designing lighting global - VOLUME 1 ISSUE 3

SPECIAL FEATURE

VOLUME I

ISSUE 3

Lighting green walls

THE MAGIC OF TEA

ARCHITECTURE AS NARRATION BRINGS A PURE WHITE DESIGN TO A TEA SHOP NEXT TO DISNEYLAND

designing lighting

THE BUSINESS OF LIGHTING DESIGN  CONTROLS  LIGHTING AND HEALTH  DARK SKY PROJECTS ISSUE NO. 3

DECEMBER 2020

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F COVID-19

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S OCIA L INCL USION  M AID A HOT  INN OVA TIONS  C IRCU LAR ITY A N D L I G H TI N G  RA FF A E L E D E V I TA  B R E GE NTZ AR T GALLE R Y  P R O J E CT F I LE

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table of

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

8 PROJECT: Welcome to the Pleasure Dome Lighting plays a key role in Moment Factory’s monumental multimedia experience at Dôme des Invalides in Paris.

12 PROJECT: Boxing Clever The lighting at Bregenz Art Galley has been comprehensively refurbished for the first time in 25 years in order to give the interplay between light and space a contemporary light quality.

16 PROJECT FILE Some striking projects from around the world.

VOLUME 1 ISSUE 3 2023

36 BUILD BACK BETTER AWARDS 2023: An Unrivalled Year It’s been a record achievement for entrants in the lighting category of the Build Back Better Awards 2023. No fewer than 18 entries won awards, including 10 projects, five products and three industry initiatives.

46 LIGHTING AND HEALTH: Can Tinted Glasses Help Night workers?

Researchers are exploring if filtered eyewear can prevent the light-induced suppression of melatonin while maintaining performance and alertness in night-shift nurses.

48 DARK SKIES: Dark Thoughts A town in the west of Ireland has come up with a plan to tackle light pollution.

18 COVER STORY: The Magic of Tea Architecture As Narration has brought a bold and pure design to a tea shop in stark contrast to Disneyland next door.

22 BESPOKE LIGHTING: Quantum Leap Eulum Design was challenged to turn a television prop of a huge quantum computer into a stunning chandelier.

50 REVIEW: CIRCULAR LIGHTING LIVE 2024 We report from the lighting industry’s biggest event dedicated to its role in the circular economy. Ray Molony reports on movement that’s going from strength to strength.

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

24 URBAN LIGHTING: A Fine Mesh

Raffaele De Vita of Light It Design was on the verge of giving up on his dream of creating a lighting design business when his luck changed.

32 GREEN WALLS: An Urban Oasis Custom-designed luminaires optimised for plant growth and high visual comfort have been specified for an urban oasis in New York.

34 LIGHTING AND THE ENVIRONMENT: Time to Get Serious "How do we balance a commitment to creativity with goals for circularity?", asks Paul Nulty, founder of global lighting design practice Nulty.

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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.

designing lighting global

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

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

57 AD INDEX 1

S OC IAL INCLUS ION  M AID A HOT  IN NOVATIONS  CIRCU LARITY AND LIGHTING  RAFFAELE D E VITA  BREG EN TZ ART GAL LERY  PROJECT F ILE

28 THE BUSINESS OF LIGHTING DESIGN: Going Solo

54 AWARDS DATES

SPECIAL FEATURE

VOLUME I

ISSUE 3

Lighting green walls

THE MAGIC OF TEA

ARCHITECTURE AS NARRATION BRINGS A PURE WHITE DESIGN TO A TEA SHOP NEXT TO DISNEYLAND

designing lighting

THE BUSINESS OF LIGHTING DESIGN  CONTROLS  LIGHTING AND HEALTH  DARK SKY PROJECTS ISSUE NO. 3

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

Envue Homburg Licht have created a hugely ambitious catenary lighting project to bring safety and well-being to the German city of Bielefeld.

DECEMBER 2020

Parallel Universes at Heytea, Shanghai by Architecture As Narration and Mulai Lighting Design. Credit: Lv Xiaobin LIGHTING

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

58 UP CLOSE: Maida Hot We meet award-winning lighting designer Maida Hot.

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EDITORIAL DIRECTOR’S NOTEPAD

VOLUME 1 ISSUE 3 2023

Editor: Ray Molony Publisher: Randy Reid 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 2837-2352 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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HOW FAR WE HAVE COME I had the immense privilege of chairing the Circular Lighting Live 2023 event in London in September. The conference and exhibition was remarkable for two key reasons. First, the sheer scale of an event dedicated solely to the sustainability of lighting. And second, how far and how fast we have come in recent years. Companies are removing luminaires from one building, reconditioning them, and installing them in totally separate locations. Today. And making money from it. True, the nascent remanufacturing sector has a long way to go before it can rival traditional manufacturers, but it’s started and it’s building momentum.

There are a number of issues to address of course. For a start, luminaires are not designed to be taken apart and upgraded. That needs to change. And forthcoming so-called circular economy legislation in Europe and UK could change that.

Another issue that needs addressing is margins. As one remanufacturing engineer in the lighting industry told me: ‘You wouldn’t go into this business for the money’. It cannot be right that it is cheaper to remove luminaires and put them in a skip and replace with brand new lights imported from the Far East than it is to upgrade ones we have already.

Yes, manufacturers are not geared up to take back thousands of their luminaires and upgrade them. But they weren’t geared up for LEDs twenty years ago. And now look.

Another recent privilege I had recently was to chair the lighting judging panel of the Build Back Better Awards. The judges represent some of the finest lighting professionals of their generation, and it was a pleasure and an honour to work with them. Again it was instructive to go through hundreds of entries, all focused on sustainability in lighting. The winners are truly remarkable and I present them to you later in this issue. I hope you find them as inspiring as I and my fellow judges do.

Ray Molony EDITOR

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The lasers soar in the dome and cross to create an ephemeral yet monumental lattice-like structure in the space. designing lighting global

MULTIMEDIA LIGHTING

WELCOME TO THE PLEASURE DOME Lighting plays a key role in Moment Factory’s monumental multimedia experience at Dôme des Invalides in Paris.

AURA Invalides at Dôme des Invalides in Paris marks a new stage in Moment Factory’s history as a multidisciplinary studio dedicated to crafting innovative multimedia experiences through bold creativity, high-tech prowess and precision lighting. The practice’s immersive 50-minute experience combines lighting with video mapping, special effects, orchestral music and sound design to celebrate the architectural and historical heritage of one of the French capital’s most iconic monuments.

The experience consists of three acts, each portraying a distinct facet of this particular landmark: its construction, the memories it harbours, and its power to inspire.

The technical challenge was huge. At more than 90 metres high, the building is topped by a dome whose smallest diameter is 30 metres.

Captivated by the AURA experience at Basilique Notre-Dame de Montréal in Canada, cultural operator Cultival asked Moment Factory to create the first AURA experience in France.

Les Invalides, whose gilded dome has brightened the Paris skyline for centuries, was the natural choice. To achieve this project, Cultival also turned to its longstanding partner, Musée de l’Armée – Hôtel national des Invalides.

Designed by Moment Factory and produced by Cultival, in partnership with Musée de l’Armée, the experience is the result of a process of research and collaboration, undertaken by teams specialising in heritage enhancement and the digital arts.

As night falls, Dôme des Invalides comes alive with the combined magic of light, orchestral music, and video-mapping, revealing its stately beauty and rich heritage.

Over a 50-minute span, visitors are invited to partake in a sensory nighttime exploration. Guided by light, they wander through Dôme des Invalides and its six chapels, where the previously unseen gradually comes into view.

As visitors pursue their exploration, they become attuned to their surroundings.

Visitors were invited to partake in a sensory nighttime exploration. Guided by light, they wander through the church and its six chapels, where the previously unseen gradually comes into view.

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In all, more than 45 million pixels were mapped onto a 3,500-square-metre surface.

One of the building’s distinctive features is a reverberation time that spans nearly 10 seconds, a result of its architectural configuration.

To cope with this, the team employed a sound-spatialising technique that involves localising sound with high precision.

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Another challenge was to blend technology seamlessly into the space. As the building is a protected historic monument, the equipment had to be installed without altering the site’s architectural integrity.

The technical team produced a drone-enabled architectural scan, which it then transcribed into virtual reality, in the form of a 3D model, to produce a technical design that encompassed all of the site’s specific features.

In all, more than 45 million pixels were mapped onto a 3,500-square-metre surface.

The team’s artistic preference was to reveal the spirit of the place, comprising its architectural beauty, the memory with which it resonates, and the symbolism it conveys.

Lighting played a key role. Colour-changing LED floods and spots, all under the central control system, transformed the stonework with powerful saturated washes of colour, while banks of cool-white lasers provided a stark, angular contrast to the classical 17th century interior.

They soar in the dome and cross to create an ephemeral yet monumental lattice-like structure in the space.

AURA joins Barcelona’s Sagrada Familia, Basilique NotreDame de Montréal and Cathédrale Notre-Dame de Reims in the unique pantheon of Moment Factory projects which have taken visual storytelling to unprecedented levels of sophistication. ■

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GALLERIES AND MUSEUMS

BOXING CLEVER The lighting at Bregenz Art Galley has been comprehensively refurbished for the first time in 25 years in order to give the interplay between light and space a contemporary light quality.

Photographs: Jens Ellensohn

For the first time in 25 years, the lighting in the exhibition rooms of the KUB has been renewed.

Triple-refracted daylight illuminates the exhibition spaces, supplemented by artificial light through an intelligent lighting control system by Zumtobel.

For backlighting the glass ceiling in the exhibition rooms, Zumtobel designed 660 special LED luminaires specifically for the purpose.

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GALLERIES AND MUSEUMS

Bregenz Art Galley was built in 1997 and is the work of leading Swiss architect, Peter Zumthor. It’s conceived as a cube that’s illuminated from the inside.

