arc April/May Issue 115

LIGHTING IN ARCHITECTURE

115 APR/MAY 2020 www.arc-magazine.com

#115 APR/MAY 2020

Home Comforts The Flaming Beacon brings a touch of warmth to Kuala Lumpur’s RuMa Hotel THE LIGHTING PRACTICE 30TH ANNIVERSARY • HOSPITALITY FOCUS • CASAMBI AWARDS NEW PRODUCT FOCUS • WOMEN IN LIGHTING 1ST ANNIVERSARY

L I G H T I N G I N A RC HI T E C T UR E PRI NT

ON LIN E

EVE NT

d arc-media.co m

darc maga z i ne.co m

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115 APR/MAY 2020 www.arc-magazine.com

MediaCityUK was illuminated using Tryka fixtures to commemorate the #LightItBlue movement in the UK to celebrate the NHS during the global pandemic.Pic: Sarah Cullen

Power of Healing Landmark buildings across the UK are illuminated in blue as symbol of gratitude to the NHS during the Covid-19 outbreak.

THE LIGHTING PRACTICE 30TH ANNIVERSARY • HOSPITALITY FOCUS • CASAMBI AWARDS NEW PRODUCT FOCUS • WOMEN IN LIGHTING 1ST ANNIVERSARY

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6 light spectra and tunable white and RGBW

Wireless Connectivity via Casambi Bluetooth and Zigbee as well as DALI

11 interchangeable light distributions Combinable photometric accessories

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Photography Lichtpunt / Roelof Bos

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WINNER

PLACES: Best Interior Lighting Scheme Low Budget

International Presbyterian Church, UK

WINNER

STRUCTURES: Best Exterior Lighting Scheme Low Budget

WINNER

KIT: Best Lighting Products Exterior

WINNER

STRUCTURES: Best Exterior Lighting Scheme High Budget

Bamboo Pavilion, Taiwan

Pipien - Stoane Lighting

Chineh, Iran

Are you a [d]arc WINNER

PLACES: Best Interior Lighting Scheme High Budget

WINNER

SPACES: Best Landscape Lighting Scheme High Budget

WINNER

ART: Best Light Art Scheme Low Budget

Under, Norway

Aurora Experience, Finland

Entries are now open for the 2020 [d]arc awards!

Enter projects and products online at www.darcawards.com.

All entries are displayed online and will be voted on by independent designers making the [d]arc awards the only peer-to-peer awards in the lighting industry. Each company that enters will receive a free profile page in the [d]arc directory.

So what are you waiting for? You may just be a winner...

Entry deadline: 7th September 2020

Kaamos Aurinko, Sweden

WINNER

ART: Best Light Art Scheme Bespoke

Organised by

In collaboration with

Biophilic Light, Netherlands

WINNER

WINNER

ART: Best Light Art Scheme High Budget

EVENT: Best Creative Lighting Event

WINNER

KIT: Best Lighting Products Interior

Winter Lights, UK

Where The Rainbow Ends, France

Eyeconic Range - Phos

awards winner?

WINNER

KIT: Best Lighting Products Decorative

WINNER

SPACES: Best Landscape Lighting Scheme Low Budget

The Musicon Path, Denmark

[d]arc night, the spectacular and creative awards party, will take place at MC Motors in London on 3rd December 2020.

www.darcawards.com

Noctambule - Flos

044 The Lighting Practice As US studio The Lighting Practice celebrates its 30th anniversary, we take a closer look at some highlights from its extensive portfolio.

Contents

APR/MAY 2020 014 016 018 020 022 038 040 116 128 130

Editorial Comment Headlines Eye Opener Drawing Board Spotlight Snapshot Dark Source Manufacturer Case Studies Event Diary Bucket List

036 Briefing: Kael Gillam & Kaye Preston Nulty’s Kael Gillam, and interior designer Kaye Preston tell arc all about Designers Mind, a new forum aimed at raising awareness of mental health and wellbeing in the design industry

042 Clear As Day Sweco Architects discuss the importance of daylight strategy collaboration in architecture, and why daylight specialists need to be involved from an early stage.

056 Women in Lighting A year on since the launch of Women in Lighting, its founders and ambassadors reflect on twelve months of success.

110 Casambi Awards The first annual Casambi Awards celebrated the best projects from the past year that utilise the company’s wireless lighting controls.

112 What You Should Have Seen As a number of high-profile lighting exhibitions have been cancelled over the past few months, we take a look at some of the products that would have been on show.

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096 nHow Hotel, UK The latest addition to nHow’s growing portfolio of hotels, nHow London is a vibrant, playful destination, featuring lighting design from Elektra Lighting.

Projects

APR/MAY 2020

064 Astir Palace Four Seasons, Greece Lighting Design International has created a serene yet stylish lighting scheme for the luxurious Astir Palace Four Seasons.

076 Seminole Hard Rock Hotel & Casino, USA A major renovation at Florida’s Seminole Hard Rock Hotel & Casino saw Focus Lighting create a scheme that brought a lighter, more resort-style feel to the Hard Rock brand.

