designing lighting global (dlg) - VOL II ISSUE 2

20 YEARS IN CONTROL

Pharos Architectural Controlscelebrating its 20th anniversary year in 2024 - is an award-winning and independently owned British manufacturer of dynamic lighting control solutions for architecture, themed entertainment, and other specialist industries.

Our hardware and software solutions are designed and built in-house, backed by a 5-year warranty, and supported by an experienced technical team. Pharos products are trusted to run day and night, illuminating iconic installations around the world.

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6 EDITOR’S NOTE

An introduction from our editor Ray Molony.

8 DESIGN FILE

Some striking projects from around the world.

10 COVER STORY: Light Bites

Lighting Design International has added another glamorous project to its portfolio having created the lighting design for a new social dining centre in Riyadh.

16 PROJECT: THE LOOK OF CALM

A new iteration of the JI Hotel has given the Vermilion Zhou Design Group an opportunity to show its mastery of light. Ray Molony reports.

22 PROJECT: Light and Dark

Lighting design consultancy Pritchard Themis has balanced light and shade to powerful effect at the latest outlet of London restaurant chain Temper.

24 Light Waves

A bold lighting scheme inspired by the sea has been created by Wael Farran studio for a stylish apartment in Beirut.

31 THE BUSINESS OF LIGHTING DESIGN: Christopher Knowlton dlg catches up with Christopher Knowlton, CEO of the International Association of Lighting Designers.

32 SPECIAL FEATURE: How Do We Light on Other Planets?

That was the question that lighting designer Anna Freiesleben challenged herself to explore. She tells dlg what she learned.

34 LIGHT + BUILDING 2024 REVIEW

Ray Molony reports from a back-to-form Light + Building exhibition in Frankfurt and names his Top 10 best-of-show innovations.

VOLUME 2 ISSUE 2 2024

36 CIRCULAR LIGHTING LIVE 2024 PREVIEW

We check out the themes, speakers and exhibitors at the acclaimed Circular Lighting Live 2024 event in London this October.

38 WORKPLACE SPECIAL: Glass Act

Independent lighting practice

DesignPlusLight has just completed its latest commercial project at One Paddington Square in London.

44 WORKPLACE SPECIAL: Making the Office Desirable

Responsive design and staff wellbeing were top of the agenda in the future-proof revamp of Zaha Hadid Architects office in London.

48 INNOVATIONS

We curate the stand-out designs this quarter.

50 AWARDS DATES

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

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 dlg

55 INDEX OF ADVERTISERS

56 UP CLOSE

We meet award-winning lighting designer Paul Beale, founder and principal of 18 Degrees Lighting Design.

added another glamorous project to its portfolio

ON THE COVER: At the Al Mamlaka Social Dining in Riyadh, Lighting Design International has

Temper in London

Tiny Wonders

Largest and Best Performing 1” Family of Cylinders & Downlights on the Market

Industry-Leading Output

Interior & Exterior

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Soft Geometry

Soft Square Trim

Brand Customizable

Clean Aesthetics

Design Freedom

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Editor: Ray Molony

Publisher: Randy Reid

Associate Publisher, Advertising: Cliff Smith

Director of Audience Development: Angie Hullfish

Staff Writers: Parker Allen

Published by EdisonReport

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

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The opinions expressed in this publication are those of the authors. They do not purport to reflect the opinions or views of designing lighting global or its management. The designations employed in this publication and the presentation of material therein do not imply the expression of any opinion whatsoever on the part of designing lighting global magazine concerning the legal status of any country, area or territory or of its authorities, or concerning the delimitation of its frontiers. © designing lighting global 2024.

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

BIGGER, STRONGER DESIGN PRACTICES CAN ONLY BENEFIT CLIENTS

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

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

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

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

Ray Molony EDITOR

IALD ENLIGHTEN AMERICAS 2024

17 - 19 OCTOBER

· SAN DIEGO, CA, USA

The pinnacle of the lighting design industry’s leading conference series, EA24 offers a comprehensive and enriching experience for hundreds of attending professionals from around the world.

As a most valued educational opportunity, Enlighten conferences provide industry professionals with insights into the latest trends, technologies, and best practices in architectural lighting design. Attendees enhance their knowledge and skills through workshops, seminars, and presentations. Innovation and excellence in lighting design are recognized and celebrated at the annual IALD Awards presentation. Featured talks and presentations by industry leaders and renowned designers serve as a source of inspiration, sparking creativity and innovation.

Held in the warm, sunny, and inviting Rancho Bernardo region of northern San Diego, IALD Enlighten Americas 2024 will surely be another unforgettable and enriching professional convention experience.

Make plans to spend three remarkable days with the IALD and the leading edge of the lighting design community. Let the IALD Enlighten Americas 2024 experience #SparkInspiration within you.

SÖDRA LARM

DESIGN BY US

GOTHENBURG

Södra Larm Bar & Bistro is a relaxed restaurant in Gothenburg, Sweden. The restaurant belongs to Hotel Flora and is located in the same building as the hotel. The interior features a mix of luminaires by Danish design house Design by Us. The Casablanca Chair and candleholder in different colours has been styled with the interior, along with bespoke leather seating and backrests.

One Za‘abeel DPA

LIGHTING CONSULTANTS DUBAI

dpa lighting consultants has recently worked with preferred supplier Lucent Lighting on the One Za‘abeel development in Dubai. Lucent Lighting’s ProSpex range has been widely used across the development. Huda Lighting and Monarca were also partners on the project.

VOLUME 0.1

ARTIN MANCHESTER

Volume 0.1 is a digital artwork inspired by the concept of visualising sound, and a piece which is dedicated to the city of Manchester and its vivid music scene heritage. It comprises twelve 2m high glass levitating entities positioned in the entrance void of the new Union building. The lighting design and content is by Artin Light in collaboration with specialist contractor The Light Lab.

LIGHT

Lighting Design International has added another glamorous project to its portfolio having created the lighting design for a new social dining centre in Riyadh.

Al Mamlaka Social Dining is a new multi-cuisine food experience in the Saudi Arabian capital. It is located inside the Kingdom Tower and forms part of the shopping mall housed within the striking skyscraper.

Al Mamlaka Social Dining is a new multi-cuisine food experience in the Saudi Arabian capital. It is located inside the Kingdom Tower and forms part of the shopping mall housed within the striking skyscraper.

The Al Mamlaka is the first restaurant in Riyadh where diners can experience high-quality food from all over the world, under the same roof – and it is open for nearly 24 hours each day. This new offering is a sophisticated space, and the lighting needed to mirror this.

Lighting Design International was chosen to deliver the lighting scheme for the new dining hall. Their appointment came following a recommendation, based on the team’s wealth of experience in lighting food hall projects and food retail.

The first attention-grabbing feature in the establishment is the coffee and cocktails station. This was a significant focal point for LDI – as it is the first sight guests see when they first enter the restaurant, it had to look incredible; drawing people into the space and delivering an ultimate first impression.

All of the linear lighting was 2400K, which adds a warm depth. The architectural lighting is 2700K, and the lamps inside the pendants are 2200K.

The LDI team has used linear lighting around the canopy of the coffee and cocktails counter, which offers a continuous ray of light, creating an impressive scene.

The LDI team has used linear lighting around the canopy of the coffee counter, which offers a continuous ray of light, creating an impressive and stunning scene.

LDI has introduced plinth-level lighting alongside lighting at the front of the panelling to the counter. Pendants provide an accent on the backstone, while task lights have been added at either side of the counter for baristas to safely carry out their work. Taking all of the elements together, LDI has created a multi-layered canopy.

The overall space of the dining experience is vast, and LDI was commissioned to create the lighting design for all areas. This includes the areas between the kitchen and the counters, as guests have a great deal of visibility of these areas.

Each counter has a similar approach in terms of design so there are decorative lights around the signages, concealed

In the restrooms, there are downlights in the vanity area, and a wash over the ceiling as well as halo lighting detail around the mirrors.