The exhibition spaces are lit by triple-refracted daylight, which is supplemented with artificial light by a lighting control system, depending on the weather and time of day.

The lighting has now been comprehensively refurbished for the first time in 25 years in order to give the interplay between light and space a contemporary light quality.

On the three upper floors of the gallery (Known in Germany as the Kunsthaus Bregenz or KUB), Zumtobel, who were also responsible for installing the lighting when the building was first fitted out in the 1990s, worked with the KUB building services team to replace 660 lamps with state-of-the-art LED luminaires.

One of the main challenges when replacing the lamps was the KUB’s special ceiling construction: to access the luminaires in the intermediate ceiling, the building services team developed a special construction that made the glass-pane ceiling accessible and the existing luminaires removable.

Zumtobel’s vision for the lighting refurbishment work was ‘minimalist but with the highest quality standards’.

For the backlighting of the glass ceiling in the exhibition rooms on floors one to three, the lighting experts built 660 special LED luminaires specifically to meet the KUB’s requirements. With 6500 Kelvin as the standard light colour and colour rendering of CRI > 90, the rooms are illuminated with daylight-like, uniform light that aims to minimise the difference between natural and artificial light as much as possible and to present the artworks in their true colours. designing lighting global

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Zumtobel designed a special LED light insert with tunableWhite technology for the Kunsthaus Bregenz to upgrade the listed canopy luminaires in terms of technology and energy efficiency.

In order to bring the listed canopy luminaires on the ground floor up to date in terms of technology and energy efficiency, Zumtobel designed a special LED light insert with tunableWhite technology.

The appearance of the distinctive luminaires remains unchanged while the light quality increases: an inner and outer circle of light can now be activated separately using central controls and their colour temperatures can be changed individually.

‘The new lighting solution is extremely sustainable,’ says Manuel Staudinger, project manager at Zumtobel. ‘The luminaires were designed in such a way that they could be installed in the existing mounting points without having to spend time and money on adapting the infrastructure.

‘A great deal of energy can also be saved thanks to efficient LED boards with the best light quality.’

Arcos III zoomfocus with tunableWhite technology also provide high-quality accent lighting on the ground floor, replacing the existing spotlights. The lights can be focussed on the respective exhibits like a camera lens and immerses them in uniform, contrast-rich light.

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designing lighting global

The specially developed luminaires were installed in the existing mounting points without having to spend time and money on adapting the infrastructure.

With high illuminance levels, the spotlight can even overcome large distances in the room. In addition, its high colour rendering ensures that the exhibits are portrayed in a particularly realistic way. Last but not least, Zumtobel also updated the façade backlighting with powerful spotlights.

The KUB now enjoys better colour rendering, conservationfriendly LED light without UV radiation and lower energy costs.

When combined with daylight linking, the gallery estimates that it will cut power consumption by over 50 per cent. ■

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dpa lighting design Woven COWORTH PARK, UK Working with Martin Hulbert Design and Studio Umut Yamac, dpa designed the integrated lighting at Woven by Adam Smith, a Michelin-starred restaurant at Coworth Park spa hotel. When diners are seated, the adjustable cantilevered table light, usually in a lowered position to accent the conker shell sculpture, is ceremoniously raised to light the whole table ready for dining. Photography: Courtesy of Martin Hulbert Design; Photographer: Mark Bolton

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PROJECT FILE

IDMatrix Mextra Lab Base DONG SHENG, CHINA Chinese furniture maker Mextra commissioned commercial interiors specialist IDMatrix to create what it terms ‘an international life museum’ in Dong Sheng to highlight its brand’s aesthetics. The result is the Mextra Lab Base, a 900 square metre space mixing glass and metallic surfaces and structures. Cool white LED lighting is integrated into the base to emphasise the central structure’s drama and translucency. The finishes are by 3trees.

Photographer: Shi Xiang Wan He

iart with AMDL CIRCLE and Michele De Lucchi NOVARTIS PAVILLON BASEL, SWITZERLAND The lighting facade at the Novartis Pavillon consumes only as much electrical energy as it’s capable of producing. It’s made possible by the 10,000 diamond-shaped organic solar modules which span the exterior. Embedded within are LEDs which not only shine outwards, but also in the direction of the metal shell beneath, reflecting and shimmering through the semi-transparent solar modules. It displays digital art animations after dark.

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COVER STORY

THE MAGIC OF TEA Warm white LEDs gently wash the green roof structure from the edge and highlight the cupola in the centre.

Architecture As Narration has brought a bold and pure design to a tea shop in stark contrast to Disneyland next door.

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The continuous curves extend outwards from the central dome towards the seating areas.

Located by the entrance to Disneytown – a shopping, dining and entertainment district next to Shanghai Disneyland – the Heytea store is the first building that many visitors experience, and as such is key to establishing a magical atmosphere for their journey around the theme park.

So its recent refurbishment carried an extra weight of responsibility for the design team at Architecture As Narration.

The challenge it set itself was to change people’s stereotype impression of a store in a theme park.

unique structure and shape of the original architecture.

The design created a thrilling main space by wrapping irremovable walls and covering the core of the building with a dome.

As for space design, the design team took the original round structure of the building as the foundation, achieved the imagery of the round planetary orbits and extracted the conceptual elements of curves and concentric circles.

Curves in tiers extend the space and lead people from the order taking counter to the round space in the centre of the store, which is also the waiting area for picking up tea.

Architecture As Narration’s concept to do just that was a futuristic fantasy and a pure white ‘parallel universe’.

The pure white daylight from the high dome shines with a dreamlike magnificent sense of future and shows the infinite changes of the inspiration universe.

The design of the renovated store was inspired by the resort itself: it was prompted by the classic round building at the centre of Shanghai Disney Resort, a neoclassical example of European-inspired architecture which echoes the Pantheon.

The choice of a simple expression of abstract space showed Architecture As Narration’s confidence in the Heytea brand culture.

Facing the restriction and challenge of not changing the outer space and interior walls of the building, the design created a centripetal space by taking advantage of the

The pure white design is also defined and reinforced by every customer. When visitors, especially those dressed in colourful clothes, stop to take a rest and drink tea, they designing lighting global

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COVER STORY

Flexible LED track in 5000K is integrated into the roof and articulates the concentric rings of the ceiling.

‘The challenge of the lighting designer, Zuo Xuan of Mulai Lighting Design, was to integrate lighting to articulate the architects’ vision’ 20

designing lighting global

COVER STORY

PROJECT CREDITS

Project: Parallel Universes at Heytea, Shanghai Design: Architecture As Narration Leader designer: Yan Junjie Lighting design: Mulai Lighting Design Lighting supplier: Eusse Lighting Photography: Haytea, Lv Xiaobin, Architecture As Narration

A control system modulates the intensity, gently ‘rotating’ the light to emphasise its circularity.

create a sharp colour contrast and become ‘performers’ in the space.

Moreover, an interesting contrast is created between the simple indoor sci-fi design and the outdoor fairy-tale Disney buildings. The contrast between the two styles creates an interesting and inspiring space and arouses people’s emotional resonance.

Meanwhile, inspired by scientists’ guess on parallel universes and Disney’s multiverse, the design team formed a spatial structure by parallel lines developing from the circle centre, and organised all functional spaces in a parallel and orderly way.

The continuous curves extend outwards from the central dome towards the seating areas, where people can stop after passing through the doorway formed by the multilayer curves.

Following the moving planetary orbits, people slow down and enter a ‘parallel universe’ from the highly colourful Disney

World bustling outside with excited kids. Then, it seems the motion of space-time slows down gradually. Picking up a cup of Heytea, people can take a calming and quiet break.

The challenge of the lighting designer, Zuo Xuan of Mulai Lighting Design, was to integrate lighting to articulate the architects’ vision.

Warm white LEDs gently wash the green roof structure from the edge and highlight the cupola in the centre.

This warm light accentuates the cool white light of the interior. Here, flexible LED track in 5000K is integrated into the roof and articulates the concentric rings of the ceiling.

A control system modulates the intensity, gently ‘rotating’ the light to emphasise its circularity.

Recognising its innovation and boldness, the project was long-listed in the small retail interiors category of the Dezeen Awards. ■

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BESPOKE LIGHTING

QUANTUM LEAP Eulum Design was challenged to turn a television prop of a huge quantum computer into a stunning chandelier.

Ray Molony reports.

Eulum Design had to reconfigure the prop significantly to make it work as a pendant luminaire, ending up with dimensions of 3.3m high and 1.5m wide

So when lighting designer Paul Traynor of Light Bureau asked if he could turn a television prob of a quantum computer into a dramatic chandelier he jumped at the chance. The client, TV presenter and mathematician Hannah Fry, wanted a signature centrepiece for her London home.

The prop – made for the BBC scifi series ‘Devs’ – is by no means underengineered: it features huge metal disks, extensive machined aluminium, gold plating and serpentine silvered tubes designed to mimic the wiring of the dilution refrigerator that keeps the superconducting quantum bits cool in a real computer.

The prop features huge metal disks, extensive machined aluminium, gold plating and serpentine silvered tubes

By his own admission, Marcus Worthington loves a challenge. In fact he boasts that his lighting technology and bespoke luminaire business, Eulum Design, takes on ‘the stuff that no-one else will touch’.

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All of this adds up to a hefty piece of engineering: It weighs in at a chunky 410 Kilograms.

Eulum Design had to reconfigure the prop significantly to make it work as a pendant luminaire, ending up with dimensions of 3.3m high and 1.5m wide. Its technicians then added no fewer than 30 LED tunable white panels and 28 LED narrow beam spotlights to bring it alive.

The gold elements are lit with Bridgelux COB LED modules at 3000K. The LEDs are tunable white from 2700K to 4000K and are all controlled by Eulum Design’s proprietary Bluetooth control system which integrates with Casambi apps. It total there are 16 scenes.

The cherry on the cake is spotlight with beam angle control – featuring LensVector technology – mounted on underside of the structure. This allows the client to either use a narrow beam to spotlight a flower vase, say, or wide beam to illuminate the whole of the dining room table.