086 RuMa Hotel & Residences, Malaysia Lighting design from The Flaming Beacon helps to create a warm, homely environment for guests at Kuala Lumpur’s RuMa Hotel and Residences.

102 Al Fattan Crystal Towers, UAE The striking façades of Dubai’s Al Fattan Crystal Towers are complemented by a lighting scheme from ZKLD that is both dynamic and serene.

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6500 K

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EDITORIAL

Front cover: RuMa Hotel & Residences, Malaysia (Pic: Zhu Hai)

Editorial

Managing Editor Helen Ankers h.ankers@mondiale.co.uk Editor Matt Waring m.waring@mondiale.co.uk Assistant Editor Sarah Cullen s.cullen@mondiale.co.uk Editorial Intern Imogen Holland

Commercial

Managing Director Paul James p.james@mondiale.co.uk Head of Business Development Jason Pennington j.pennington@mondiale.co.uk Media Sales Manager Andrew Bousfield a.bousfield@mondiale.co.uk Subscriptions / Marketing Manager Moses Naeem m.naeem@mondiale.co.uk

Design

Design Manager David Bell d.bell@mondiale.co.uk Production Mel Robinson m.robinson@mondiale.co.uk

Corporate

Chairman Damian Walsh d.walsh@mondiale.co.uk Finance Director Amanda Giles a.giles@mondiale.co.uk Credit Control Lynette Levi l.levi@mondiale.co.uk [d]arc media Strawberry Studios, Watson Square Stockport SK1 3AZ, United Kingdom T: +44 (0)161 476 8350 www.arc-magazine.com arc@mondiale.co.uk

Stay home, stay safe...

And enjoy the latest issue of arc magazine...

As I write this from my spare bedroom/newly-converted home office, I’m struggling to comprehend just how much the world has changed

in the two months since we went to print on our last issue. You don’t need me to tell you about Covid-19, or about the devastating impact

that it has already had around the world; all I will say is that, on behalf of everyone at [d]arc media, I sincerely hope that you’re all safe, staying well, and keeping in positive spirits in these dark times.

While these are truly unprecedented times, it’s been quite remarkable to see the level of support and solidarity across the lighting industry over the last few weeks - from simple group chats (shout out to

The Corner Crew!) to wider support groups and initiatives such as

the Light Minded Movement, recently set up by IALD, ILP, SLL and

Zumtobel Group, and Designers Mind (Check out this issue’s Briefing for an insightful interview with founding members Kaye Preston and Kael Gillam on page 36). The lighting design world has always felt

more like a community to me than anything else, so to see it in action during these times of crisis is very heartening.

With all of this in mind, it feels a little redundant to be talking about the latest issue of arc, but while it’s certainly been a new challenge

piecing it all together remotely, we’re really pleased with this issue, and we hope that it will provide you with some light entertainment

and welcome distraction from everything going on in the wider world.

Readers of our digital issue will also notice a special second cover

featuring a great shot from our own Sarah Cullen of Salford’s Media

City, illuminated in blue as part of a UK-wide message of support to

the wonderful work of the NHS. A big shout out to Tryka LED for their work in creating this particular tribute.

Finally, I’ve seen a number of motivational quotes shared across

social media over the last couple of months to try and boost morale.

The most poignant for me was a Murakami quote shared by Foteini

Kyriakidou on the latest Women in Lighting newsletter: “And once

the storm is over, you won’t remember how you made it through, how you managed to survive. You won’t even be sure whether the storm is

really over. But one thing is certain. When you come out of the storm, you won’t be the same person who walked in.”

Stay safe everyone!

Printed by Buxton Press To subscribe visit www.arc-magazine.com or call +44 (0)161 476 5580 arc, ISSN

17535875, is published bi-monthly by Mondiale Publishing, Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ. Subscription records are maintained at Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ.

Matt Waring Editor

Spatial Ltd is acting as our mailing agent.

Proudly Supporting

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NEWS

Headlines Covid-19 causes widespread disruption across lighting industry (Global) – The pandemic has caused mass cancellations of events around the world.

As the ongoing Covid-19 pandemic continues to have a deep and lasting impact around the world, the lighting industry has seen a large number of high-profile events and exhibitions postponed, or cancelled altogether, as efforts continue to be made to “flatten the curve” and halt the spread of the virus. The latest of which being the postponement of [d]arc room until 2021, following the decision from London Design Fair to reschedule the event..

Originating in China at the end of 2019, the virus has since spread to Europe, the US and the rest of the world in recent months, causing mass disruption and devastation with, at the time of writing, almost a million confirmed cases globally, and more than 43,000 deaths.

Countries across the world have imposed strict lockdown measures as an attempt to reduce the spread, with travel bans, curfews and restrictions on gatherings put in place. These measures have led to mass cancellations of events, with many rescheduled towards the end of the year, in the hope that the threat posed by the virus will be reduced in the coming months.