LDI has introduced plinth-level lighting alongside lighting at the front of the panelling to the counter. Pendants provide an accent on the backstone, while task lights have been added at either side of the counter for baristas to safely carry out their work.

linear lighting to uplight the menus.

Ceramic pendants also drop around the counters, and in between these sit mini downlights. While the pendants give a glow, LDI wanted to add a pool of light onto the countertops, so the downlights have been used to provide an additional accent.

The same approach has been reflected in the dining area, with the decorative lights made of fabric, partnered with rattan

It was important for LDI to create warmth from the pendant, coupled with the accent lighting on the tables. Illuminating the plants was also key – as a very green, leafy restaurant, these plants needed to be showcased.

pendants. Two different variations have been used. Track lights pin spot the tables, which was an important part of the lighting design.

A notable, beautiful detail is the glowing light under the banquette and counter, radiating into the floor.

All of the linear lighting was 2400K, which adds a warm depth. The architectural lighting is 2700K, and the lamps inside the pendants are 2200K. It was important for LDI to create warmth from the pendant, coupled with the accent lighting on the tables. Illuminating the plants was also key – as a very green, leafy restaurant, these plants needed to be showcased.

Lighting has also been integrated between the banquette, uplighting the green features. This makes the accents very visible to the guests. Uplights in the planters throw patterns onto the columns, while lighting up the banquette. The window reveals are also uplit.

Another important element of the design is to use light to guide guests from the door right to the very end of the restaurant. The lighting helps to direct diners to their desired location and different areas. As a demonstration of this, pools of light on the floor invite people to follow them from the

coffee and cocktails, all the way to the patisserie at the very back of the dining space.

Elsewhere in the space, the deli station has a completely different canopy and a unique interior approach, with a beautiful display. LDI has placed the lighting at the back of the pods, spices and books, to create a silhouette element at the front. The team specified the lighting in the fridges so that the colour is harmonious throughout, with a consistent quality too.

Attention has been paid to all areas, including the restrooms. There is a contrast between being slightly darker and more intimate in the cubicles, but light as you come out into the vanity area. There are downlights in the vanity, and a wash over the ceiling as well as halo lighting detail around the mirrors.

LDI has also made sure to highlight the natural and earthy materials used throughout the refit, by drawing attention to these through numerous uplights in the floor. The features include the cane panels of the doors, and rattan wrapping around the columns.

Moving to the outside, the exterior lighting is focused on being really tempting and inviting. The tendency in the

Ceramic pendants also drop around the counters, and in between these sit mini downlights. While the pendants give a glow, LDI wanted to add a pool of light onto the countertops, so the downlights have been used to provide an additional accent.

Middle East is to use whiter light 3000-3500K, but LDI wanted to keep everything warm; giving the luxury refined experience and Michelin-star look.

On the facade, LDI has highlighted the copper finish that wraps the canopy and the greenery. This was to showcase the integration of nature into this public space.

Arianna Ghezzi, Associate at Lighting Design International, said “As the project entailed reworking an existing building rather than a new build, we had to work within several constraints and limitations.

‘We have created a multi-discipline scheme that oozes

sophistication and sets Al Mamlaka apart from everyday, standard food halls. As an almost 24-hour establishment, we needed to move the lighting along as the day faded and the nighttime set in.

‘We achieved this by programming all of the lighting across the hall, with four different scenes. These are lighter during the day, with more atmospheric, moody lighting during the night. A podium and a stage can be added to the space, so the lighting needs to support a party mood for these occasions.

‘The new dining experience of Al Mamlaka is certainly something unique, and the lighting is a key part of making guests know they are somewhere special.' ■

The overall space of the dining experience is vast, and LDI was commissioned to create the lighting design for all areas. This includes the areas between the kitchen and the counters, as guests have a great deal of visibility of these areas.

PROJECT CREDITS

Interior Design: TGP International

Developer: JLL

Engineering: Bluehouse

Downlights, uplights and spike lights: Lucent

Linear lighting: Tryka

Façade lighting: Linea Light

Control System: Lutron

As an almost 24-hour

LDI

The new version of the JI Hotel features an innovative tea bar area, which replaces the function of the hotel bar, tightly integrates hospitality with the hotel's own tea culture, and adds a retail function for hotel brand merchandise.

THE LOOK OF CALM

The acclaimed Vermilion Zhou Design Group has unveiled its latest lighting design for the JI Hotel chain with a restrained and integrated approach at the showcase Shanghai property.

It’s clear that the Vermilion Zhou Design Group has substantially evolved its lighting design for the Chinese chain JI Hotels. This is version 5.0, a decade on for from its first involvement with the brand, which has welcoming a staggering 60 million guests annually to its 2,000 outlets.

The designers say that the rapidly changing modern world and the uncertainty of tomorrow has accelerated hotel guests’ feelings of tension and anxiety about life. Hotels, as service bodies of ‘hospitality' spaces, have long transcended mere accommodation. The diversification of hospitality and the sheer variety of hotels

also generate new anxieties for travellers. So putting guests at their ease has been a paramount concern of the design team and lighting had a crucial role to play.

Vermilion Zhou has tracked the changing progress of business travel over that time, transitioning from optional to essential, from low to high frequency, and from planned to spontaneous.

In the new Ji Hotel 5.0, the theme no longer ‘emphasises' business travel, but rather relaxes and leaves space, ensuring that everything is more natural and inherently suitable.

Conceived by lighting designers Vera Chu and Chia Huang Liao, it is based around carefully integrated lines of LED lighting in cool colour temperatures.

In the lift lobby, a stone sculpture on a tree log is picked out by a concealed spotlight.

The hotel lobby blurs the boundaries of space functions. One of the symbols of the hotel brand, the welcoming pine still stands, exuding a misty and artistic charm.

The new version however features an innovative tea bar area, which replaces the function of the hotel bar, tightly integrates hospitality with the hotel's own tea culture, and adds a retail function for hotel brand merchandise.

This has become a new signature of the new Ji Hotel version. The tea bar area, where the fragrance of tea overflows, offers novelty and sincerity to refresh travellers from fatigue and restlessness.

The breakfast area, visually akin to Ji Hotel's signature white rice porridge, gently soothes every traveller with its homely fragrance.

The lighting design concept is one of restraint and integration. Conceived by lighting designers Vera Chu and Chia Huang Liao, it is based around carefully integrated lines of LED lighting in cool colour temperatures. Coffers and rafts provide visual interest and

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

texture to the ceilings as well as welcome locations to integrate the beautifully detailed light. Similarly, it’s integrated into shelving and into backlighting. This allowed the design team to create diffuse ambient lighting from various heights and angles, adding layers to the spatial atmosphere.

The only visible luminaires are linear wall lights mounted on columns in the restaurant spaces.

In the lift lobby, a stone sculpture on a tree log is picked out by a concealed spotlight.

The intelligent dimming system modulates lighting scenes, saving energy and reducing carbon.

The entire hotel's decoration considers factors such as replication, construction efficiency, environmental protection, and practice of genuine modular assembly, meticulously combining aesthetics and technology. From the on-site construction phase, the company is keen to reduce both environmental pollution and energy consumption and the Vermilion Zhou Design Group was tasked with meeting this challenge.

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 JI Hotel, 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. ■

PROJECT CREDITS

Lighting Design: Vera Chu, Chia Huang Liao

Creative Director: Kuang Ming (Ray) Chou

Concept Design: Ting Ho

Interior Design: Garvin Hung, Jing Zhao, Xiaobo Yi, Lida Lin, Xinze Li, Xuyan Jiang, Bin Lv, Weilong Tu, Yuxuan Li, Changsong Li, Mingrui Gao,  Bo Liu, Lanyun Qiao

FF&E Design: Ruiping He, Qikai Zhang

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

The only visible luminaires are linear wall lights mounted on columns in the restaurant spaces.