Mounting this beast was no easy feat, and it took a team of two engineers three weeks to install. For this, Eulum designed a special steel fabrication to allow the floor joists to spread the load of the luminaire.

The words ‘stunning’ and ‘unique’ are often used in design circles, but in the case of quantum computer light, they’re more than justified. ■

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URBAN LIGHTING

A FINE MESH Envue Homburg Licht have created a hugely ambitious catenary lighting project to bring safety and well-being to the German city of Bielefeld

The colour capability can be used colourfully and dynamically on important occasions such as the Bielefeld Night Views, Christmas or the traditional Leineweber Festival.

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URBAN LIGHTING

The Night Suns were specially developed for Bielefeld by the Berlin lighting design studio Envue Homburg Licht.

Catenary lighting projects are rare in many countries. Little wonder, for they add a layer of mechanical complexity not seen with post-top lighting, and a headache for the structural consultants.

Done well, however, they can be magical, putting luminaires in impossible places. So it is in the city of Bielefeld in North Rhine-Westphalia.

After a planning phase of almost two years, 25 circular luminaires – dubbed ‘Night Suns’ – shine above Jahnplatz square.

They are part of a large-scale redesign concept for the city's central hub and play a central role in both ensuring traffic

safety and contributing to the well-being of visitors, especially during festivals and events.

The Night Suns were specially developed for Bielefeld by the Berlin lighting design studio Envue Homburg Licht.

While the direct light of the spotlights safely guides road traffic and pedestrians, especially in the evening hours, the RGBW lighting provides a soft glow.

This can be used colourfully and dynamically on important occasions such as the Bielefeld Night Views, Christmas or the traditional Leineweber Festival, when the centre hosts mix of street theatre, street food and music.

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URBAN LIGHTING

PROJECT CREDITS Product: ewo Individual with nodexx smart modules Lighting design: Envue Homburg Licht Photographs: Nikolai Benner

The Night Suns are part of a large-scale redesign concept for the city's central hub and play a central role in both ensuring traffic safety and contributing to the well-being of visitors.

‘This project was particularly challenging for our team,’ Hannes Wohlgemuth, CEO of ewo, told designing lighting global (dlg) magazine.

‘It combines extensive knowledge and experience from many different specialist disciplines, from mechanical design and the special requirements of lighting technology to electronics and our control software for managing complex lighting scenes, which was individually adapted to the project requirements.

‘Together with the planner and client, an overall solution was developed, the successful and efficient implementation of which is only made possible by our wide-ranging and interdisciplinary expertise, all of which we bundle in-house.

‘This is a project that combines ewo's accumulated know-how and of which we are particularly proud.’ ■

While the direct light of the spotlights safely guides road traffic and pedestrians, especially in the evening hours, the RGBW lighting provides a soft glow.

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designing lighting global

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SOLO

THE BUSINESS OF LIGHTING DESIGN™

One of the interiors at Euro America Financial City in Hangzhou. The 100,000 square metre project is rated at LEED Gold.

Raffaele De Vita of Light It Design was on the verge of giving up on his dream of creating a lighting design business when his luck changed…

My life changed the day I decided to move back to Australia. I had spent a year there learning English before returning to my native Italy to study lighting design at the University of Rome.

But when I got back to Sydney, I couldn’t get a job in lighting. I was ready to give up and had actually booked my ticket back to Italy, when I sent out one final CV, to a consultancy firm called Medland Engineering. They got me in for the interview on the Tuesday or Wednesday, and by the end of the week, I got the job.

So the following week, I started and like in a poker game, I was all in. From them I learned about service coordinations, electrical fire, mechanical, hydraulics. From a point of view that is also related to finishes, to being an architect, I was able to anticipate to think about what our clients, what the architect would actually expect from us in terms of coordination.

But by 2016, I was ready my own design consultancy. I was very grateful for the experience I had in the company, but I had a view on how to deal with projects, how to deal with clients, and I wanted to apply my way of doing things to the project.

Light It Design created the lighting at Euro America Financial City, an office-led development in Hangzhou, China designed by Foster + Partners.

So being able to actually be fully myself played a huge role for this decision. I started Light It Design in Sydney, but it wasn’t as easy as I thought it would be because I had to start from scratch. You need to build new clients, you need to do business designing lighting global

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THE BUSINESS OF LIGHTING DESIGN™

development, you need to let people know that now you're doing your own things, then you have to be mindful of the partnerships that are already in place, consultancies that have been working together for years.

So understanding where not to step onto people's toes, but also at the same time, which point you can actually push or you need to understand which companies are more suitable, which companies are more available to work with you. So it's a very long and excruciating process.

And this process, it lasted two and a half years, which is not a short period of time. And in those two and a half years, obviously you try to do the best with the projects that you manage to win.

And I had invested everything. It was a poker game and I was all in. But I was losing this time because I was not getting where I wanted to go. I wanted to build a nice lighting design firm with medium- to high-level projects.

But then one day I was invited to tender for a huge international project: the Google campus in Sydney. It’s a five-storey building with offices, an auditorium, a food court that takes up an entire floor, a cinema, a gym and countless meeting rooms.

At the time, I was at the point where it was just me. The interview process was very long and very thorough, as you’d expect from these sort of companies.

It allowed me to start building a team really quickly, a team whose core members I’m still working with today.

And then Covid hit. And we had to find replacements for the fittings we had specified for Google as it was impossible to get the fitting shipped from anywhere.

And I'm not talking about single downlights or the track light.

We had hundreds of metres of custom linear fittings with colour changes, with very precise technical requirements that we then had to find local suppliers that could actually manufacture them.

It was a huge challenge getting the project completed, but the reward was even bigger because we had managed to do it with so many constraints.

The Google project led onto others in Australia and China, including the huge Euro America Financial City Hangzhou, where we partnered with interior design practice Future Space.

The next step for me is to open in London. As a character, I don't like to feel too comfortable and I need new challenges to feel alive.

London is an excellent hub to work on projects in Europe, in Middle East and also on the other side of the ocean. It also helps that London is closer to my family in Italy.

It wasn't just about showing the projects or your curriculum.

It was about talking challenges. What is your opinion about this? How would you react if this were to happen? What is your opinion from a design perspective? What are your design ideas based on this preliminary concept from the interior design?

So now I'm in London because I need to start networking, to meet industry people, and get a feel for the industry in the UK.

I had decided that if I didn’t win this project, I would give up on the idea of lighting design in my own company because it had taken my entire life, basically.

I want to make sure that the lighting design, together with the architecture, the interior design or the landscape design, suits perfectly the client and the vision of the design team.

I had sacrificed everything just to focus on this dream of building this lighting design consultancy. And then I got the news that I had won the project. And that really was life changing.

For me, design is about storytelling. We tell a story because every project and every client is unique.

It's about having fun with the client and with the team, and about getting excited, but also making sure that everybody is excited as well. ■

‘The door opened to the paintings of Michaelangelo and I was like, I think I like this job’ De Vita grew up in a small fishing village in Puglia in southern Italy but his passion for the design world began when he studied architecture at the University of Florence in 2000.

‘I chose Florence because being able to witness in person masterpieces from Brunelleschi or breeding the same air as Leonardo or Michelangelo was a very exciting thing for a young student.’

After graduation he went to Australia

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for a year to learn English, returning after he won a scholarship to do a lighting design masters at the University of Rome. To top off his architectural degree and lighting design Masters, he added an industrial design master, this time back in Florence.

A professor invited him to interview for his company, and De Vita ended up working in plum projects like Vatican City, including the lighting for the Sistine Chapel. Financed

by the European Union with the sponsorship of Osram and a number of European universities, the latter project lasted a number of years. ‘I was in the Sistine Chapel at night for an on site visit once,’ recalls De Vita, ‘I was with a colleague of mine and it was just us and the priest. And the priest had this huge, dramatic key that would open the door. And when he opened the door and the paintings of Michelangelo were revealed to us, I got goosebumps. And I was like, I think I like this job.’

STEP INTO THE…

The UK’s only dedicated lighting specification exhibition

REGISTER FOR FREE 21 & 22 November 2023 • Business Design Centre • Islington • London

www.lightexpo.london designing lighting global

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AN URBAN This partially covered landscape garden has been created on Madison Avenue between 55th and 56th streets consisting of over 300 shrubs, 15,000 flowers and 40 trees.

GREEN WALLS The new garden is a hybrid between indoors and outdoors, and designed with a flowing transition between inside and out.

Custom-designed luminaires optimised for plant growth and high visual comfort have been specified for an urban oasis in New York A green wonder thrives in one of New York’s most densely built-up corners. In Midtown Manhattan, the NorwegianAmerican architectural firm Snohetta has transformed an open space of 2,000 square metres into an artfully designed paradise. A partially covered landscape garden has been created on Madison Avenue between 55th and 56th streets consisting of over 300 shrubs, 15,000 flowers and 40 trees.

Inaugurated in 2022, 550 Madison Avenue Garden is part of the revitalisation of the legendary Philip Johnson-designed AT&T Building, a New York high-rise icon that is listed as an imposing post-modernist monument.

The lighting design was realised by Arup. ‘We quickly realised that high, energy-efficient luminous output was essential to generate enough brightness for the nature experience,’ says Matt Franks from Arup. This is because relatively little daylight manages to penetrate between Manhattan's striking high-rise buildings.

Eighty custom-made Kona outdoor projectors from Erco with 96W LED were installed.

The Erco lighting technology developed is based on the principle of projection. Lenses direct the light precisely onto the target surface, even over long distances, and without relevant losses from spill light. The energy consumed is thus used as effectively as possible. With the light point height of around 20m planned in the project, this results in an outstanding ratio of illuminance to connected load of 1,6 lx/W.