In February, it was announced by Messe Frankfurt that Light+Building, initially scheduled to take place 8-13 March, was to be postponed until later in the year, with new dates confirmed as 27 September – 2 October. The announcement came quickly after a spate of cancellations, most notably from Signify, which announced it would not take part in the event, due to the health risks associated with the coronavirus.

The move from March to September had a serious knock-on effect to shows already scheduled to take place later in the year, with LpS/TiL, slated to take place on 22-24 September, and PLDC, due to be held in New York on 8-10 October, both cancelling following the announcement.

Show

Original Dates

New Dates

Light+Building, Frankfurt, Germany

8 - 13 March

27 September - 2 October

LEDucation New York, USA

17 - 18 March

18 - 19 August

Salone del Mobile, Milan, Italy

20 - 26 April

Cancelled

LightFair International, Las Vegas, USA

3 - 7 May

Cancelled

Clerkenwell Design Week London, UK

19 - 21 May

14 - 16 July

GILE Guangzhou, China

9 - 12 June

No Change

LED Expo Thailand Bangkok, Thailand

24 - 26 June

7 - 9 October

LEDforum.20 Sao Paulo, Brazil

20 - 21 August

5 - 6 November

Plasa London, UK

6 - 8 September

No Change

[d]arc room London, UK

17 - 19 September

New Dates TBC 2021

Trends in Lighting Bregenz, Austria

22 - 24 September

Cancelled

PLDC New York, USA

8 - 10 October

Cancelled

IALD Enlighten Americas Palm Springs, USA

22 - 24 October

No Change

Hong Kong Int’l Lighting Fair Hong Kong

27 - 30 October

No Change

IALD Enlighten Europe Oslo, Norway

18 - 20 November

No Change

[d]arc awards London, UK

3 December

No Change

All dates correct at time of publication, subject to change.

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Light + Building, initially due to take place from 8-13 March, has been postponed until late September, and was the first major lighting show to be affected by the Covid-19 pandemic. (pic: Messe Frankfurt Exhibition / Petra Welzel)

Early March saw more postponements, with New York’s LEDucation suspended until mid-August, while LightFair International, scheduled to take place in Las Vegas in early May, was initially postponed until later in the year. However, the show has since been cancelled entirely, with the next edition now taking place in New York in May 2021 In the UK, May’s Clerkenwell Design Week has been pushed back to 14-16 July, while Plasa Focus Leeds, due to take place on 12-13 May, has been cancelled. However, Plasa, scheduled for 6-8 September at London’s Olympia, is still, for the moment at least, proceeding “full steam ahead”.

Salone del Mobile in Milan was initially pushed back from the end of April until June, but has now been suspended entirely until 2021.

Further afield, Brazil’s LEDforum.20 has been postponed from late August to 5-6 November, while LED Expo Thailand has moved from 2426 June to 7-9 October.

Sadly, Diversified Communications UK has also confirmed that this year’s London Design Fair, and therefore [d]arc room, due to take place at London’s Old Truman brewery on 17-20 September, has been postponed until 2021.

The decision is the result of the widespread disruption caused by Covid-19, as nearly 70% of the event’s exhibitors are based abroad and most have, understandably, requested to cancel their participation for 2020.

Paul James, Managing Director of [d]arc media, organiser of [d]arc room, commented: “Obviously, we’re very disappointed that the event had to be cancelled but, given the current climate due to Covid-19, we think it’s the right call, and I commend Diversified Commnuications for making this decision so early to give clarity for exhibitors and visitors.

“We will, however, be going full speed ahead with the [d]arc awards, as this is an online platform for entering and voting, culminating in [d]arc night, the awards party, on 3 December in London.

“I think we could all do with a big industry party by then and, if it needs to be delayed a while if circumstances don’t change by December, this is something we can easily do.”

New show dates will be announced on the London Design Fair website (www.londondesignfair.co.uk), and the [d]arc room website (www.darcroom.com) soon.

To keep up to date with all the latest announcements regarding cancellations and postponements, visit: www.arc-magazine.com/covid-19-live-updates.

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EYE OPENER

#EachForEqual Worldwide International Women’s Day (IWD) was celebrated globally on 8 March 2020, with the global theme #EachforEqual.

International Women’s Day has been celebrating the social, economic, cultural and political achievements of women since 1911, with a continuous call to action for reaching gender equality. This year’s efforts were furthering this direction to reach the state of equality described on the IWD website: “An equal world is an enabled world. Individually, we’re all responsible for our own thoughts and actions – all day, every day. We can actively choose to challenge stereotypes, fight bias, broaden perceptions, improve situations and celebrate women’s achievements.

“Collectively, each one of us can help create a gender equal world.

The IWD 2020 campaign theme #EachforEqual is drawn from a notion of collective individualism. We are all parts of a whole. Our individual actions, conversations, behaviours and mindsets can have an impact on our larger society. A gender equal world can be healthier, wealthier and more harmonious.”