LIGHT AND DARK

Lighting design consultancy Pritchard

Themis has balanced light and shade to powerful effect at the latest outlet of London restaurant chain Temper.

The latest addition to the Temper family of London restaurants is located in Shoreditch and it joins its counterpart locations in Soho, Covent Garden and the City to expand Chef David Lagonell’s offering.

As seen on Celebrity MasterChef UK, the establishment is known for its open-fire cooking, steaks, tacos, bottomless brunch, Sunday roasts and tequila cocktails.

Nestled in between Old Street and Shoreditch High Street stations, the space is divided into two levels. The ground floor features a cocktail bar with happy hours and DJ sets, the ideal venue for an exclusive party or after-work drinks. The basement is home to the restaurant, with the focal centre point being the theatrical open fire pit.

Here guests can secure a counter seat, watching the chefs at work preparing and smoking food over the fire. Diners can be truly immersed in the flavourful experience and aromas, whether they are visiting the restaurant for the smokehouse, barbecue bottomless brunch or luxury Sunday roast.

No additional ambient lighting was used in the project; lighting was designed to specifically illuminate task areas, which include tables only and select wall textures to define the space.

Lighting is a key part of bringing the rich, sleek interiors to life. Lucent Lighting worked with lighting design consultancy Pritchard Themis to provide elegant lighting solutions which were utilised throughout the restaurant and bar areas. The key aim of the lighting design was to illuminate the rustic and moody interiors which feature burnt timber and dark tiles.

Lighting was tasked with bringing to life the dark and heavily textured materials palette whilst remaining subtle and understated providing a backdrop of big features such as the show kitchen and most importantly the food.

Guests can sink themselves into the plush leather seating of the neon-lit booths or take a seat at the brightly lit counter. The deep interiors are subtly spotlit using Lucent’s trackmounted TubeLED Mini LED51 ultra spotlights. The all white 2700K with high 98CRI ultra-LEDs and various beam angles of 12°, 24° and 38° allow for a flexible spotlight which can be set to highlight focal features. The fixture also features an integral driver with a range of dimming options to set the appropriate ambience for intimate dining.

Tables are lit with a combination of custom pendants with 38-degree optics and 12-degree spotlights and the lighting control is Casambi throughout. The use of EldoLED and Casambi was tested to ensure that there was no flicker and that the restaurant videos taken were clean, this was especially important for social media.

The eye is drawn to the decorative lighting above each table with Lucent’s Custom Cone pendant lighting with

integral TubeLED Surface Mini downlights. These pendants were strategically placed in the ceilings to cast a soft ambience downwards, creating an elegant atmosphere for diners to relax and enjoy. The finish used on the pendants was raptor spray that gives a cast iron in appearance finish. Allowing them to be very light, allowing their positioning over tables to create a feeling of intimacy.

In the centre of the restaurant, the focal fire pit is brightly illuminated, providing cool functional lighting for the chefs to work from and showcase a dazzling display of their dynamic skills. The cocktail bar features under-bar lighting to entice people to take a seat, while the dazzling backlight cleverly highlights the rich colour of the liquors and spirits on display atop the shelves.

The real key to the show kitchen is that it uses the same 2700K high CRI as the preparation areas and on the tables ensuring that the presentation of the food is the same from its journey from prep to plate.

The ambience is enhanced with a variety of Lucent luminaires – surface-mounted TubeLED Surface mini tubular downlights, recessed Duo Accent trimmed downlights and recessed Soft70 Accent trimmed downlights. These downlights are enclosed in a minimal trim, matching the sleek aesthetic of the setting by blending seamlessly into the ceiling so that the lighting appears to glow from within.

No additional ambient lighting was used in this project, lighting was designed to specifically task areas, which include tables only and select wall textures to define the space. The only downlights used were in the vicinity of the water closets.

All elements of the lighting were carefully considered to complement the minimal aesthetics and modern functionality of the space while elevating the guest experience by providing a welcoming ambience and cosy dining. ■

PROJECT CREDITS

Client: Temper

Lighting Design: Pritchard Themis

Lighting Equipment: Lucent Lighting

The real key to the show kitchen is that it uses the same 2700K high CRI as the preparation areas and on the tables ensuring that the presentation of the food is the same from its journey from prep to plate.

Lighting is a key part of bringing the rich, sleek interiors to life. Lucent Lighting worked with lighting design consultancy Pritchard Themis to provide elegant lighting solutions which were utilised throughout the restaurant and bar areas.

The eye is drawn to the decorative lighting above each table with Lucent’s Custom Cone pendant lighting with integral TubeLED Surface Mini downlights.

A bold lighting scheme inspired by the sea has been created by Wael Farran studio for a stylish apartment in Beiruit.

The Casa K residential project was implemented with Wael Farran Studio's trademark passion for design, attention to detail, and its signature touch of love.

Inspired by the movement of the sea, variations of stylised curvy lines guide you through the apartment’s personalised spaces in monochromatic tones, building up the warm, safe, and comfortable feeling of a happy home.

Situated along the ‘Beiruty’ coast, the property boasts a private lift area, an entrance lobby that leads to an open space saloon with a living area, a dining space, four bedrooms suites, including a master bedroom with a dressing area, a study and work room, a guest bathroom, two kitchens, and a help chamber.

Another view of the lift lobby showing the integrated brass lighting and curved ceiling concealing cool white LED lighting.

Integrated lines of cool white LED light emphasise the lowered ceiling raft. Between the lifts, the integrated light shines from the extremities of protruding brass stripes.

While the apartment remained within its original plan, the bigger scope of the work included a major interior design uplift with plaster and woodwork, almost all custom-made furniture, as well as an electric update with new lighting and sound systems.

Public areas are the spaces where visitors are given a glimpse of intimacy. These are spaces where the client insisted that everybody, whether visiting or living on-site, should feel at home.

For Casa K, it was all about the soothing feel of a gentle wave that refreshes with a splash.

The magic vibes of the apartment begin to be absorbed as soon as the lift doors open and people step into the hallway, where they are greeted with customised parametric wall paneling for the whole area, made out of individually cut pieces of plywood that space apart to display an organic sweeping wave, blending seamlessly with the entrance door that boasts a custom-made Arabic calligraphy handle. To the left, the wall paneling pops out into an organic bench for a more inviting mood.

To the right, Arabic-blessed sayings, moulded in copper, fit between the wooden stripes. The wooden stripes, rising from the floor, stop their elevation under the writing and pop out in a curve to create a beautiful leveled movement, enhanced with lighting. The three lifts doors are treated with gold leaf paper and patina. Between the lifts, the integrated light shines from the extremities of protruding brass stripes. The floor, made of graphite brown and ‘pantelique’ white marble, features square kufi style work by Ghaleb Hawila. The bright white ceiling extends in a straight movement from the elevator and curves at the other end in harmony with the general mood.

The indoor hallway area is a gateway to the rest of the apartment, where doors leading to the various sections of the house blend together, creating a vertical shutter effect with unified lines, joints, veneer, and ceramics for the whole area.

The hidden wall panels feature grooves in stylised shape that extend all the way down to their

ceramic bottoms. The floor, paved with the same ceramics as the doors, boast inlaid bronze shapes with a similarly treated frame, while a lighted opening leads to the open living space.

To the left, the dining area features not one, but two pieces de resistance, all custom made.

The dining table can serve up to sixteen people, with a second tailor-made curved dining unit. This one of a kind wall installation brings form and function to the space, adding beauty and style while serving as a storage unit.

Each of its shutters was molded individually and includes aluminum laser cut handles with geometrical patterns. Again, the embedded LED lighting in cool colour temperatures allows the unit to shine. In this section, the walls are riddled with uneven wavy stripes that reach all the way up to the ceiling, the opposite wall, and end by the floor.

Facing the entrance lobby is a ritual nook boasting the Koranic Kursi verse in Arabic calligraphy, designed and executed by Ghaleb Hawila. Custom made brass stands with marble extend from the wall to bolster the shrine ambiance.