OASIS

In each of the custom-made Kona projectors the proportion of LEDs is split with regard to light colour: 25 percent have a colour temperature of 3000K, functioning as general lighting for the new urban garden. 75 percent of the LEDs have cooler 4000K, which is ideal for supporting the daylight and enabling the plants to grow healthily.

In the evening hours the 4000K LEDs are almost completely dimmed down, thus providing the necessary night rest for the plants. The LEDs with 3000K ensure a pleasant quality of stay in the during the dark hours.

All Kona projectors provide continuous light – this was also important to the lighting designers for aesthetic reasons.

The two light colours of the Kona projectors make it possible to generate an effect similar to tunable white.

The new garden is a hybrid between indoors and outdoors, and designed with a flowing transition between inside and out.

Despite that, it feels like you’re in the middle of nature, says architect Jake Levine from Snohetta. The project is a successful example of how contemporary green regeneration and urban design can be. The old New York tradition of socalled pocket parks is also continued. The result is a garden in private ownership that enriches urban life and is accessible to everyone: for enjoying lunch on a bench under the trees, for getting together with friends and colleagues, for relaxing by a rushing waterfall or simply for catching your breath. ■

ERCO Kona: The Erco lighting technology in the Kona is based on the principle of projection. Lenses direct the light precisely onto the target surface, even over long distances, and without relevant losses from spill light.

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TIME TO TAKE

LIGHTING AND THE ENVIRONMENT

How do we balance a commitment to creativity with goals for circularity asks Paul Nulty, founder of global lighting design practice Nulty.

sustainability seriously

TM66 has been a great leveller for the industry, providing designers with a standardised assessment tool and a springboard to greater clarity and responsibility.

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LIGHTING AND THE ENVIRONMENT

‘We have embedded TM66 into our design process and set ourselves the target of achieving a 2 and above score for 50 per cent of specified luminaires over a period of six months’

The role of an independent lighting designer has aways been to pull the creative and technical threads of a project together to elevate an experience, improve efficiency and wellbeing, and fill spaces with emotion and character.

Over the last decade, this balancing act got a whole lot harder as we found ourselves grappling with another thread – environmental impact. In our endeavour to design in a more conscious way, we realised that there’s more than one strand to the sustainability thread and some complicated knots to unravel along the way.

Whilst the lighting community has made great progress in recent years to reduce energy consumption and make sustainability intrinsic to the way that we design, the focus has shifted, and the circular economy is now our goal.

Moving to circularity is one of the toughest tests that we’ve faced as an industry and feels like an almighty knot to unpick. It requires us to consider the whole life cycle of design – from the carbon footprint of the design process itself, through to what happens when a scheme comes to the end of its life – and somehow loop all these elements back to create a circular economy.

Thankfully, we found a little bit of light at the end of the tunnel with the arrival of the TM66 Technical Memorandum from CIBSE and Society of Light and Lighting.

Pre-TM66, lighting designers struggled to categorise luminaires in the context of the circular economy as this meant either wading through reams of data about materials, manufacturing, and supply chains to build an accurate picture, or accepting that information wasn’t available or forthcoming.

In the post-TM66 world, easy-to-use checklists and easyto-understand ratings turn a highly complex subject into a clear and transparent methodology. It’s been a great leveller for the industry, providing us with a standardised

assessment tool and a springboard to greater clarity and responsibility.

In the short space of time that our team has been using TM66, we have felt incredibly motivated as a practice to be more accountable for the luminaires that we specify.

Earlier on in the year, we embedded TM66 into our design process and set ourselves the target of achieving a 2 and above score for 50 per cent of specified luminaires over a period of six months.

We were frustrated at being part of the conversation but not seeing any real momentum for change, so this is our small but significant commitment to making circularity a non-negotiable attribute on our specifications.

We also feel strongly that a data-driven analysis approach can help us educate stakeholders outside of the lighting design industry, and challenge value engineering to ensure that the aspiration for circularity at the front end of a project is matched with an appetite for longevity at the end.

Whilst attempting to reconcile a commitment to creativity with metrics for circularity feels right for us as a global design practice operating across multiple sectors, we’re not advocating that everyone must take the same approach. The industry is far-reaching and diverse. Smaller practices may find it difficult to influence decision makers.

Residential designers will find it much harder to make an impact than designers operating in the commercial workplace or retail sectors where strong pledges are being made to meet circular economy objectives.

Ultimately, it’s about personal accountability and every person finding their own way to strive for better.

As long as we keep pushing each other to change the mindset that steady improvements are enough, we’ll move closer to making the circular economy a tangible reality. ■

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THE BUILD BACK BETTER AWARDS 2023

AN UNRIVALLED YEAR

The Espenes Rest Stop – a ‘destination experience’ by the Norwegian Scenic Routes' initiative – took both PLATINUM and GREEN. The building seamlessly blends nature-inspired aesthetics with intelligent lighting design to create a landmark that subtly enhances its environment while respecting its essence.

Espenes Rest Stop Hardanger, Norway

BY LIGHT BUREAU Lighting design practice: Light Bureau Lighting design team: Paul Traynor, Arve Olsen, Christina Haraldseth, Benjamin Reinhoff, Øystein Johansen Architects: Code Arkitektur Notable suppliers: Light Graphix (Rebel Light), Stoane Lighting (Rebel Light) LED Linear (Fagerhult), iGuzzini Pictures: Fovea Studio 36

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The horizontal line of the water, the peaks of the surrounding mountains and the wind conditions all informed the distinctive geometry of the roof.

The lighting design by Light Bureau is similarly inspired by the place and the surroundings; the cool moonlight that illuminates the mountain tops and the nearby glacier in contrast to the warm light of fire.

Guided by the philosophy of 'less is more' and a 'design with intent' approach, the lighting scheme accentuates the building's sculptural form and the interplay of light and shadow. The lighting's careful interaction with the metal surfaces evokes an ever-changing ambiance when seen from either end of the pavilion that lends an ethereal quality to the space.

Light Bureau used less than 40W of power to illuminate the 50-metre-long roofline. The local ecology is respected, such as in the dimly lit roof.

The project incorporates luminaires from manufacturers that use circular economy principles by allowing for flexibility in repair, upgrading and upcycling.

For the functional aspect of the lighting, thoughtful solutions were employed.

In the restrooms, specialised steel and acrylic bollards double as floor lamps, creating a gentle ambiance.

THE BUILD BACK BETTER AWARDS 2023

It’s been a record achievement for entrants in the lighting category of the Build Back Better Awards 2023. No fewer than 18 entries won awards, including 10 projects, five products and three industry initiatives. The judges awarded no fewer than seven Platinums, their ultimate accolade and a record number in this category. It was also an unrivalled year for Green awards, with a total of 13 awarded, reflecting significant investment in sustainability by the lighting industry in recent years. Schemes rated included ones in the UK, USA, Norway and Denmark.

This guidance document developed by Dark Source Lighting Design Studio and Friends of the Lake District to provide technical lighting guidance won both PLATINUM and GREEN.

Good Lighting Technical Advice Note for Cumbria

BY DARK SOURCE

The technical advice note is designed to conserve and enhance the Dark Skies across Cumbria and is the document is backed by many local and national supporting bodies, local planning and highway authorities, and demand from architects, communities, installers wanting to do the right thing with lighting, especially given Cumbria’s highly-valued environment. Loaded with striking illustrations and graphics, the publication covers good lighting principles, positive lighting outcomes delivered through getting lighting right, different forms of light pollution and their impacts, the planning and lighting design process and, crucially, what good practice looks like through visuals and examples.

The document sets a new benchmark by covering a whole region, rather than just a Dark Sky Reserve or community; it has a policy goal of a net reduction in light pollution; is adopted by a wide range of endorsing organisations and communities and contains bespoke visual graphics to convey good lighting principles.

The Good Lighting Principles form a golden-thread throughout the technical advice note to deliver best practice.

Applying the high environmental quality of Cumbria, whether for landscape, biodiversity or heritage, the publicaion explains where current mainstream ‘standards’ do not deliver environmentally sustainable lighting.

The note helps to deliver a net reduction in light pollution. In doing so, more people will be able to see the wonder of the night sky, fulfilling a basic human need for self-identity, and placing yourself in the wider universe.

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THE BUILD BACK BETTER AWARDS 2023

The Regen Initiative The Regen Initiative – which won both PLATINUM and GREEN – was conceived and launched to offer a lighting fixture refurbishment service, by breathing new life into existing fixtures, all while sourcing from localised supply chains in line with circular economy principles, with carbon reduction being a key factor of success.

The principle of remanufacturing is a lot harder than just fitting new. To fit new is often easier and simpler for the client, so educating on the way to the end goal is essential.

Remanufacturing provides much better carbon efficiency and a much better product as it eliminates carbon and reduces waste, keeping existing products in circulation for longer.

Remanufacturing requires a complete change in mindset, production and process from the linear take, make, waste economy, where old light fittings are discarded and replaced with new.

In most cases, the process involves keeping the original luminaire material, known as the core, and converting the light source to LED. This helps to create a solution that saves

energy, time, money, and ultimately, the environment.

Conceived by F Mark and Coco Lighting, and now partnered with Eco Fix UK, the Regen Initiative aims to work together collaboratively to provide more efficient lighting that stands the test of time, to challenge the status quo and to strive to provide solutions without sacrificing quality or compromising on safety or ethical standards.

Creating circular solutions for the lighting industry involves establishing strategies and practices that prioritise sustainability and resources efficiently, helping alleviate supply chain issues and demands that put pressure on the economy.

TM65.2 Embodied Carbon in Lighting

BY CIBSE TM65.2, the lighting version of Cibse’s Technical Memorandum 65 for embodied carbon in products, won both PLATINUM and GREEN. The lighting edition of TM65 – a widely-accepted metric for measuring embodied carbon – includes new materials, special definitions and acronyms from the lighting sector and product case studies from 18 luminaire manufacturers.

TM65.2 ‘Embodied carbon in Lighting Equipment’ makes it easier and quicker do measure the embodied carbon in lighting equipment. There will also be a web-based calculator tool.