The team at Women in Lighting joined in the international movement by supporting and promoting the campaign throughout the lighting community.

Light Collective stated on the WiL social media platforms that their project “invites all Women in Lighting and their male supporters to celebrate our one year anniversary and International Women’s Day on Sunday 8 March. Join the international campaign #EachforEqual by posting a picture using the equal sign with your hands. Add colour, add light – get creative.”

With the aim of building gender equality, not just for women’s advantage, but for the benefit of global businesses and economy, the lighting industry responded in enormity via social media platforms by contributing their equal signs in unity.

The campaign not only ran on 8 March, but is a year long activity and collaboration: “The campaign theme provides unified direction to guide and galvanize continuous collective action, with #EachforEqual activity reinforced and amplified all year.

Collective action and shared responsibility for driving a gender equal world is key.” www.womeninlighting.com www.internationalwomensday.com

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Drawing Board

San Marino Residences & Marina Club Peru The San Marino Residences & Marina Club is one of the most luxurious and innovative new projects in Peru, combining urban, residential and club architecture, interior architecture and operation of marina, hotels, condominiums and premium clubs.

Located just two hours south of Lima, nar Paracas Bay, San Marino reaps the benefits of its idyllic setting, sitting on a large inland lake connected to the sea.

The concept for the lighting design, developed jointly

by Claudia Paz Lighting Design Studio and Skira Architectural Lighting, is based on a sustainable, adaptive and dynamic lighting strategy. There are possibilities for different lighting scenes, from a few main light sources illuminating the pathways, to the full potential of a lighting scenario that illuminates the entire resort.

The entire lighting system will be programmable, and allow for the regulation of intensity and colour temperature, depending on the frequency of people, season, weather conditions and special events.

The architectural spatial qualities are to be produced by blending and intertwining the public and private spaces, surrounded by the desert. Through a

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strategic light choreography of adaptive and sustainable rhythms, postures and pauses, Skira and Paz want to create a lighting design that is more than just a utilitarian solution, that uses architectural qualities, typologies and environments to produce new, experiential spaces with light.

The lighting design will introduce three new qualities of space: immaterial rhythms, rural pastures, and landscape pauses. Each of these will generate a new experiential space. Into the existing articulation of the public-private spaces, the lighting design will create a third typology – the ‘space of secrets’ or the ‘San Marino Secret Gardens of Light’.

The San Marino Residences & Marina Club resort is to be a self-contained, commercial and residential establishment that attempts to cater for holidaymakers’ and residents’ needs and wants within the premises. For that matter, it is crucial to consider the influence of light on any of these functional zones, and provide adequate levels of light, taking into account the sense of security and wellbeing of the users.

Reflection of light from illuminated surfaces in the nighttime landscape will be limited to a low level of reflection of exterior natural objects. The strong

DRAWING BOARD

Pics: Skira Architectural Lighting

contrast between lit and non-lit surfaces will then be extremely apparent, and will require well-balanced positioning of sources concerning objects such as trees and roads. By taking a blank canvas approach, the relationship between points of interest to the surrounding landscape and the intensity of light zones and objects within these, will define the space itself.

Paz and Skira aim to use light to create a definition of space, or a perception of boundaries and purpose.

For instance, in this project, different colours of light in areas near to the water can define a space as rural or urban, while uniformity of illumination in other areas could contribute to the perception of function.

Through a dynamic grid of individual light fixtures, or a group of fixtures interconnected in one particular area, there will be an ability to raise or lower the level of light on a given surface, creating apparent dynamic changes of illuminated areas, dependent on a time clock, programme or Conditional Logic. The dynamic grid will have a direct influence on energy consumption, and will presume an energy efficient lighting system, lowering the cost of operation and future maintenance.

Alongside this, the technical ability of the lighting system, called ‘Conditional Logic’, is to be preprogrammed with an astronomic time clock and sensor-triggered by external conditions such as seasonal, weather or social events. Conditional Logic will also directly influence the dynamic grid composition throughout the entire area, and is activated only if so desired by the owner.

The whole concept for San Marino Residences & Marina Club is based on a holistic approach to generate levels of illuminance according to particular zones or points of interest. Light topography is in direct relation with the functionality of each zone, where the light acts as a connective tissue, creating a balance in visual comfort throughout the entire area.

The lighting design concept envisions some sitespecific special features, using colour and luminous objects to create a unique experience for the user. www.skira.hr www.claudiapaz.com

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Spotlight

Aberdeen Art Gallery UK Following a four-year refurbishment led by Hoskins Architects, Aberdeen Art Gallery has recently reopened its doors.

Speirs + Major was commissioned to redesign the lighting throughout, in a scope that included existing and new galleries, event spaces and cafés, the Remembrance Hall, and the external nighttime image, as well as a refurbishment of the Cowdray Hall.

The design delivers the perception of positive, naturally-lit spaces consistently throughout the year – a high priority for the gallery, given the restricted number of daylight hours during the winter months.