The space includes a threeseater sofa, two single chairs, two sofas vis à vis, and modern Persian carpets. At the far end is an enclosed glass balcony that serves as a bright and sunny living zone. This area is illuminated by Mom, a beautiful lighting piece from Penta Lighting.

The ceiling is a piece of art on its own, as the wave movement continues to soar. While it is intense on the dining area, it gradually loses its intensity with movement towards the rest of the space.

In the daughter’s bedroom, the modern shelving unit was custom-made by the studio and includes a dressing unit in the middle with a big mirror. Model Bahia Mini lighting on the wall from Foscarini brightens up the entrance, luring into an intimate journey.

In the second daughter’s bedroom, the illumination is provided by Model Lake from Foscarini on the walls, and Juncos from Flos fixed on the ceiling.

In the son’s room, Pinup light units from Studio Italia bring the whole mood together.

The study or work area was designed in all white, with a touch of bronze to stimulate calm and clarity, and white back painted glass walls. Here, a unique lighting unit made of customised stylised and suspended leaves from Formitable adds a sculptural element to the whole space.

The master bedroom features bespoke lighting by Masiero Lighting.

The kitchen area, part of the original plans, was upgraded by Wael Farran Studio’s creative team with Skygarden chandeliers from Flos, a spot for green plants, as well as Soul, a unique wallpaper from Wall&Deco on the ceiling that makes the space all the more special.

'A family is composed of people who are similar yet different, and that is what we try to convey in our projects,’ concludes Wael Farran, lead designer and founder of Wael Farran Studio. ‘While a single thread leads the whole project, we take detours in creativity to let every personality in the family feel at home in their own personal space.’ ■

In one of the

PROJECT CREDITS

Design: Wael Farran Studio

Lighting suppliers: Flos, Fascarini,  Masiero, Studio Italia, Penta

Photography: Wael Khoury

daughter’s rooms, Model Bahia Mini luminaires from Foscarini line the wall while Juncos spotlights from Flos are ceiling mounted.

Introducing Light Justice NOW Awards

A T T E N T I O N

designing lighting global (dlg) seeks projects from all categories including office, hospitality, retail, religious, industrial, residential and others. Use this user-generated content site to submit your project(s) for consideration

Please submit your project with 5-10 images along with the following details:

Project name/location (city/country)

Project/building/structure name

Lighting design firm of record (or, architecture firm/landscape architecture firm/engineering firm) + team members

names associated with project

Square footage of project

Lighting cost of project, if available

End user name/owner of project

Please include phone number/email address of party submitting project.

Send to: publisher@designinglightingglobal com

designing lighting global (dlg) will acknowledge receipt of your project and request additional information if needed.

Stylish touchscreen interfaces

Stylish touchscreen interfaces

Expert is an award-winning architectural lighting control system from Pharos. Expert Touch provides professional, attractive touchscreen interfaces for end-user selection of scenes, colour and intensity overrides.

Expert is an award-winning architectural lighting control system from Pharos. Expert Touch provides professional, attractive touchscreen interfaces for end-user selection of scenes, colour and intensity overrides.

• Auto-generated user interfaces

• Auto-generated user interfaces

• Available on mobile devices using the free Expert Touch app

• Available on mobile devices using the free Expert Touch app

• Also available via elegant Expert Touch wall stations

• Also available via elegant Expert Touch wall stations

Expert makes light of it.

Expert software is free to download. pharoscontrols.com/expert

Expert software is free to download. pharoscontrols.com/expert

Expert makes light of it.

LIGHT ON

Freiesleben has explored how exoplanets set the scene for discovering unusual lighting effects and consequent challenges to the human circadian rhythm.

That was the question that lighting designer Anna Freiesleben challenged herself to explore. She tells Designing Lighting Global what she learned.

With human centric lighting and our knowledge of nonvisual responses to light, we have learned about a lot of lighting for people on this planet. But how do we light for people on other planets? That was the provocative and thought provoking issue explored by lighting designer Anna Freiesleben of Michael Grubb Studio.

Freiesleben’s research – dubbed Light Beyond Earth: Illuminating Life on Exoplanets – explores how exoplanets, planets which orbit stars outside the solar system, set the scene for discovering unusual lighting effects and consequent challenges to the human circadian rhythm.

This study proposes the creation of a futuristic ‘Exoplanet Lighting Design Guide’, initially focusing on the closest exoplanet to Earth: Proxima Centauri b.

Freiesleben explains: ‘In the summer of 2022, the first images from the James Webb telescope were released, which showed aspects of space in super high definition, featuring glistening stars and an array of ethereal colours.

‘This photographic publication was the catalyst for me to research light in space and I started looking deeper into astronomy imagery.

‘As lighting effects depend on the relationship between planets and their stars, this led me to look at the appearance of light on various exoplanets. In early 2023, I decided to submit a proposal for the Young Lighter competition and refined the study to focus upon the closest exoplanet to Earth: Proxima Centauri b.’

Freiesleben also reveals how she began researching such a new and unexplored topic. When asked about her starting point, she explains: ‘I read articles, watched documentaries, listened to podcasts, and delved through the Nasa website, which is full of helpful information and provides the latest research.

‘I found information specific to Proxima Centauri b, and filtered out the aspects related to light. I considered how humans would live on the exoplanet and the unique challenges and opportunities of both natural and artificial lighting.

‘Throughout each competition stage, I considered how the information could be presented through a strong visual image, drawing diagrams, maps and concept imagery to communicate the information in a clear and appealing way.'

There were several points of interest discovered while researching this topic. Freiesleben explains: ‘I found it surprising how similar the characteristics of Proxima Centauri b are to Earth. Where the two planets differ, the extreme conditions are fascinating.

‘The exoplanet’s special feature of perpetual sunset was the key characteristic which acted as a visual backdrop throughout my narrative. As no one has yet travelled to Proxima Centauri b, there are many aspects of life there which are still unknown.

‘Setting my presentation in the future (2100) enabled me to create a pretext using the most likely scenarios, giving a basis to the guide and parameters for the light studies.’

To structure her topic, Anna informs us of the key points she wanted to convey: ‘Due to the visual appeal of space, I knew I wanted my research to convey an illustrated story. I used the three chapters of 1. Climate Catastrophe; 2. Light Beyond Earth; and 3. Illuminating Life on Exoplanets to narrate the journey from Earth to Proxima Centauri b.

'This structure linked back to current Earth climate research to provide justification for the guide, conveying the distinctive exoplanetary lighting conditions and providing bespoke lighting guidance.

'Whilst designing for life on Proxima Centauri b, I considered the three ecologies of mental, social and environmental. Through my presentation, I wanted to evoke interest in space and the concept of light beyond Earth. I hoped to encourage new ways of thinking about light and how to design for unusual contexts, pushing the boundaries of standard lighting design to prepare us for the future.”

Discussing what we can expect from the future of this topic, she said: ‘As a future Exoplanet Lighting Design Guide would require input from designers across the world, I would like to discuss the topic amongst international audiences.

‘It would be great to collaborate with astrophysicists and bridge the gap between science and the arts, as a future in space will affect us all.

‘As we learn more about exoplanets, the Exoplanet Lighting Design Guide can constantly expand to contain the latest scientific research. There are thought to be 59 potentially habitable exoplanets amongst an estimated total of 11 billion, so the opportunities for discovering and responding to unusual lighting effects are endless.’

Freiesleben’s presentation ultimately looks to answer the question: What are the future lighting conditions humans may face, and how do we design for these unfamiliar contexts? Her illuminating research is relevant for the future of lighting and design and raises thought-provoking questions about light and space.

She recently shared her research and insights at the 29th Society of Light and Lighting Young Lighter competition. ■

Considering lighting on expplanets gives us the opportunity to discover unusual lighting effects and consequent challenges to the human circadian rhythm. (Pic courtesy the International Astronomical Union)

FRANKFURT: THE TOP 10

Ray Molony, editor of Designing Lighting Global magazine and the Circular Lighting Report, chooses his top 10 innovations from this month’s Light + Building 2024 in Frankfurt.