It will complement TM66, the CIbse standard for measuring the circularity of a luminaire.

Although both TM65 and TM66 are self-certification standards, a number of organisations are believed to be planning independent verification services.

TM66 itself will be expanded in the coming months to include information for facility managers, and more details on emergency lighting and control equipment.

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TM66 co-author Kristina Allison of Cibse’s Society of Light and Lighting says the new TM65 for lighting will help designers, specifiers, engineers and manufacturers better understand embodied carbon in lighting equipment.

‘Remember, it’s not a life cycle analysis but gives a very reasonable assumption of the amount of embodied carbon equivalent within a luminaire or lighting equipment.’

The document is designed to enable lighting designers, specifiers, lighting engineers and manufacturers to understand the amount of embodied carbon that a light fitting contains.

The document was written by Kristina Allison (Atkins Global) (project lead), Dr Irene Mazzei (Stoane Lighting/Edinburgh Napier University) (technical lead), Jonathan Rush (Hoare Lea Lighting) and Simon Fisher (F Mark/Recolight).

THE BUILD BACK BETTER AWARDS 2023

London Borough of Haringey, UK

BY URBIS SCHRÉDER The roll-out of a Central Management System for the London Borough of Haringey’s 25,000 street lights won both a GOLD and GREEN Build Back Better Award.

The local authority selected the cloud-based EXEDRA platform from Urbis Schréder to optimise energy use and configure the street illumination at a local level in real time.

Haringey is responsible for around 25,000 street lighting assets, and as part of its ongoing commitment to energy conservation and carbon reduction completed a six-year programme to upgrade these to LED. Significant energy savings of around 60 per cent had already being realised, however in order to provide additional connectivity and control to better meet future community and resident needs Haringey sought suppliers to provide a Central Management System (CMS).

Building Crafts College London

BY SILENT DESIGN The lighting project at Building Crafts College in east London which reused luminaires removed from a Cat A fitout in a London office won both GOLD and GREEN. Office design and fit-out firm Morgan Lovell and lighting remanufacturer Silent Design saved 300 linear metres of luminaires from a commercial office building on the South Bank when a tenant moved in and wanted a custom Cat B scheme.

The fittings – initially earmarked as waste – were then taken to the Silent Design’s Marlow, Buckinghamshire, facility where they were upgraded and tested.

A number of 3m runs of linear LED were cut and fabricated into shorter 1500mm units. Each had two custom end-caps added.

Downlights were converted from fluorescent to LED.

Following a formal tender process in 2021, the Exedra platform solution from Urbis Schréder was selected and the deployment commenced in September that year.

Unlike traditional CMS solutions, Urbis Schréder’s EXEDRA platform is cloud native, microservice and serverless, utilising the functionality and tools of Microsoft Azure IoT. Lanterns and other devices are connected via cellular nodes, which allows larger amounts of data to be transmitted to and from the deployed devices, thus enabling real time and live communication and facilitating over the air software and firmware updates to help ensure end-to-end security of the solution over the lifetime.

The initial benefit of the new technology is that the lighting is now responsive and adaptive to help deliver the right light in the right place at the right time for the user and task being carried out.

For instance, if Tottenham Hotspur is playing at home, lighting can be increased to full output to help visitors and residents get home safely.

Energy savings of up to 60 per cent have been achieved in some areas with the new platform while still meeting best practice in BS5489.

Picture: Alex Bland

The company even reused floor tiles rescued from a job in Watford as packaging for the lights while they were transported.

The luminaires were then upgraded where necessary, remanufactured and tested.

They were installed in the Building Crafts College, an educational establishment in Stratford, East London which trains bricklayers, stone masons, joiners and carpenters.

They are controlled via presence and daylight dimming using wireless Casambi technology, a discrete Bluetooth-mesh based system that lends itself well to remanufacturing projects.

Silent Design has given the customer a five-year warranty on the reused lights.

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THE BUILD BACK BETTER AWARDS 2023

Kings College Chapel Cambridge, UK

BY ATELIER TEN The lighting of the historic Kings College Chapel in Cambridge

by Atelier Ten won a PLATINUM Award.

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.

The luminaires feature multiple adjustable spotlight heads to highlight the beauty of the vault and provide flexible lighting scenes for services and performances. The spotlights use tuneable white LED allowing the warmth of light to be adjusted during the day and to suit different services.

The installed load for the chapel is less than 6kW, extremely low for a building of this size and volume. But the operational energy will be considerably lower due to the sophisticated DMX control system.

With the building already being over 550 years old, longevity of the lighting installation was a consideration from the outset.

The luminaires were designed with future replacement and upgrade in mind. The main aluminium ‘bar’ onto which the spotlight heads are mounted is hollow and houses drivers and controls.

Lighting supplier: Stoane Lighting Picture: Shatanik Mandal

Castlefield Viaduct Manchester, UK

BY ARUP

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THE BUILD BACK BETTER AWARDS 2023

Orientkaj Metro Station

The design softens up the bright spotlights and adds a playful atmosphere, while improving perceived safety and wayfinding on the square.

This transformational light installation at Orientkaj Station in Copenhagen won a PLATINUM in the lighting category.

With minor adjustments of the reflectors, it was possible to reuse the existing LED-luminaires and create a spectacular illumination of the station square and elevated railway, without using additional energy. The luminaires are iGuzzini Woody in warm white with a wide flood optic.

Copenhagen, Denmark

Light Bureau was challenged to create a site-specific lighting art installation that would increase feelings of safety while bringing delight and visual interest to the space. As lights couldn’t be fixed on the railway structure, the team created a pole-based system, with remote steel leaves, each with individual patterns and colour themes.

The leaves are made of saltwater- and acid-resistant stainless steel with a lifespan of several decades. The surface is electro polished to make them highly reflective, thereby adding an additional lighting component.

The steel leaves give the otherwise ordinary spotlights a completely new and unique character, giving the area a distinctive identity that makes it an inviting and exciting urban space.

Lighting design: Light Bureau Lighting design team: Eszter Horóczi, Filipe Almeida, Frederik Waneck Borello, Helle Frøjk Knudsen and Rune Brandt Hermannsson.

Client: By & Havn (‘City & Harbour’) and Copenhagen Municipality Architects: COBE architects Construction: Per Aarsleff Consulting engineers: Wicotec Kirkebjerg Suppliers: Gladsaxe Klip & Buk, Induflex, Unicoat and iGuzzini.

Pictures: Rune Brandt Hermannsson (Light Bureau)

The illumination of Castlefield Viaduct – a 330m-long railway structure that’s been transformed into an urban park – won a Build Back Better GOLD Award for Arup.

preprogrammed using wireless BLE technology to glow in a gentle, random ‘swaying’ pattern to mimic the movement of nature in the breeze creating a magical experience.

The lighting design by Arup avoids bland, uniform illumination and actually downplays the use of light. Glimpses of light are designed to intrigue and entice visitors. Once inside, lighting discreetly draws visitors through, piquing their curiosity to explore further, but still allowing them to enjoy the night skyline from high level. Using gentle, warm-white light differentiates the viaduct from the urban scene and minimises impact on biodiversity, in particular bat roosts beneath the deck.

The second section incorporates unique garden areas created by local community partners. Lighting was designed to provide focus within these planters, and to be easily reconfigured by the gardeners as the foliage grows and adapts to its space. At the end of this section, the internal event space is fitted with adaptable track and spot lighting to cater for any education or hospitality event, with festoon lighting allowing functions to spill out into the gardens.

To maintain the drama and avoid overlighting, rechargeable hand-lanterns are on offer to support accessibility and inclusivity, allowing everyone to enjoy the space.

Luminaires styled like the overgrown grasses which inhabit the viaduct are positioned around seating benches and are

The lighting levels are deliberately low, partly to enable the backdrop of the city to be visible through the structure but mainly to respect the flora and fauna already living on and around the viaduct. Power density for the site is less than 1W/m2.

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THE BUILD BACK BETTER AWARDS 2023

Rothko Chapel Houston, Texas

BY GEORGE SEXTON ASSOCIATES Rothko Chapel in Houston, Texas, won a Build Back Better GOLD Award for a relighting project by George Sexton Associates.

The building was founded as a meditative space to promote peace and to display fourteen paintings by the artist Mark Rothko.

Since its opening in 1972 it was apparent that there were problems with the illumination of the chapel interior.

The brightness of the large central skylight was visually overpowering compared to the dark paintings and allowed excessive illumination levels that could be damaging to the artwork.

As part of the renovation of the Rothko Chapel completed in 2020, the design team sought to restore the original form and proportions of the skylight while addressing the problems of the original design.

To that end, George Sexton Associates, in collaboration with Architectural Research Office, developed a louvre system that follows the profile of the original skylight while gently washing the perimeter walls with natural light.

Supplemental artificial lighting for the paintings is provided by a set of digital projectors concealed at the skylight ring. Light from the projectors is directed to the perimeter walls via a set of mirrors suspended below.

Lighting for paintings is provided by digital projectors with LED sources, which do not require regular access for relamping. Long-term replacement of the projectors can be achieved through operable panels at the skylight ring.

The total connected artificial lighting load is estimated to be 1.5W/square foot.

The designers on the project were George Sexton, Owen Brady and Chen Lieu.

SUPPLIER CREDITS Digital projectors for painting illumination: Christie Digital Lighting track and track heads at skylight ring: Litelab Recessed downlights: Lucifer Lighting, Lucent Lighting, Portfolio Lighting Exterior framing projectors for Broken Obelisk: We-Ef lighting Exterior tree, pole and canopy mounted downlights: BK Lighting Skylight Fabrication: Linel Picture: Elizabeth Felicella Photography

The reuse of luminaires at Arup’s Manchester office has won a GREEN Build Back Better Award.

Arup teamed up with luminaire remanufacturing business The Regen Initiative to reuse the lights in a major refurb of its lighting.