In the historic Remembrance Hall, a new custom pendant has been suspended beneath the skylight.

A simple circular design with glowing sides, it spans an impressive 5.5-metres in diameter, casting light up into the dome, down to the gallery floor, and sideways to fill the space with light. It also incorporates audio-visual projectors for gallery and event use.

The pendant raises and lowers on a hidden winch system, allowing for various uses of the Hall, and to provide the flexibility to create different lit

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atmospheres. At the perimeter, the detail of the stepped columns is highlighted, emphasising the unique geometry of the space.

As part of the bold redesign, Hoskins moved the existing staircases out of the entrance hall to improve visitor access and flow. Instead, centralising vertical circulation within the atrium known as the ‘Sculpture Court’ also allowed for higher levels of natural light from the renovated skylight above. Looking up, the beams that cross the void have been lit on one side, highlighting them as an architectural feature, while also providing enough reflected light for circulation.

A historic, sculptural frieze wraps around beneath the original ceiling, its detail and texture enhanced by soft uplighting, while a bronze linear detail to either side of the new staircase creates a strong visual marker that guides the visitor journey. Uplighting to the vaulted arches completes the visual composition of the atrium, contributing a solid edge to the historic space.

Throughout all the galleries and event spaces, Speirs + Major has carefully integrated the artificial lighting to enhance the architecture, while also prioritising visitor enjoyment of the art.

SPOTLIGHT

Elsewhere, a new second floor and roof extension provides temporary exhibition space, as well as education and community event facilities and a café.

The inclusion of this level blocked off natural light from existing roof lights in the first-floor galleries. In a move to preserve the character of these spaces, custom colour temperature-adjustable lights behind the glazed panels help to recreate the feeling of natural light. The curvature of the ceiling is revealed by a slender detail, concealed on top of the historic coving.

A minimalist light track runs around the edge of the roof light, providing the flexibility to add more spotlighting as the curation of the gallery dictates.

The new second-floor galleries echo the skylights found in the Sculpture Court.

As a prominent, Grade-I listed building, a sensitive approach to the external lighting was required.

Simple and refined, light emphasises the historical details on the façade and marks the original gallery entrance portico.

Pin light details pick up on the rhythm of the cladding on the new roof extension, while warm customdesigned pendants for the new café are visible through the windows. Constructed in copper-coated aluminium and expanded metal, these pendants recall the design language of the new rooftop extension, helping to tie the composition all together as a whole. The adjacent, much-loved War Memorial and entrance to Cowdray Hall was also part of the lighting scheme, with highlights introduced to the colonnade, stone plaques and sculptural lion, reinforcing the presence of the Memorial by night. www.speirsandmajor.com

Pics: Gillian Hayes

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SPOTLIGHT

Pics: John Short

Archlight Cinema UK Archlight, a new boutique cinema at Battersea Power Station’s Circus West Village development, has been given a dramatic lighting scheme by Nulty. The lighting is intended to reinforce the interior scheme, created by Ab Rogers Design (ARD), where an original design aesthetic has been characterised by the bold use of colour, materiality and movement.

The all-LED lighting scheme works across interconnected arches, which house three cinema screens and a central ticket office. ARD’s overarching design concept was to create a warm underworld, compact in scale and cocooned from overpassing trains. This is defined by a unifying tonal palette comprising rich blue and green surfaces, upholstery and curtains, which have been paired with natural stone and bronze finishes.

The focal point of each screen is a three-dimensional ceiling of angled acoustic panels, designed to enhance the cinematic experience and reduce vibrations from the nearby railway.

Light performs an integral function within the cinema, enhancing the theatricality of the design by encouraging the flow of light across the expanse of the curved ceiling. Nulty carefully positioned discreet

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downlights behind the individual panels, calculating exactly how light would travel across the surface of the ceiling to produce a cascading illuminated effect.

Matthew Allen-Olivar, Intermediate Lighting Designer at Nulty, explained: “The layering and complexity of the acoustic panelled ceiling in each auditorium is what makes this such a remarkable project. The drama of the design takes precedence, so our challenge was to apply a technical methodology to the lighting design to create ‘catch and miss’ moments throughout the space.”

The illuminated panel ceilings have been set to deliver individual lighting scenes, greeting visitors with a dynamic effect on arrival, then slowly dimming to provide low-level lighting as the film begins. The aesthetic form of the ceiling is always visible, but slowly fades into the background, so as not to detract from the cinema screen.

Within Archlight’s Art Deco-inspired foyer, Nulty used functional track lighting and a backlit panel to illuminate merchandise displays and complement ARD’s handcrafted joinery and textured bronze surfaces. www.nultylighting.co.uk

SPOTLIGHT

Wave USA Artist Pablo Valbuena collaborated with Barcelona-based lighting engineers Sakma on his latest project – a light-art piece for La Prairie entitled Wave, which was on display at Art Basel on Miami Beach last December.

The latest in a series of collaborations with international artists by La Prairie, Wave offered a completely singular, extraordinary, immersive experience that underscores the singular shape of light.