The Light + Building exhibition was substantially back to its prepandemic levels of buzz this year and you could see the surprise in the grinning faces of visitors. ‘It’s like the old days!’ was the refrain of more than one regular. It was a shame therefore that the last two days were mired by the travel disruption of concurrent rail and airline strikes, chaos that evoked memories of the ash cloud which wreaked havoc on the event in 2010.

So could we discern some Big Trends? Miniaturisation, of course; better light quality in terms of colour rendering, efficiency and glare; and some green shoots of sustainability. The latter was less about products and more about the stands. Many big brands had reused their stands or were pledging to do so for future events.

What also struck me is the resilience of track and spot. First patented (by Anthony Donato of Lightolier) in 1961, it is the lighting platform that refuses to die, maybe because it’s so damn useful.

It works mechanically, electrically and visually, while still allowing manufacturers the design freedom to develop their own distinct range. The Arkoslight stand, for instance, was packed with lighting people taking photographs of its track and spot. Donato would be proud.

Here, for what it’s worth, are my top 10 picks of the show. See you in 2026!

FILORAIL

iGuzzini

With an aperture of just 3.6 mm, Filorail must be the slimmest track on the market. The recessed version effectively disappears into the ceiling, leaving a thread-like line as its only visible presence. Whilst it’s clearly not for every application – often a track provides a tidy ‘home’ for luminaires – the Filorail is an impressive technological achievement by iGuzzini.

CAREX

Rogier Pradier

French outdoor lighting brand Rogier Pradier is about 4 kilometres from the Pyrex glass factory in Chateauroux so it’s logical – and sustainable – that they should collaborate. Rogier Pradier was keen that it use standard Pyrex products – including a bowl and food dish – to create its latest range of luminaires. Even the metal is an off-cut from another product.

SALVADOR 64

Casambi

A logical move from the pioneers of Bluetooth control in lighting. The Salvador 64 brings wired DALI drivers into the Casambi system, with a unit capable of controlling up to 64 DALI drivers. The DALI luminaires, appear in the Casambi network as virtual luminaires, and can grouped and programmed in the app as you would normally with other wirelessly controlled luminaires.

SKYJACK

Neko Lighting

For me, the most sophisticated luminaires are those that handle glare well. After all, glare is essentially wasted light – and it’s a real negative mark for me in any interior. And while there are many low glare wall washers out there, this addition to the Skyjack range from Swiss firm Neko Lighting oozed precision and class.

E-LINE PRO

Trilux

Trilux has rethought every aspect its E-Line linear and trunking system range. It’s now remarkably elegant. The gear trays can be placed anywhere and make solid electrical contact. The feed-in is flexible without any visible interference points or collisions. The numbers are great: Ra >90 colour rendering and luminaire efficiencies of up to an astonishing 207lm/W.

PUNTO

Timberlab

Timberlab’s exterior light poles and posts are bang on trend this year, and the company was rewarded with a stand packed with specifiers. The Dutch firm uses larch, chestnut, cumaru, Accoya and oak wood to create beautiful products and speak of now. Ranges include bollards, uprights, wall lamps and charging posts for electric vehicles.

ELEMENT

Normalit

Prediction: One day soon, all downlights will made of a modular design. Until then, it’s products like Element that show the way. You spec it by choosing the Core, the common and interchangeable light engine. Needless to say, this component can be changed, upgraded and repaired. You then add other elements to achieve your desired design, functions and application.

BLACK FOSTER

Arkoslight

The Arkoslight stand in Hall 5 was packed with admirers of its exemplary low-glare track systems, including the Black Foster. Available in 24V and 48V, the minimal track has what the Spanish firm dubs the ‘invisible black’ effect. Put simply, the exceptional light control ensures you can’t see the luminaire unless you’re directly in its beam.

IQ LUX XAL

More a brand than a range, IQ LUX made its debut at Frankfurt. It’s essentially the sustainability division of XAL, the brainchild of founder Andreas Hierzer. It is promising to 3D print luminaires using recycled and bio materials such as PLA and regenerated PET. The stand featured a selection of unique 3D printed pendants.

D-WAVE

Linea Light

D-Wave is one of those products that sparks your imagination with its possibilities. Linea Light says its the first flexible two-axis lighting system on the market and who are we to argue. It’s made from a fully recyclable composite material whose full-length internal pass-through compartments make it possible to insert, for example, wiring and keep it protected.

CLOSING THE LOOP

This October, London is set host what’s being billed as the lighting industry’s biggest sustainability event. Ray Molony reports on movement that’s going from strength to strength.

‘The future has arrived but it’s not evenly distributed’, declared William Gibson. The cyberpunk author could easily have been talking about the lighting industry and sustainability.

It’s fair to say that luminaire makers are on a spectrum, not dissimilar to the early days of LED adoption back in the 1990s.

Many have well-established environmental plans in place and will cheerfully deluge you with data about the provenance of their luminaires. Others are just embarking on their journey towards net zero.

But what’s clear is that the mass movement has begun and it’s gaining momentum. Phrases like ‘remanufacturing’, ‘circularity’ or ‘embedded carbon’ are becoming common

currency, and lighting designers are having serious conversations with clients about reusing luminaires.

What’s also remarkable is the number of companies who say that they gained enormously from beginning their sustainability journey.

Far from being a burden, gathering and analysing data on their processes such as their energy use and their supply chain has helped them identify waste and potential cost savings.

In some cases, the savings are dramatic. Furthermore, no brand is expressing regret at implementing environmental policies or signing up to an environmental accreditation such as B Corp.

An instant success on its debut in 2022, Circular Lighting Live has become the defining gathering of the supply chain to assess its progress towards net zero.

For many, it brought new levels of structure, professionalism and management insight.

What’s also becoming clear is that going green isn’t a tick-box exercise, but more about a culture change. And when you change that culture, good things flow from that. For instance, staff, especially younger members of the team, become energised and engaged in a way few management initiatives can achieve.

If you want to see how far the lighting industry has come in the last few years, visit Circular Lighting Live, the one-day conference and exhibition in London organised by UK’s leading environmental compliance authority Recolight.

An instant success on its debut in 2022, the event has become the defining gathering of the supply chain to assess its progress towards net zero.

It brings together over 300 of the lighting industry’s top executives to consider how our sector can become part of the circular economy.

On the agenda in 2024 is the legislative and regulatory landscape, the role AI can play in assisting firms with data, the opportunities and challenges of the emerging lighting remanufacturing ‘ecosystem’, 3D printing, circular design and sustainable materials including bioplastics.

Speakers include Signify chief design officer, Ton Borsboom, who will explore if AI and digitalisation represents the next revolution in sustainable design, and architect Rachel Hoolahan, who will explain how each luminaire is set to get its own materials ‘passport’.

In the Designer’s Track, lighting designer Paul Beale, founder of 18 Degrees, will share how a decision to salvage hundreds of office lights ignited a journey to forge connections throughout the industry.

For 2024, the organisers have a more expansive exhibition floor and included a dedicated track for lighting designers.

Free to specifiers, Circular Lighting Live 2024 will feature leading experts, specifiers and policy makers who will share their insights into forthcoming standards and legislation, emerging technologies and new business models.

Aimed at the full supply chain, including manufacturers, suppliers and specifiers, it takes place on Wednesday 9 October 2024 at the Royal College of Physicians in London.

Exhibitors include ASD Lighting, BELL Lighting, Glamox, Llumarlite, Regen Initiative, Signify and Holophane.

Learn more at www.circularlighting.live

Speakers include Signify chief design officer, Ton Borsboom, who will explore if AI and digitalisation represents the next revolution in sustainable design

Circular Lighting Live attracts the full supply chain, including manufacturers, suppliers and specifiers

Independent lighting practice DesignPlusLight has just completed its latest commercial project at One Paddington Square in London.