Arup Manchester, UK

BY ARUP AND THE REGEN INITIATIVE

The fluorescent gear and lamps were replaced with LED modules and drivers, and some additional luminaires were repurposed from a Category A fit-out office in Leeds, which would otherwise been disposed of.

The Regen Initiative undertook the design, prototyping and testing on-site of the retrofit solution to ensure that the optical performance could be maintained, along with a high quality of light and visual comfort. LED drivers with no visible flicker or strobe effects were also integrated.

The controls system was changed from from a wired architecture to a wireless platform. The controls harmonised the use of natural and artificial daylight through daylight linking, ensuring that artificial lighting is only necessary when truly needed.

A key project objective was to reduce embodied carbon by renovating or repurposing furniture and equipment and using recycled construction materials as an exemplar demonstration that Arup could show its clients as a proof of concept.

The project reduced carbon consumption by over 47 per cent and cut energy use by 72 per cent. It also avoided 85 per cent of the material having to be sent to an approved Waste Electrical and Electronic Equipment handler. The reduction in power density resulted in 5W/m2 for LED, compared to the fluorescent density at 13W/m2.

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Entopia Building Cambridge, UK

BY BDP

The lighting of the Entopia Building in Cambridge has won a GREEN for BDP. Some 350 luminaires removed from a London office fitout were reused in the exemplar sustainable building for Cambridge University.

BDP upgraded and reused the lights in the transformation of a 1930s telephone exchange in the £12 million project to create a new headquarters for the Cambridge Institute for Sustainable Leadership.

The original supplier of the lights agreed to re-test and rewarrant the lights, and new endplates for the fittings were 3D printed so they could be installed on the exposed ceiling.

This process was reliant on insurance approval and the client’s willingness to engage in the reuse process.

Energy consumption post-refurbishment is expected to be less than 16 per cent of the pre-refurbishment level.

The adoption of a ‘fabric first approach’, in which reducing energy demand is prioritised above obtaining energy from more sustainable sources and is considered in design before the building services, led to a remarkable improvement in the predicted energy performance of the building envelope, its structure and the components that enclose the internal spaces.

This enabled a corresponding reduction in equipment capacities required in the building’s mechanical, electrical and plumbing (MEP) systems.

The energy performance of the building will be monitored via a three-year post-occupancy evaluation (POE) programme to allow actual consumption data to be compared with predicted performance.

By reducing the requirements for the building’s services, the team could achieve a substantial corresponding reduction in the building’s carbon and material footprint.

Max Fordham was the consulting engineering at later stages in the project. The lighting designers were Colin Ball and Scott Kluger.

Pictures: Jack Hobhouse

Senate House Steps University of London

BY BDP Senate House Steps, an exemplar showcase for the circular economy, has won a GREEN Build Back Better Award.

A new, fully flexible and demountable architectural installation, it is a symbol of opportunity and a new place for students at the heart of the university estate, also encouraging use by the wider community.

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 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.

Picture: Nick Caville

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THE BUILD BACK BETTER AWARDS 2023

PRODUCTS

NightScape Technology

BY LUMILEDS

NightScape technology, which minimises the blue component of LED modules, has won a PLATINUM Award.

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.

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 per cent in the 400-500 nanometer range of the visible light spectrum.

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Lorelux sustainable urban luminaires The Lorelux range of range of street and urban lights made from post-consumer plastic waste has won both a GOLD and GREEN. With wall thicknesses greater than 5mm, Lorelux luminaires are ultra-resistant to impact and scratch and solve the problem of long term corrosion in a sustainable way using Plastic Second Life certified and infinitely recyclable materials, with up to 98 per cent post-consumer plastic content.

By using recovered materials and reusing the polymer lighting body – by repairing or upgrading its technological components – it’s possible to reduce the extraction of raw materials and save about 15 kg of CO2 for each avoided replacement (source: LCA study conducted in accordance with the requirements of ISO14040 and ISO14044 international standards).

They are resistant to corrosion by atmospheric agents and pollutants, with no flaking or discolouration from UV rays.

Thanks to the Rotoskin technology, Lorelux luminaires are characterised by an anti-UV and self-cleaning protective shield in recyclable and PSV (Plastic Second Life) certified polymers, giving the products an impressive structural strength and resistance to UV rays, as well as to discolouration.

These features give the luminaires exclusivity in design, since rotomoulding technology – used for manufacturing Lorelux products – is eco-friendly and flexible at the same time, allowing manufacturing single-pieced objects with complex outlines, with no welding lines or joints.

The Rotoskin manufacturing technology, patented by Lorelux, allows manufacturing urban lighting luminaires through a moulding process that is free of gases and toxic vapours, by using PSV (Plastic Second Life) certified and UV stabilised polyethylene. In this way, the brand has implemented a set of actions to foster a transition from a linear to a circular economy system.

THE BUILD BACK BETTER AWARDS 2023

Firestay Sustainable Geo

BY BELL The Firestay Sustainable Geo fire-rated downlight has won a Build Back Better GREEN Award.

The Firestay Sustainable Geo® modular downlight has a housing which is designed to remain in the ceiling for life, as any replacement of the light engine doesn’t require removal of the housing.

The Geo-Mod® light engine enables the user to replace the CCT LED unit at the end of product life, with the module designed to be returned to a local Bell Lighting collection hub such as an electrical wholesaler.

Bell says that in turn, 90 per cent of all material returned will be re-used and re-manufactured.

There are six bezel options – white, satin, brass, antique brass and matt black – and four colour temperatures. The packaging is manufactured from 100 per cent recycled material.

The measures mean that the patented Geo has achieved an ‘excellent’ TM66 rating for its circularity.

There’s a seven year warranty, a lumen maintenance ratio of 80 and an IP ratings of IP65. It’s also certified fire-rated for I-joists.

Downlights are a huge category in the lighting industry. AMA Research estimates that 20 million downlight units are released into the UK Lighting market every year, with only 25 per cent of the material used currently recycled.

ReCinder BY ROSY NAPPER ReCinder, a project to create light made from waste coal ash, has won a Build Back Better GREEN Award.

Product designer Rosy Napper, a ceramic specialist and a graduate of the Central Saint Martins art school in London, created a series of luminaires made from waste coal ash and discarded ceramic. She says that the recycled material has a unique translucent quality.

Napper has created the ReCinder range using the medium, which she believes is one of the few 100 per cent recycled ceramic materials available which is capable of a translucency to rival porcelain. The latter is increasingly seen as unsustainable.

The material can filter blue light, while letting all other colours of light pass through. The light source is Ledvance LED battens.

Napper believes the material has applications in luminaires for domestic lighting applications.

Aeromax

BY ACROSPIRE The Aeromax standalone solar-powered luminaire and energy storage system

by Acrospire has won a Build Back Better GREEN Award. Developed with its partner Green Frog Systems, the Aeromax harnesses solar power during the day and stores it for use during nighttime hours. It features advanced solar harvesting and energy storage capabilities with an efficacy of 194 lm/W. On one charge it can provide continuous illumination for up to 15 days autonomy without additional charge from the sun. It is also capable of power additional devices such as CCTV and Smart City sensors and controllers.

It meets it meets P3, P4 and P5 road lighting classes.

Options include a bat-friendly LED version which uses monochromatic LEDs which emit wavelengths that peak at 590nm or 690nm and do not have any blue (470nm), making them less disruptive to bats by minimising their attraction and interference. The Aeromax offers a range of control options from PIR to the Acrospire’s CMS platform, Smart Asset Management.

Aeromax embodies a robust and durable design, ensuring a long lifespan of over 100,000 hours with the solar panel rated for 25 years. The product has a fully-recyclable design. designing lighting global

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LIGHT & HEALTH

CAN TINTED GLASSES help night workers?

Photograph: Kristina Polianskaia/Pexels

Researchers are exploring if filtered eyewear can prevent the light-induced suppression of melatonin while maintaining performance and alertness in night-shift nurses.

Tinted glasses: The aim of the research is to determine if tinted eyewear aimed at maintaining melatonin at night would be effective, practical, and socially acceptable.

Some of the world’s top experts in lighting and health have been given a challenge. Establish if tinted glasses can protect the natural synthesis of melatonin in night-shift nurses while supporting their visual performance and alertness on the job.

Professor Mark Rea and Professor Mariana Figueiro of the Light and Health Research Center at the Icahn School of Medicine at Mount Sinai in New York have been awarded a grant by the Centers for Disease Control and Prevention to study personalised, non-invasive filtered eyewear interventions.

The suppression of melatonin production by nighttime retinal light exposure has been linked to health risks in nightshift workers.

Blue-blocking filters can preserve nighttime melatonin levels, and monocular light exposures can radically reduce nighttime melatonin suppression to as little as 10 per cent of that observed for conventional binocular exposures. The premise that the duo will propose is that positioning a blue-blocking orange filter over one eye will preserve binocular vision while reducing light-induced melatonin suppression relative to a completely unfiltered viewing condition.

This solution, they say, should not impede the performance of visual tasks that might require binocular vision, nor should it cause user discomfort.

Rea and Figueiro are proposing a laboratory experiment to determine whether blue-blocking filters and monocular viewing, alone or in combination, are effective for maintaining melatonin at night without affecting visual performance and subjective sleepiness.

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Some tests will be conducted at the Simulation Teaching and Research Center (STAR) at the Icahn School of Medicine at Mount Sinai to determine whether altered viewing interventions could influence melatonin levels and simulated task performance requiring depth perception in healthcare workers. These could include inserting catheter or intra venous drip in a dummy.

The final trials will involve nightshift working workers operating in actual hospital environments at Mount Sinai Hospital and Memorial Hospital in South Bend, Indiana.

There they will determine whether eyewear aimed at maintaining melatonin at night would be effective, practical, and socially acceptable. The trials will employ a crossover within-subjects design, exposing subjects to six separate experimental conditions (monocular/binocular x filtered/ non-filtered, two controls) over the course of six independent sessions.