To carry out this project, a total of 25 columns, each more than four-metres-high, were designed and manufactured to emulate the movement of the sea waves. Each column consisted of four faces, with 80 LEDs per face, each at 4000K. In total, 8,000 points of DMX-controlled LEDs lit up the installation.

Located on the shores of Miami Beach, the harsh environment and ruggedness of the installation’s environment formed an important factor for the piece, as it invited guests to fully immerse themselves in the shape of light.

“Wave depicts a sculptural volume unfolding over time,” said Valbuena. “The shape of light seized in perpetual movement.

It uses ephemeral and intangible materials – light and sound – and can be traversed by the observer, immersing them into the shapes cast by the undulating light columns.

“The work creates a malleable experience of scale: it shifts between object and environment, depending on the observer’s position inside, outside, or at the boundary of the installation.”

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Badoo Pop-up Bar Russia The Badoo dating service played host to a series of eight party nights at a historic mansion in Moscow city centre. Imaginative interior design, supported by an immersive lighting scenography designed by Valery Gorelova, helped create a relaxed atmosphere for guests. The main purpose of Gorelova’s lighting design was to convert the mansion into a surreal space on the border between reality and the virtual world.

Of the concept, Gorelova said: “Badoo’s online platform helps to find friendship and love, providing the best matches between users. People all over the world strive for harmony in relationships, so the idea of balance between Yin and Yang, soft and hard, warm and cold, light and darkness, natural and artificial became an inspiration for the interior and lighting design of the space.

“At the same time, cybernetic details like neon wires, projections and multimedia screens supported the image of the online dating service virtual reality.”

The events, held on Friday and Saturday nights, took over three of the mansion’s four floors, and, as it was a pop-up event, all fixtures had to be temporary, antivandal, and easy for removal, as other themed events were also organised on site during the week.

Several combinations of complex materials with reflective, refractive and distorting characteristics were chosen for the interior design and made a great

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impact on lighting solutions. One of the main ideas for the lighting scheme was to combine an imitation of natural lighting phenomena like reflections, refractions, and light gradients with high contrast artificial lighting, such as spotlights and lasers.

In order to emphasise the client’s commercial identity, the predominance of pink and purple colours in lighting and decorations became the key point in the design of the space. At the same time, saturated colours were diluted with grey and silver interior elements, while the 3000K colour temperature was chosen for the main spotlights, which were equipped with honeycomb louvres for visual comfort.

Coming inside from the street, visitors were plunged into the darkness of the entrance hall. The staircase in front of the entrance was lit by a soft oval flood to maintain safety, while a huge, five-sectioned window upstairs was clearly seen from the entrance, acting as a beacon to draw visitors towards a reception zone.

A window located just opposite the reception desk looked into a messy inner yard, so Gorelova used a dichroic filter as a glass coating to hide the courtyard. Backlit by temporary fixtures, the window was converted into a central light installation in the entrance area.

Architectural RGB linear fixtures were placed on the porch outside and directed diagonally upward into

SPOTLIGHT

the room to illuminate the walls and ceiling with no glare and low visibility of the light source.

Functional lighting of the passageways, stairs and reception table was provided by track spotlights equipped with honeycomb louvres or tubes for glare control, while two decorative table lamps on the reception desk create additional vertical illumination, making the registration process more comfortable for guests.

The second floor featured a bar and catering zone that then converted into a dance hall later in the evening. Despite its small size, the area included a bar, DJ zone, dance floor, photo zone, café tables, and was the main meeting point for guests.

Two lighting scenes were synchronised here with multimedia content on TV screens and walls. The first scene was designed for a “speakeasy bar” mode, where narrow spotlights on the tables, DJ zone and bar created a restaurant atmosphere. Three niches at the end of the hall were decorated by a silver rain effect, while warm flood-beam spotlights made these niches an ideal spot for pictures. However, the most eye-catching detail on the second floor was a flexible RGB LED neon that simulated wires inside a multimedia installation above the bar. Four large neon loops that stretched out onto the ceiling created a smooth general light above the dance floor. The second lighting scene was completely synchronised with the music, and managed by DMX controllers.

Finally, the third floor housed a lounge area, where guests were invited to relax and unwind. Here, glowing LED balls inside glass tables covered with dichroic filters created a colourful distortion, supporting the surreal content of projections. Narrow pink spotlights were randomly scattered around the hall, softly touching the edges of the sofas and tables, while a warm, oval-shaped spotlight on the bar brought a sense of theatre to the bartenders as they served up champagne.

The small lounge room in the bathroom area became the most popular place among the guests, and was known as the “Purple Jungle”. However, the unusual atmosphere here was quite simple in its creation: lots of flowers and plants were illuminated by two types of colour accents located sporadically behind the decorations. This filled the whole space with shadows that increased the visual amount of plants inside the room.