One Paddington Square, an iconic ‘glass cube’ designed by Italian architect Renzo Piano, has arisen above Paddington’s rail network and forms part of the new Crossrail entrance.

Comprising 17 floors of mixed-use commercial and retail space, DesignPlusLight worked with leading architects TP Bennett to design the upper nine floors of the building.

The brief was to create food and beverage and break out leisure spaces on each floor that seamlessly blended with dealer floors, open plan offices and glass partitioned meeting rooms – all with a panoramic view of London’s cityscape.

TP Bennett designed a bespoke staircase that spanned the internal spaces for their client which culminated at the 16th floor hospitality level which included reception, conference meeting rooms, concierge, entertainment bar and a 150 seated auditorium with state-of-the-art video conferencing facility. All with an exceptional 360-degree view over the London city basin.

The steel and glass construction of the building provided significant challenges to the lighting design. During the day the building is flooded with natural light. Automatic BMS systems control the impact of daylight into each floor. Daylight and PIR sensors integrated into the lighting controls enable the management of the artificial lighting during the day to ensure minimal use of energy.

‘The challenge with extensive glazing is whilst it affords a spectacular vista during the day, as night falls the glass can become a reflecting mirror of the interior’, says principal and founder Sanjit Bahra. ‘To overcome this, we

‘The challenge with extensive glazing is whilst it affords a spectacular vista during the day, as night falls the glass can become a reflecting mirror of the interior’

Comprising 17 floors of mixed-use commercial and retail space, One Paddington Square is an iconic ‘glass cube’ designed by Italian architect Renzo Piano.

The brief was to create food and beverage and break out leisure spaces on each floor that seamlessly blended with dealer floors, open plan offices and glass partitioned meeting rooms – all with a panoramic view of London’s cityscape.

DesignPlusLight designed a bespoke metallic chandelier to span the bar and hospitality area. Made by Stoane Lighting, it comprised suspended rods with lit elements

Curved lines of light help break up the rectilinear space and guides one’s eye across the workspace to the more relaxed break out seating and eateries.

‘We took inspiration from the views afforded from this height’

layered lighting effects to highlight the internal form and structure of each space so that the internal view became the interesting night time scene’.

The 16th floor located the entertainment and VC suites –comprising reception and concierge, a 150 seated video conferencing auditorium with the latest camera technology and a champagne bar area.

Tuneable white LED sources were designed on this floor to ensure the lighting married with the changing colour temperature of the outside space and daylight.

Specific colour temperatures were selected for the auditorium to ensure the best presentation across all visual material, often to international clients.

The ceiling height was restricted to 2.6m in the auditorium. A layered ceiling helped to create the impression of height which followed the raked seating arrangement. Linear

lighting was seamlessly detailed into the panelled ceiling to further enhance the dimensions of the space and also provide forward facial light to the stage.

DesignPlusLight designed a bespoke metallic chandelier to span the bar and hospitality area. The aesthetic was driven by the material of the building and the corporate identity of the client. It had to feel robust, create a strong impression and also work with the ceiling height and span of the space.

‘We took inspiration from the views afforded from this height and collaborated with Stoane Lighting to produce suspended rods with lit elements,’ says Bahra. The undulating arrangement gave the impression of floating clouds and the gentle movement of light evoked a murmuration of birds. This also helps lead guests into the space whilst still admiring the magnificent views across London.

The 50 x 50 metre square footprint lends itself to a very regimented office floor plan arrangement. Curved lines of

light help break up the rectilinear space and guides one’s eye across the workspace to the more relaxed break out seating and eateries. Suspended acoustic lined panels add a further layer of softness and texture and provide a visual anchor to the more informal areas.

TP Bennett designed an internal staircase that allowed personnel to move between all nine floors without having to use the central core lifts. This became a feature in its own right, comprising of two sections made of steel, travertine and glass. DesignPlusLight continued the indirect lighting approach to enhance the curved balustrade and soffit details – giving the staircase a sculptural quality.

Lighting mock ups and site trials were required to ensure that the lighting were beautifully detailed

The interior design finishes and indirect lighting of the inner core areas further enhanced the feeling of quiet contemplation – in contrast to an active office space outside.

within the fabric of the staircase so that the light sources could not be seen. The lighting and material all blended seamlessly into one beautiful construction.

The central core was used to house more private meeting rooms, yoga studio, library and places for respite. The interior design finishes and indirect lighting further enhanced the feeling of quiet contemplation – in contrast to an active office space outside.

Designed to achieve LEED Platinum certification and BREEAM Outstanding rating – DesignPlusLight have set the tone for the future of sustainable and elegant lighting within the commercial and hospitality sectors. ■

DesignPlusLight layered lighting effects to highlight the internal form and structure of each space so that the internal view became the interesting night time scene.

Drama was added to stairs with concealed lines of LED light.

Making the office DESIRABLE

Responsive design and staff wellbeing were top of the agenda in the future-proof revamp of Zaha Hadid Architects office in London.

Zaha Hadid Architects is known for radical designs like the MAXXI art museum in Rome and the London Aquatics Centre.

The building has very low ceilings and a stair and lift core located close to the end wall, so natural light is unable to reach much of the interior.

Casambi Bluetooth wireless control allows lights to be easily switched or dimmed, either individually or in groups, which comes in useful when ZHA wants to change up its displays.

‘When people enter, they're entering the world of Zaha Hadid Architects’

Known for radical designs like the MAXXI art museum in Rome and the London Aquatics Centre, Zaha Hadid Architects (ZHA) faced a different type of challenge in overhauling its London headquarters.

Instead of a new building, the world-leading architecture practice has renovated 101 Goswell Road, a former garment factory. A custom-designed lighting system from Erco played a crucial role in this transformation, allowing the historic building to become a flexible environment for multi-faceted and collaborative forms of work.

ZHA has occupied the seven-storey former factory since 2012, but the team was previously divided between this property and a converted schoolhouse on nearby Bowling Green Lane.

A shift in thinking came as a result of the Covid-19 pandemic, when employees were primarily working from home. The ZHA directors saw an opportunity to consolidate to a single location and rethink how the office should function.

Rather than trying to pack in as many desks as possible, the idea was to support different types of work style, offering staff greater choice and flexibility in how they work, and increasing possibilities for meaningful interaction.

‘We needed to give them a reason to make the journey into the office,’ explains director Chris Lepine. ‘We came to the conclusion that space for meetings and collaboration was key.’

With larger floorplates and a more visible street presence than the old schoolhouse, the Goswell Road building was considered the most future-proof option, but it also presented challenges.

The building had very low ceilings and a stair and lift core located close to the end wall, so natural light was unable to reach much of the interior. ‘We had one very long wall with no daylight coming through,’ recalls Lepine. ‘We realised that, if we were going to do this refurbishment right, we would have to create lighting that did the space justice.’

Enhancing the feeling of spaciousness was the starting point for the human-centric lighting system developed with Erco. Opton wall-washers improve the overall perception of brightness, while Jilly downlights for track create the impression that ceilings are higher than they actually are.

Illumination is delivered discreetly to where it is needed, rather than across the entire space, with light fittings that are largely hidden from view. This improves visual comfort without creating obvious

Rather than trying to pack in as many desks as possible, the idea was to support different types of work style, offering staff greater choice and flexibility in how they work.

patches of light and shadow. ‘Sometimes I don't realise the lights are on until I’m right under them and look up,’ says Lepine.

With spotlights that can be easily repositioned in the track without tools, a key advantage of the Jilly system is its flexibility. This was a key goal in the reconfiguration of 101 Goswell Road, which was developed with ZHA’s Analytics + Insights unit (ZHAI), a research group that uses digital data and artificial intelligence to intelligently predict the future of workspace design. ‘In the past, there was a one-sizefits-all approach in office design, but that has completely gone out of the window,’ says Ulrich Blum, co-lead of ZHAI. ‘Workspaces need to be adaptable to, even on short notice, cater for differences in how teams work together.’ This led to a design that provides fewer desks but offers a wider variety of spaces where people can come together. One example of this is the fourth floor, which has been converted into a social space that can facilitate casual meetings and chance encounters.