The next stage will expose the volunteers to four experimental conditions (control, filtered binocular, filtered monocular, unfiltered monocular/dominant eye occluded) over the course of four nightshifts.

The final set of tests will explore salivary melatonin levels, sleepiness scores, and Likert scale responses, as the output measures.

This proposal is significant because of its practicality. Tinted glasses could serve as inexpensive and non-invasive optical interventions which could protect night-shift workers from the natural synthesis of melatonin. ■

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DARK SKIES The proposed lighting for Saint Patrick's Church, a magnificent heritage church which is on top of the hill which can be seen from the surrounding countryside. Render: Dark Source/Mayo Dark Skies 2023

DARK THOUGHTS A town in the west of Ireland has come up with a plan to tackle light pollution.

Renders: Dark Source/Mayo Dark Skies 2023

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DARK SKIES The town of Newport in County Mayo, Ireland has a problem. A problem with light. Light pollution to be precise.

The identification of the issue is partly due to its proximity to Mayo Dark Sky Park, a project with gold tier international accreditation for its dark skies. It’s free from artificial light and excess light pollution at night.

There is growing realisation that dark skies are important for biodiversity.

We’re losing nighttime pollinators through the excess of artificial light at night.

What’s interesting in Newport is that it is a community-led project. The town had an issue with a couple of lighting installations that had flood-lit heritage buildings so the group took it upon themselves as a community to put together a lighting master plan with expertise from lighting design practice Dark Source.

Saint Patrick's Church is a magnificent heritage church which is on top of the hill where it can be seen from the surrounding countryside. The previous lighting was very invasive and the group wanted to improve that and create beautiful experiences that could still be the pride and joy of the community.

The church is over 100 years old and has been lit by previous ‘vulgar’ spotlights that sprayed lighting into the sky.

The plan is to eventually replace it with a scheme that minimises spill but shows the beauty of the church. The Heritage Council has been helpful to Newport for a long time and it originally funded the lighting masterplan.

More recently, through the community Heritage Grant, the body funded the first phase of a pilot scheme to get a professional lighting designer – in this case a Dark Source – to put together a technical lighting specification and arrange architectural drawings.

The idea is to not only get some light concepts but also install some physical lighting to show the public how the lighting could be improved, and how it can balance the needs of the community with the environmental needs and create something beautiful at night. The images on this page have been created by Dark Source. ■

There is growing realisation that dark skies are important for biodiversity.

Photograph: Matthew Wu

The pioneering Wild Nephin National Park, known jointly as Mayo Dark Sky Park, in the west of Ireland, won a Gold Tier standard of International Dark Sky Park in 2016.

It’s no easy feat: The dark sky certification process is modelled on conservation programmes, such as UNESCO World Heritage Sites and Biosphere Reserves.

A Gold Tier award is the highest possible accolade, meaning that Mayo is now internationally recognised as one of the best places in the world to view the wonders of the night.

Mayo Dark Sky Park is a great example of a collaborative project between our communities, National Parks & Wildlife Service, Coillte, GMIT Mayo Campus, South West Mayo Development and Mayo County Council.

It’s a strong partnership formed between local people and state agencies who worked together on this project. The process of preparing a dark-sky application took over two years to complete from initial research to final documentation.

How the Seven Arches Bridge in Newport could look with a Dark Sky lighting approach. Render: Dark Source/ Mayo Dark Skies 2023 designing lighting global

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CIRCULAR LIGHTING LIVE 2023

REUSE GOES MAINSTREAM The reuse of luminaires is being normalised. That was one of the key messages to come from the Circular Lighting Live 2023 conference in London in September.

The event, held at the Royal College of Physicians in London, brought together 290 delegates for the most comprehensive review of circular economy progress in the lighting industry.

A total of 35 speakers and panellists provided a fully comprehensive review of the legislation, and actions that companies in the UK and elsewhere are taking to drive forward the circular economy.

Major commercial real estate developers, their architects and design teams are beginning to either reuse existing luminaires by retrofitting upgrades, or in a few cases, use luminaires from a completely different building.

Delegates heard presentations from clients who had reused luminaires, included Rolls Royce, Cambridge University, The Holburne Museum, Dublin Port Tunnel and Building Craft College.

Chairman, Ray Molony said: ‘This imaginative new thinking is leading to new business models and the growth of a vibrant remanufacturing sector in the lighting industry.

Remanufacturers take used lights, upgrade them to the latest efficient LEDs and wireless controls and then, crucially, warranty them.”

Recolight Reuse Hub The Recolight Reuse Hub was launched at the conference.

It provides an online digital marketplace for the donation and reuse of lighting products. That can either be brand new unsold stock that will not be sold, or used product that could be remanufactured.

The regulatory landscape is set to change dramatically with many circular economy regulations and directives being developed at EU level. These include the Ecodesign for Sustainable Products Regulation (ESPR), Right to Repair legislation and a raft of other rules affecting green packaging, sustainability information, substantiating green claims, chemicals and waste. Maurice Maes, Head of Standards and Regulation at Signify, gave an essential

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update on the regulations and how they will affect businesses in the lighting supply chain.

Maes told the audience: ‘It has been a fantastic experience to witness the green ambitions of the UK lighting industry and to see the many innovative circular designs and successful remanufacturing projects. I am sure the Recolight Circular Lighting Live event will further fuel and accelerate this amazing trend.’

Specifiers and end users now asking for a wide range of environmental metrics, including environmental product declarations (EPDs) life cycle assessment (LCAs), and embedded carbon calculations (such as TM65) and circularity assessments (eg TM66).

Leela Shanker, founder of the Life Cycle Assessment

CIRCULAR LIGHTING LIVE 2023

The reuse and reconditioning of luminaires is increasingly being normalised, as a number of case studies at the Circular Lighting Live 2023 in London attest.

Incubator of the GreenLight Alliance and the IALD, said: ‘We need a global approach to align emerging carbon accounting and material transparency frameworks. This will allow us to keep moving with the best ideas from around the world, save designers time in upskilling, give manufacturers certainty on the business case for reporting and ultimately, accelerate implementation of circular design principles and decarbonisation strategies.’

The GreenLight Alliance plans to publish EPDs from five types of generic fixtures and this can be used as a benchmark for specifiers. Greenlight has also issued a document with generic but meaningful language to help designers protect their specifications.

Delegates heard of the changes to CIBSE specifications TM65 (embedded carbon) and TM66 (circularity). Both Designing Lighting Global editor Ray Molony chaired the proceedings at Circular Lighting Live 2023

specifications were widely lauded as providing effective ways in which lighting producers can assess and publicise the sustainability of their products, and specifiers can compare the sustainability credentials of similar products.

The conference also highlighted considerable concerns regarding the level of waste associated with Cat A fitouts.

All too often, brand new luminaires are removed and scrapped when a fully fitted out building is handed to new tenants. A number of solutions to tackling this waste were considered.

Summarising the event, Nigel Harvey, CEO of Recolight said: ‘It was truly inspirational to see so many examples of organisations that are putting the circular economy into practice.

‘The vital significance of the conference was thrown into sharp focus by the deeply disappointing announcement that the Government is watering down key climate action policies. It is clear given this lack of ambition; it is the corporate sector that must now rise to the challenge.’ ■

The audience at Circular Lighting Live 2023 heard how an avalanche of green laws are in the pipeline, with many circular economy regulations and directives being developed at EU level.

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INNOVATIONS New architectural lighting products available for specification

QUINTA

ERCO

AMBITUS

Zumtobel Ambitus 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. Microlenses arranged in a circular array spread light evenly across the 60-centimetre diameter, made possible by an extremely slim and flat light ring. Despite its discreet design, the luminaire's perforated underside showcases its circular shape, adding visual interest. It’s designed by renowned luminaire designer Yorgo Lykouria of Rainlight Studio in London.

The 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. Quinta uses the standard mounting rings of Erco's recessed luminaires, and Recessed spotlights supplement ceiling-integrated general lighting with components such as accent lighting and wallwashing.

NISSHOKU

YUICHIRO MORIMOTO Tokyo-based product designer Yuichiro Morimoto has unveiled this softly-glowing light which uses no electricity or battery. Instead, a specially treated ‘light-collecting’ acrylic surface absorbs ultra-violet light and redirects light to its edges. Nisshoku, meaning ‘eclipse’ in Japanese as its resembles a solar eclipse, is believed to be the first luminaire to use the technique.

Created by Yuichiro Morimoto, it gradually lights up to exude a warm glow around its edges. Yuichiro is a graduate of both Chiba University and Musashino Art University.

CAROUSEL

Pablo Pardo + Pablo Studio Carousel blurs the line between ambiance and utility combining a low-setting wireless charging tray surface for your mobile devices with warm, glare-free illumination. Its low-profile LED light module is discreetly concealed below its mating tray and is suspended on a transparent, fluted acrylic cylinder diffuser that radiates mesmerising light patterns onto the table surface below. Aimed at desktop or bedside use, Carousel embodies a uniquely hybrid perspective on what a personal light can be.

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CIRCULAR LIGHT PROFILES

BUTTERFLY

Selux

Lightly

Selux has unveiled a sophisticated technology for its luminaires which can tune the light distribution, colour and intensity according to an integral pre-programmed controller. It’s believed to be the first exterior light from a major brand to automatically adjust its light distribution during the evening and night.

Lightly promises ‘diffusion without diffusers’ with the Butterfly. It delivers 100 per cent direct optical distribution. The fixture uses two light sources aimed at an arch finished in highly reflective eco-friendly paint to deliver a low-glare glowing illumination without needing plastic diffusers. The design process started with the creation of a sustainable material library and laboratory where the company's engineers could play with the most sustainable materials available, and start to shape new materials into familiar solutions. Wood, wool, and hemp are the most prevalent materials in Lightly products.

