also their presentation skills. The competition provides a unique platform for young lighters and is open for all to enter, allowing entrants to illustrate their knowledge, research or ideas on a lighting subject, hone their presentation skills, and raise their profile within the industry. Anyone under 30 years of age on the Stage 1 submission date can enter with any light or lighting related topic including photography, product design, light and shadow, novel approach to lighting, natural and electric light, light art or a piece of original/different thinking based on formal or informal personal discovery. Previous winners include Seda Kacel, Christopher Knowlton, Sabine De Schutter, Rachael Nicholls, Janna Aronson, Youmna Abdallah, Sofia Tolia, Matt Hanbury, Emma Beadle, Anna Wawrzyniak, Aluwaine Manyonga, Maria Englezou and Scott Kluger. If you would like more information about the SLL Young Lighter competition and how to enter in 2024, please email sll@cibse.org. ■ designing lighting global

In your next issue of

designing lighting global…

Pictured: The 14,000sqm VicRoads Ringwood Customer Hub in Melbourne, Australia. Architecture: peckvonhartel; Lighting design: ADP Consulting; Luminaires: ERCO; Photograph: Jackie Chan.

Workplace Special We explore lighting trends in office and commercial projects and showcase some cutting edge projects which point to a more informal and interactive working environment.

Lighting and the Circular Economy Lighting and the circular economy The reuse of remanufactured and upgraded luminaires is one of the big trends of 2024. But what are the issues for designers raised by this practice? And how can specifiers and their clients become confident that the lit environment won’t be compromised?

Remanufactured luminaires is a big trend for the lighting industry in 2024

VOLUME II ISSUE 2 WILL BE PUBLISHED ON THURSDAY, 23 MAY. ADVERTISEMENT CLOSE IS WEDNESDAY, 8 MAY. ADVERTISEMENT MATERIALS ARE DUE AT 12PM EST ON THURSDAY, 9 MAY.

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INDEX TO ADVERTISERS

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. page 5

page 25

page 2

page 7

page 43

page 31

page 3

page 15

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UP CLOSE

UP CLOSE WITH MARTIN KLAASEN 2024 marks my 45th year in the lighting industry and what a ride it’s been. As a graduate in Delft in the Netherlands with a Masters degree in Industrial Design, I didn’t even know that lighting design existed as a profession. But I was offered a position at Philips’ Lighting Design and Engineering Centre in Eindhoven, went to see the department and what I saw attracted me immediately. I said yes on the spot and never looked back. I got to work with – and learn from – a team of around 50 lighting experts in all different applications doing projects and innovation research all over the world. Not just any lighting projects, but lighting impact studies, big city redevelopments, Olympic Games, light and sounds shows, hotels and monuments, nothing was off the table. That is where I developed my own lighting design style. Picking appealing solutions from the best of the best as I quickly learned that there is no one solution to a lighting challenge! Today, that is still reflected in my design approach. I don’t really want to see the light sources, unless it is a deliberate decorative element in space. It’s all about validating the space or the architecture with light. Over the years social responsibility integrated itself into my designs as well, with a focus on sustainability, light pollution, maintainability, affordability and circularity. Philips posted me to Singapore in the 1980s to set up their project activities in Asia Pacific as until then all their projects were handled from Eindhoven. Their sales force there only knew how to sell from a catalogue rather sell a mood, an ambience and an effect, with all the user benefits that come with it, so I trained them to become more project savvy and application-oriented. I had already travelled extensively in Europe, but once I was in Singapore the real travelling began. I was in a plane every week travelling from Korea in the north to Australia and New Zealand in the south to train and support the new generation of lighting designers.

has also created lasting friendships. Many employees that I trained went on to become successful lighting designers and businessmen in their own right. This was also the time that I started to realise that there were actually professional lighting designers earning their living with it. So I decided to jump into the deep and to start my own practice in Singapore in 1991. I got lucky and landed one of the most coveted projects in the world, The KLCC Petronas Twin Towers in Kuala Lumpur, one that brought me instant recognition. Life was looking good! Not surprisingly I was totally unprepared for the financial crash in 1997; most of my projects got halted and I stared bankruptcy in the face. But I survived, moved to Perth, Australia and rebuild Klaasen Lighting Design to the business it is today. One big theme has always run through my career and that’s education. I love to share my knowledge, create more awareness, mentor the new generation and educate the general public of the benefits of better lighting. This is expressed through my other ventures: Lighting Design of Things, which embraces the intelligent world we’re entering; the Virtual Lighting Design Community, an online knowledge-sharing platform; and more recently, my very own Light Talk site, which brings together all my knowledge, my books, vlogs, blogs, services and classes. ■

In that period, we build eight lighting application centres in various capital cities in the region, all to demonstrate lighting effects rather than products. It was a great cultural learning experience, one that

• Martin Klaasen is founder and principal of Klaasen Lighting Design (www.kldesign.co). He is also founder and principal of Lighting Design of Things (www.lightingdesignofthings.com), the founder of Light Talk (www.lighttalk.space) and the co-founder of the Virtual Lighting Design Community (www.vld.community) 56

designing lighting global

TRADE SHOW AND CONFERENCE

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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.

‘Why can’t lighting manufacturers warranty other brands?’

Jonathan Rush: ‘We want data from manufacturers.’

Janet Lennox Moyer Discusses Key Landscape Lighting Technique

Bastiaan de Groot, founder of INGY, discusses Smart Buildings

Martin Klaasen Unplugged at Light Middle East

Build Back Better Awards interview: Innerscene A7 Virtual Sun - is this the ultimate LED skylight?

designing lighting global

designing lighting global (dlg) - VOL II ISSUE 1

Articles inside

'Urban Miner' Keeps Used Lights In Circulation

How To Make Sustainability A Win-Win

Tech's Role in Delivering Dark Skies

Poetry and Light

Light Rain

We Need to Ask How We Can Make Change Happen?

Material World

Light Rain

Material World

Teresa Aguilar Carrasco named SLL Young Lighter 23

Innovations

Return of the Big Beasts

3D Goes Mainstream

3D Goes Mainstream

Lighting a Dark Secret