All levels were connected by colourful stairs that were lit in gradients, shifting softly from pink on the first floor, to a deep blue at the top. To make moving between floors more impressive, a controlled laser system was installed on the ground floor and directed upwards. Laser rays shimmered softly, creating an attractive, intangible screen between stairwells.

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SPOTLIGHT

Pics: Paolo Riolzi

Fibercloud Italy Designed by architect Giuseppe Tortato and created exclusively for Fastweb’s new Milan HQ, Fibercloud is a striking light-art sculpture, made of 200-metres of luminous LED tubing that connects every level of the building, from the top floor down to the entrance hall.

The goal for Tortato was to create a work of art that would change the face of the newlyestablished Piazza Olivetti, situated in one of Milan’s most innovative neighbourhoods.

Tortato was called upon by Fastweb to design some of the building’s nerve centres, including the boardroom and the building’s entrance, with Fibercloud connecting the two.

“I was thrilled by the project right from the start,” said Tortato. “My goal was to put beauty in the running and design something more than just an interior decoration, a real work of luminous art that on the one hand represented Fastweb’s energy, and on the other also offered something to the city and

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the square in front of the building.”

The sculpture, which utilises lighting from Flos, was developed through parametric software, with which each element and curvature was checked. These elements were created manually, and involved the hand-bending of approximately 100 pieces that make up the entire length of luminous tubing.

The creation of the entire sculpture was completed thanks to the close collaboration between Tortato and Fastweb’s Real Estate Development team.

“The underlying concept of this artwork was that of a kind of ‘cloud of ideas’ that illuminates the entire building and those who work there, to connect people with the aim of sharing ideas and designs to create new synergies,” Tortato explained. www.giuseppetortato.it

Jewel Changi Airport, Singapore ‘Terraced forest’ at the Rain Vortex, the world’s tallest indoor waterfall

KKDC products now packed using sustainable & recyclable materials

Terraced forest Lighting Designer: Lighting Planners Associates Photography: Fabian Ong KKDC Product: POKI

SPOTLIGHT

Pics: Amit Geron

Âme Showroom USA Architects Baranowitz + Kronenberg (B+K) have designed the flagship New York showroom for high-end designer jewellery brand Âme.

Located in the heart of Lower Manhattan, B+K took inspiration from the shadows of the undulating cast iron façades typical of this district.

On entering the space, the sharp contrast between the stainless steel polished surfaces of the centrepieces, and the peripheral steel panelled walls is intended to represent how the cast iron buildings of the area contrast with the daily life of a bustling city.

The main theme of the store’s design is the combination of past, present and future. The duality of the historic architecture of Soho, New York, with the cutting-edge modern design inspired by this architecture, creates an entirely new impression within the showroom. The dark peripheral envelope of the interior, executed with vertically soaring rolled steel panels, is a bold and abstract backdrop for the central jewellery displays, while the monochromatic palette throughout enhances the ornate pieces. The reflective spatial arrangement, meanwhile, encourages movement through the store.

The lighting for the showroom was designed by Israeli studio RTLD. The concept for the store was to create a new set of rules for lighting, providing depth through layers of light, with extreme attention to detail.

It was important therefore, to only light where necessary using fixtures

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whose light origin is hidden within the architecture.

Elsewhere, RTLD hoped to use lighting to mimic the effect of daylight infiltrating a forest, merging within and through the leaves of a tall tree canopy, enhancing the trees’ height and form.

The challenge that they faced was to create focal, yet soft lighting only where necessary, while keeping the light fixtures hidden, all the while creating a dramatic and focused scheme that avoids glare and unnecessary reflections due to the highly reflective materials used throughout the store – metal, glass and mirrored surfaces.

As such, RTLD developed specific details that allowed to be seen while concealing its origin. Linear lighting, courtesy of LED Linear’s VarioLED Venus fixtures, is complemented by Reggiani’s Mood dark light spotlights in a range of different diameters, power and beam angles to achieve the desired results. The jewellery within the capsules and cloche meanwhile, are lit with 4000K white light from Tokistar’s micro down and spotlights, which complements the diamonds on display.

The display lighting is complemented by a warm, 3000K light throughout the store, creating an intimate feeling within the metal and mirror finishes. www.rtld.co.il

NOVELTIES 2020 Products that didn’t visit Light+Building yet. intra-lighting.com/Novelties-2020

5 Science Park Drive Singapore 5 Science Park Drive is a new 25,000sqm landmark development that sits within Singapore’s Science Park 1. The building, designed by Serie Architects and Multiply Architects, is an elegant piece of architecture formed by multiple bands of accordion glazing, giving it a crystalline presence by day. At night, it transforms into a unique, glowing identity, thanks to lighting designed by Limelight Atelier.

The approach for the lighting was to plan the development with hierarchies of illumination, crafting a suitable response to address the client’s desire for a harmonious and prominent expression.

Light and technology was used to enliven the fabric of the building, creating inclusive façade lighting that referenced the urban context, while maximising its presence after dark.