The company says the science-based Circular Light Profiles are embedded in the driver, obviating the need for a connected control system and simplifying planning and support. The luminaire is delivered ready for use with the intelligence inside the product.

COIL AND SEA FOAM

LightArt This range of pendant luminaires is made from beach waste such as fishing nets and washed-up plastic bottles.

The Coil Seagrass and Sea Foam pendants represent an expansion of the company’s sustainable design manufactured from waste. LightArt is something of a pioneer in sustainability. It launched its first flagship product with recycled content 17 years ago. Last year, it introduced a product with 75 per cent recycled content from its factory scraps, ‘seeking to close the loop’ on linear manufacturing.‘

NORT

Shoplight Shoplight’s Nort spotlight boasts a bioplastic housing.

The retail lighting specialist says that using plant-based polymers for the Nort rather than traditional aluminium housing allows it to reduce carbon emissions during manufacture by up to 95 per cent. The Nort features a patented cooling system dubbed ppVenTEC which uses airflow aerodynamic principles to take the heat away from the LED sources and boost natural convection.

In all orientations heat is directed away from the LED and driver. designing lighting global

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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

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The transformational lighting installation at Orientkaj Station in Copenhagen won PLATINUM in the lighting category of the Build Back Better Awards 2023. Light Bureau was challenged to create a site-specific installation that would increase feelings of safety while bringing delight and visual interest to the space. Picture: Rune Brandt Hermannsson (Light Bureau)

LIT Design Awards

iF Design Award

FINAL SUBMITTAL DATE 22 October 2023

FINAL SUBMITTAL DATE 8 November 2023

ANNOUNCEMENT DATE EST November 2023

ANNOUNCEMENT DATE mid-April 2024

FINAL SUBMITTAL DATE EST November 2023

AWARD NIGHT 29 April 2024, Berlin

ANNOUNCEMENT DATE EST January 2024

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Light Middle East Awards

TRADE SHOWS

21-22 NOV 2023

21-22 NOV 2023

16-18 JAN 2024

2-8 MAR 2024

LONDON

LONDON

DUBAI

FRANKFURT

28 FEB - MAR 3 2024 19 - 20 MAR 2024

6-9 APR 2024

16-21 APR 2024

NEW YORK CITY

HONG KONG

MILAN

TOKYO

9 -12 JUN 2024

21 - 22 Jun 2024

6-9 AUG 2024

1-3 SEP 2024

9 OCT 2024

GUANGZHOU

LONDON

SAO PAULO

LONDON

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ATTENTION

LIGHTING DESIGNERS AND SPECIFIERS

Showcase your project on designinglightingglobal.com! 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.

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ORG NEWS London to host IALD Enlighten Europe 2024

Arup took the SLL Technical Award in the Ready Steady Light competition for its installations representing the four seasons. Picture: Graham Baker Photography

IALD Enlighten Europe 2024, one of the lighting design industry’s leading conference events, is set to take place in London in June 2024.

Developed by lighting designers, for lighting designers, Enlighten Conferences present top-tier educational sessions led by the brightest minds in the profession. Each event benefits the hundreds of attendees through deep discussion and networking opportunities.

IALD Enlighten conferences bring the worldwide professional community together in a comfortable and respectful environment. It’s a great chance for professionals across the spectrum to meet and connect, including designers, architects, engineers, manufacturers, and suppliers. Building and maintaining a strong professional network can lead to potential collaborations, valuable feedback, and valuable industry contacts.

The cornerstone of Enlighten conferences is the educational opportunities provided by a full agenda of speaking sessions led by brilliant presenters. Exposure to a diverse range of design projects, case studies, and innovative approaches sparks new ideas and creative solutions. Hearing from industry leaders about their successful projects is both motivating and provides fresh perspectives.

In addition to the networking and professional development advantages of attending EE24, being among so many respected industry peers gives us the opportunity to recognise and celebrate the vibrance and vitality of professional lighting design.

A number of social gathering and reception events are in development to ensure a cheerful, supportive, and memorable conference event.

Held in the fascinating city of London, IALD Enlighten Europe 2024 promises to be an unforgettable and illuminating experience for all in attendance.

SLL celebrates 20th Ready Steady Light competition The Society of Light and Lighting (SLL) held its annual Ready Steady Light competition in October 2023, in partnership with Rose Bruford College and the International Association of Lighting Designers (IALD), in the grounds of Rose Bruford College outside London.

This year 15 teams competed against each other to design and set up temporary exterior installations with a limited range of equipment in only 180 minutes.

Returning to basic design and engineering, the teams were tasked with lighting their site in its natural state with the equipment provided. They each had to overcome challenges without a budget and within the time constraints.

Andrew Bissell from Ridge and Partners, SLL Immediate Past President, Kael Gillam and Juan Ferrari from Hoare Lea judged the Technical Award.

Emma Cogswell and Beatrice Bertolini from the IALD along with Sofia Alexiadou Programme Director BA Creative Lighting Control, Programme Director MA Light in Performance and freelance Lighting Designer judged the Artistic Award. The 2023 Peer Prize, a much-coveted award was judged by the contestants taking part.

Xavio Design was awarded both the Artistic Award and the coveted Peer Prize for its installation that took inspiration from the Mexican Día de los Muertos (Day of the Dead). The team lit the façade of one of the oldest college buildings, accentuating its cross-like anchor plates and window frames in the shape of a cross. They used playful colours to create a joyful message and to reflect the colourful Mexican celebration.

The SLL Technical Award was presented to Arup for their installations representing the four seasons.

IALD Enlighten Europe 2024 is set to take place in London in June 2024. Photograph: Pexels

Coleman Deady Ridge, Graduate Lighting Designer at Arup explained: ‘Rather than creating one large lighting installation we decided to use our luminaires to form four small scale, theatrical installations based on the four seasons. We used different lighting techniques and colours to express the feelings and emotions of each scene.’

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In your next issue of

designing lighting global…

Wireless Controls Wireless lighting controls are quietly revolutionising the way lighting systems are managed and operated. By eliminating the need for complex wiring, these controls provide flexibility, convenience, and scalability in adjusting and automating lighting settings. They allow for easy installation and reconfiguration, enabling quick adjustments to accommodate changes in space usage or preferences. With wireless connectivity, lighting controls can be remotely accessed and monitored, offering enhanced control and energy efficiency.

Lighting, Sustainability and the Circular Economy In the next issue, we’ll explore the crucial role that lighting plays in sustainability and the circular economy.

Implementing smart lighting controls, such as occupancy sensors and daylight harvesting, can really enhance energy efficiency. The circular economy is supported by choosing sustainable lighting solutions that are designed for longevity, recyclability, and easy repair. By embracing sustainable lighting practices, we minimise waste, conserve resources, and contribute to a more environmentally friendly and economically sustainable future.

Retail Lighting Retail lighting plays a vital role in creating an enticing and immersive shopping experience. Thoughtful lighting design enhances product visibility, highlights displays, and sets the desired ambiance. Retailers are increasingly using dynamic lighting solutions to adapt lighting schemes to different areas or promotional events, maximising visual impact. We’ll look at some exemplar installations from around the world.

PUBLISHED IN JANUARY 2024. EDITORIAL AND ADVERTISEMENT COPY DEADLINE: JANUARY 2024.

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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

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UP CLOSE

UP CLOSE

Maida Hot WITH

One of the first projects I worked on with Fulcrum Consulting when I came to London was the Elizabeth Fry Building at the University of East Anglia. It was very much ahead of its time and it was hailed as the UK’s best performing building in terms of low energy. That was more than 30 years ago.

Since then the whole movement died off in a way. I just think that we could have done so much more [with sustainability], so much sooner. The tools were there to do that but nobody was really pushed to do it.

We worked closely with the architects and blurred the boundaries between the engineering and the architecture.

It was great training for a career in lighting consultancy as I learned about all the other services in a building.

One thing that I found throughout my practise in lighting is that design criteria in terms of the light levels and the tables haven’t really moved on much.

All the research that has been done throughout the years has been quite stagnating. I think we need to do some proper research. We need to question the light levels for certain users. Do they need to be what they are?

I think we need to reappraise it because the visual environment is so different from what it used to be. For instance, it’s extraordinary how, when you give people real power over their lighting, they work in darkness.

Lighting design is essentially about revealing everything you want to see and directing you through the space.

But to create a successful outcome, understanding the team members' different disciplines is crucial.

The challenge, especially for younger staff, is about how you communicate your ideas to everybody else. Not just in a drawing, but how do you present it so people actually understand it.

It’s about being confident enough to have that open discussion in a wider team, understand where they're coming from and get in a good place.

It’s about talking with honesty and a vulnerability instead

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of ‘we are the lighting gods who have come down from the mountain with this design’. if you’re insular, you never get what you want and you can make enemies.

You need to still have friends at the end of the project and people still want to work with you.

For example, if the architects explain to us what's precious for them, what's really a key for their design, what they won’t give up on and what they can, then you can also say, this is a key for our design. This is what we can't give up on.

You then end up with a session that works for both of you and perhaps opens up some fresh ideas.

It’s easy to get stuck in a bubble of lighting design. But when you engage with architects, engineers, structural engineers, that process can enrich your designs as well.

It also makes commercial sense as it brings repeat business.

People like to work with particular teams and particular people and dynamics of a company or the approach.

I would say to young designers, look at every opportunity to gain knowledge. Look at new buildings and old buildings.

There's so much inspiration everywhere. Don’t see it as a chore, but part of you. Just looking everywhere, and make a mental note or take a photograph or whatever.

But probably the most important thing is that lighting design is not just a profession, it's a passion.■

Maida Hot is managing director of London-based EQUATION Lighting Design

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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.

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

Jonathan Rush video ‘We want data from manufacturers’

Janet Lennox Moyer Discusses Key Landscape Lighting Technique

Bastiaan de Groot, founder of INGY, discusses Smart Buildings

designing lighting (dl) magazine launches a global issue.

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

designing lighting global