Circulation spaces are located towards the centre of the floor plan, anchored by a multi-faceted cork wall that extends through the full height of the building.

Track mounted Opton and recessed Starpoint luminaires in

3000K give a warmer colour temperature here, emphasising this as the building’s ‘heart’, in contrast with the cooler tones of lighting within the workspaces.

Opton spotlights meanwhile offer dramatic, directional illumination to architectural models and drawings that are dotted throughout the building, as a testament to the impressive scope of architectural projects that ZHA produces.

Casambi Bluetooth wireless control allows lights to be easily switched or dimmed, either individually or in groups, which comes in useful when ZHA wants to change up its displays.

But it also makes it easy to create spatial variety, so staff can find a place to work that suits them best. ‘When people work from home, they are able to personalise everything,’ says Blum. ‘This autonomy is something they really cherish, so we needed to give them the ability to influence their environment.’ The system is also responsive to fluctuations in occupancy, turning off lights automatically in spaces that are not in use, which improves energy efficiency.

The ground and basement floors combine exhibition galleries with facilities for design research and digital fabrication, allowing ZHA to create varied showcases of

‘Sometimes I don't realise the lights are on until I’m right under them and look up’

architecture innovation. These floors also facilitate other public-facing activities, from intimate dinners and drinks events, to workshops and panel talks.

Erco’s Parscan 48V spotlights allow ZHA to highlight different zones, depending on the use. ‘We can orient the room in different ways,’ says Melodie Leung, associate director at ZHA. ‘Sometimes we want it to be very broad and unified as a space, other times we want it to be more dramatic.’

Leung believes these shopfront-style spaces play a crucial role in helping people understand the process behind ZHA’s architecture.

One recent exhibition incorporated dynamic lighting effects that gave a sense of animation to the objects and materials on display. ‘It’s really important for us to create an environment,’ adds Leung, ‘so when people enter, they're entering the world of Zaha Hadid Architects.’

Since moving back into 101 Goswell Road in late 2021, ZHA has been

PROJECT CREDITS

trialling different ways of combining remote working with in-office collaboration.

The response so far has been positive, with staff noticeably mingling and interacting even more, despite being in the office less. The result is a dynamic environment that feels befitting of an architectural practice with its focus firmly on the future. ■

Architecture: Zaha Hadid Architects | Photography: Gavriil Papadiotis Luminaires: Jilly, Opton, Skim, Starpoint, Parscan 48V, Lucy, all by Erco

ZHA has a design that provides fewer desks but offers a wider variety of spaces where people can come together.

The ground and basement floors combine exhibition galleries with facilities for design research and digital fabrication, allowing ZHA to create varied showcases of architecture innovation.

INNOVATIONS

New architectural lighting products available for specification

IGUZZINI NEWFO

LODES

Cono di Luce

The result of a collaboration between Lodes and designer Ron Arad, Cono di Luce – or ‘cone of light’ – is now available as a suspension light. Arad’s initial sketch was brought to life with the cutting-edge implementation of PCB (printed circuit board) technology, harnessed to create an aesthetically pleasing pattern that forms the lamp’s graphic motif. Arad says ‘Sometimes you start with an idea and in the process of making it, you lose something,’ says Arad. ‘In this case, I don’t think we lost anything. If anything, we gained something.’

ERCO AXIS

Erco’s Axis is a major a new system for illuminating showcases. It includes miniaturised stem luminaires, surface-mounted luminaires and semi-recessed luminaires all with the requirements of museum and gallery curators of zero UV, top quality colour rendering (up to CRI>97) and ultra low damage factor of 0.140 - 0.187mW/lm. Axis functions with spherical pan-and-tilt LED light heads with a diameter of just 25 mm. The mechanical and electrical connection of the light heads is established using magnetic holders. There are three interchangeable lens optics – spot (17°), flood (32°) and wide flood (45°).

Unveiled at the Light + Building show in Frankfurt earlier this year, iGuzzini’s Newfo is inspired by the company’s iconic Ufo floodlight from 1977. The addition of 'squircle' design involved a review of the product's lines, curves and angles to fit into a more contemporary shape, while retaining certain features of the original design. Newfo is mounted on Filorail, either directly or suspended by a double cable. It features patented Optibeam optics, lenses and refractors and an interchangeable 'Push&Go' connection.

DESIGN BY US

ENDLESS

Danish firm Design by Us uses the infinity mirror effect to give depth and visual interest to the Endless wall lamp. When not illuminated, it looks like a standard wall-mounted bulkhead, but switched on it reveals its depth and warmth. Made of coated glass, its light source is a GX53 lamp. Copenhagen-based Design by Us was established in 1999 by Rasmus Larsson as a playground for imaginative and untraditional approaches to how lighting and interior designs should be created. ‘We are all about challenging the perception of design,’ says Larsson. ‘Turn the obvious upside down and twist it.’

APL

LTwo

Is it a lamp or a luminaire? From the founders of LED Linear comes LTwo, a unique concept where a luminaire is as replaceable as a lamp. The ‘luminaire’ element – with similar dimensions to a T5 tube – is connected to the base by a patented magnetic holder. There are loads of options, including no fewer than 13 precision optics from beam angles of 10 to 90 degrees, 16 output levels and three diffuser covers. So if you want to deliver wallwashing, spot lighting and ambient lighting all in one form factor, this is your man.

LODES

Random Cloud

Random Cloud, by Chia-Ying Lee for Lodes, is an alluring play on the archetype of a chandelier. An evolution of Lodes’ Random Solo pendant, this iteration connects multiple glass pendants to a central canopy to form cloud-like clusters. The clusters consist of either seven, 14, 19, or 23 lights—various cut cable lengths allow for the resulting ‘cloud’ effect. Each glass sphere—which measures 23 or 28 centimetres in diameter—features a 3W LED module hidden in silicon housing at the top that distributes light evenly and comes in seven colourways.

ROGIER PRADIER

Carex

The French outdoor lighting brand Rogier Pradier has unveiled a range of wall luminaires made from standard Pyrex bowls and food dishes. The company – which is located just 4 kilometres from the Pyrex glass factory in Chateauroux – said that it has long held an ambition to work with its household-name neighbour. It was keen that it use standard Pyrex products – including a bowl and food dish – to create its latest range of luminaires. Even the metal is an off-cut from another product. The range is the brainchild of Roger Pradier’s chief designer Stéphane Joyeux.

EULUM DESIGN

Trailing edge dimmer

From British manufacturer Eulum Design comes TREDE-CSB-2A, a simple but really useful trailing edge dimmer with Casambi integration for loads of up to 2A. Casambi’s proprietary unit maxes out at 0.6A, making it unsuitable for things like tracks with lots of spotlights. The TRED-ECSB-2A provides dimming and is typically used with incandescent light sources, retrofit LED lamps, electronic transformers and LED drivers that are compatible with trailing edge dimming. It can handle a 30A inrush current.

ERCO

Optec

Erco has unveiled the latest generation of Optec spotlights.

Mounted on either on the classic Erco track or on the 48V Minirail 48V track, the family includes a large selection in various sizes and light distributions, colours and control. The new Optec has also been designed for sustainability under the company’s new eco-design standards, which states that luminaires should be developed and tested for a continuous operating time of about 75,000 hours. The housing, connections and joints may be replaced or removed individually, and every component is accessible – for example, for repairs due to external influences.

PYRYMYD Intra Lighting

Pyrymyd is a combined lighting system and a thermoformed acoustic ceiling. The light fittings are incorporated into the ceiling and can be in a random pattern. Various options have different combinations of recyclate.The grey panel is made from 60 per cent recycled material, while light grey and black are made of 28 per cent recycled material. The lighting has glare control of <19 in typical applications and 33 degree beam angles. The luminaire luminous flux is in the range 660 to 800 lm. Control options include Casambi and Dali.

DELTA LIGHT Nebbia

Allegedly inspired by the mists of Milan, Nebbia is a family of fixtures with a rounded geometric design, tactile glass cover and palette of colours. It’s available for both indoor and outdoor settings, and comes in two sizes, delivering accent or general lighting for wall- or ceiling applications. Michele Rossi, founding partner of Park Associati, the Italian design practice which collaborated on the design, says they wanted to create an object that had a very common, very classic look but with a depth and richness when looked at in detail.

LIGHTING AWARDS COMPETITIONS

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

ONLINE JUDGING OPENS

Monday, 1 April 2024

FINAL JUDGING MEETINGS

W/C Monday, 15 April 2024

WEBSITE PREPARATION WEEK

W/C Monday, 29 April

WINNERS ANNOUNCED

Thursday, 9 May 2024

Red Dot Awards

TO BE ANNOUNCED

(d)arc Awards

TO BE ANNOUNCED

Lighting supplier: Stoane Lighting

The lighting of the historic Kings College Chapel in Cambridge by Atelier Ten won a Build Back Better Platinum Award in the lighting category.

The brief to designers Elga Niemann and Jonathan Gittins was to design a state of the art, flexible interior lighting scheme that would be sensitive to the history and fabric of this important building whilst catering for the diverse range of activity that takes place in the chapel. The chapel has no triforium, but rather a 20m sheer wall providing no obvious opportunities for concealing and fixing lighting equipment. To overcome this challenge the team designed custom luminaires with a bespoke clamping mechanism. These were discreetly mounted within the stonework ribs, thereby concealed behind columns in the main view towards the altar.

LIT Design Awards

Extended Early Bird discount (5 per cent) until 16 June 2024

REGULAR DEADLINE

31 August 2024

FINAL DEADLINE

29 September 2024 (10 per cent late fee applies) till 20 October 2024

The program will close on 20 October 2024

Picture: Shatanik Mandal

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ORG NEWS

Enlighten Europe 2024 Conference registration opens

Preparing to ‘Illuminate the Future’, the International Association of Lighting Designers has opened registration for the IALD Enlighten Europe 2024 conference taking place in London.

From 21 to 22 June, hundreds of lighting design industry professionals worldwide will converge in central London

Society of Light and Lighting unveils Early Career Community

There is an exciting opportunity for those in the early stages of their careers in the lighting industry. The Society of Light and Lighting has set up an Early Career Community (SLL-ECC). It aims to foster a collaborative environment for sharing knowledge and experiences, which is fantastic for professional development.

The organisation has formed an Early Career Community committee. If you’re interested in applying for a committee role, SLL would be happy to hear from you, however, please make sure you meet the following criteria: that you have worked in lighting for less than 10 years or that you are an early-career professional, a university student, or a lighting enthusiast.

Additional details to consider: You can participate from any country worldwide. There are bimonthly meetings will be held online. No additional membership fees are required. For those aiming for an Officer role (eg Vice Chair

to participate in seminars, roundtable discussions, immersive workshops, receptions, and more.

The conference agenda is organized around over twentyfour presentations from renowned designers, business owners, academic researchers, and lighting innovators. Networking opportunities weave between these speaking sessions to maintain the lively engagement and exchange of ideas at the center of the IALD's mission to advocate the lighting design profession.

IALD President Andrea Hartranft welcomes the lighting design community to the upcoming event and looks forward to the international collaboration.

She said: ‘Enlighten conferences have always been where valuable professional development and collaboration occur, but the European series is exceptional.’

‘This event brings people together from diverse backgrounds and cultures, allowing for a broader range of perspectives and ideas to be shared," Hartranft continued. ‘This leads to more innovative and creative solutions to industry challenges.’

Those interested in the IALD Enlighten Europe 2024 conference can learn more about the daily schedule of events, the roster of speakers and sponsors, and more at iald. org/ee24. Registration remains open through 22 June.

The Society of Light and Lighting has set up an Early Career Community which aims to foster a collaborative environment for sharing knowledge and experiences.

or Secretary), holding a corporate membership with SLL or CIBSE (eg AMSLL, MSLL, ACIBSE, MCIBSE) is necessary. For other committee roles, being an SLL Affiliate or SLL Student suffices.

From 21 to 22 June, hundreds of lighting design industry professionals worldwide will converge in central London.

In your next issue of designing lighting global…

VOLUME II ISSUE 3: CONTROLS SPECIAL

A detailed report on the latest lighting technologies and platforms and a deep dive into challenging control projects. The current state of professional lighting controls reflects a dynamic blend of innovation, sustainability, and usercentric design. With the advent of smart technologies and the Internet of Things (IoT), lighting control systems have evolved into sophisticated platforms offering unparalleled flexibility and efficiency. One exciting trend is the integration of artificial intelligence (AI) and machine learning algorithms into lighting control systems. These technologies enable predictive analytics, allowing lights to adjust automatically based on occupancy patterns, daylight levels, and user preferences. Moreover, AI-powered systems can optimise energy usage, contributing to significant cost savings and environmental sustainability.

Review

IALD Enlighten Europe

Who were the standout speakers/presentations at IALD Enlighten Europe? Plus other content at this conference in London, 20-21 June.

salutes and thanks its advertisers for their support.

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

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PAUL BEALE FOUNDER, 18 DEGREES

I left school at 16 with no qualifications and I was going to go work in the factory in Nuneaton where my Dad worked as a tool maker. But a couple of months before this job in the factory was about to start a neighbour who was an electrician asked me: ‘do you want to come and give us a hand rewiring houses?’

So I spent this summer in the West Midlands, aged 16, going around in a van as an electrician’s mate, pulling cables. Every day was different and I was meeting lots of different people. I had such a blast I told my dad ‘I want to become an electrician’.

When I took this job as a sparky, I had to do day release study and I actually found that I was good at it, because it interested me. I could actually relate what I was studying in the night school to what I was doing during the day.

When I got to the end of the three years that I needed to become a qualified sparky, I didn't want it to stop so I did an advanced technician's course and then a higher national diploma then a degree. I just worked my socks off. Everyone in my class applied to Arup because of their reputation and they ended up offering me a graduate electrical engineer position, I think because I had this background as a sparky. I actually knew what a cable was and how a switchboard went together.

When I was at uni, I had this wonderful lecturer called Alan Brown and he was my first inspiration. He had practiced as a lighting designer and he just spoke so eloquently about it that you just couldn't help but sort of fall in love with the whole notion of lighting. It really sort of lit the fuse for me.

And when I joined Arup as a grad, I said ‘oh, can I do the lighting bit?’ and the engineers said ‘oh, yeah, we hate the lighting bit’.

The lighting bit is the only bit that you see, isn't it? But lighting can be right and wrong at the same time, can’t it? You can have 300 lux that you need to comply with code, but it can look terrible. That aspect of it terrifies a lot of engineers.

My first project was the Royal Opera House in London, back in 1996. I worked on that probably for about a year and then I went for a scholarship to work for Arup in Melbourne. There I expressed an interest in lighting and I think over there they thought ‘this guy must be good, he's got an English accent’.

The breakthrough project there for me was the Webb Bridge, which is based on an aboriginal eel trap. Absolutely stunning architecture by Denton Corker Marshall. It gave me some sleepless nights but was really successful and led to some lighting awards including an international IALD award.

That put me on the map a little bit in Australia and I then left Arup to set up [the independent practice] Electrolight in Melbourne and Sydney, followed by 18 Degrees back in the UK.

What we lighting designers do is changing all the time. The job today just seems to be totally different to what it was 10 years ago in terms of attendance at design team meetings. It’s just gone crazy.

Projects are also run very differently these days and the breadth of knowledge that you need is immense. I believe that if you care about the outcome, you’ve got to get your head around things like controls and emergency lighting. It’s important to always learn new stuff. ■

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