Taking cues from the architectural language of the façade, the lighting has been designed with lines of light at varied lengths that are integrated into the pleating folds of the wall details; articulated to form a ‘starburst’ of increasing intensity from one corner to the other. The growing density of light results in an illuminated cornerstone at the north eastern elevation of the building, facing the nearby Ayer Rajah expressway.

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The elegant movement and colour of the lights is intended to be generative and elemental, drifting and changing visual hues across the façade every hour, bearing witness to the infinite changes of the sky.

This shifting light creates a stunning visual statement when merged with the accordion iconography of the building, producing an engaging celebration of architectural lighting choreography.

A robust, highly adaptable lighting control system was utilised, together with high resolution internet protocol cameras mounted on the rooftop eaves.

These record the daily ephemeral moments, and radiate time-lapsed visuals every evening.

“No lighting scenes in the day are similar, throughout the 365 days of the year,” said Melvyn Law, Director of Limelight Atelier. “We imagined the night identity to be a forward-looking connector that corresponds with the surroundings. We’re very humbled to have Mother Nature on board, providing the daily visual narratives.”

Approaching the building, Limelight Atelier installed intelligent lighting poles fitted with sensors that dim down to 10% when there is no traffic, but rises up to 100% illumination on detection of both people and vehicles. Clustered in groups of four, each pole has

SPOTLIGHT

a failsafe feature that acts as a master controller by itself, preventing any disruption or failure.

The building features a triple-storey ‘city room’ with a cascading lobby space that allows for discussion, working and networking. Utilitarian luminaires are dimmable and individually addressable, providing adaptability and maximum flexibility to the daylight-filled communal space.

When night falls, the glazing and glass walls became a challenge for the lighting designers, with the darker exterior influences and the potential for reflections. “We responded by working closely with the architects and contractors to ensure all ceiling luminaires are carefully integrated with the accordion ceiling details, and selected with good cut-off angles and anti-reflective coated reflectors to minimise the visual reflection cast on the surrounding surfaces,” explained Law. “Perimeter walls of glass and textured wood are then grazed in warm white from the concealed ceiling detail, to bring out its textures, and allows for both reflected vertical surface illumination on the glazing, and the direct perception of brightness.” This perceptionbased technique is carried through to the lift lobbies, emphasising the terrazzo wall finishes.

Along the sloped ceiling of the aisle that interconnects the car park, bespoke tubular pendants are hung at varied heights. These provide functional illumination, and add extra interest to the circulation area, serving as a continued vocabulary to the façade lighting from the exterior visual.

The escalator within the ‘city room’ acts as a 24-hour

connecting thoroughfare to and from the space, with integrated handrail lighting that conveys the passing of time, with shifting hues of warm white and blue.

While landscape areas are often underutilised in commercial business environments, Limelight Atelier activated the landscape deck at Level 3, covering the adjacent car park with subtle layers of warm illumination that create an oasis of rest from the hectic business environment. Star trails of in-ground lights at the diagonal footpath guide and entice users to the landscape.

The space is illuminated with soft uplighting to the trees, and concealed illumination at the wooden benches; multiple miniature projectors on poles are hidden amongst the trees, creating gentle shadow displays in the foliage. These are also designed with the ability to intensify their illuminance for any evening activities and usage, if required, creating a space that can be used after dark.

A sculptural exercise equipment station sits in the middle of the landscaped courtyard, illuminated like a piece of art in a cool white colour temperature, contrasting with its lush green surroundings. Luminaire shields are also used to prevent users from glare while working out.

The overall lighting design of 5 Science Park Drive allows for a highly ecological scheme that exceeds Singapore’s building construction authority’s most stringent energy policies; it allows for new possibilities, and sets a new milestone of an elegant and iconic night lighting scheme at Science Park Drive. www.limelightatelier.com

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BRIEFING

Kael Gillam & Kaye Preston arc sits down with Nulty’s Kael Gillam and interior designer Kaye Preston to chat about Designers Mind, a new forum aimed at raising awareness of mental health and wellbeing in the design world.

- How did Designers Mind come about?

Kaye Preston (KP): Designers Mind is a forum and community of creatives who are passionate about raising awareness around mental health and wellbeing for designers in the workplace. The idea was born last October at the Mad World Summit in London. I attended a talk by a journalist who had created a sharing platform for his industry. At the time I was also aware of a forum created for architects but knew of nothing specific for designers. Later, I co-chaired a roundtable about leveraging design in our offices to create environments that promote wellbeing. It was in that moment that I realised there was a complete disconnect in our industry. Here, I was raising awareness about using design to help other people’s wellbeing, but there was nothing in place to take care of the people actually doing the designing.

Kael Gillam (KG): I met Kaye through our Business Development Manager Sarah Crooks, at a Thanksgiving dinner organised by Nulty.

We immediately hit it off and Kaye was absolutely bursting with ideas about how to change the design industry for the better. I was more than ecstatic to join the effort and am delighted that there are now a handful of us supporting this vision.

- How has the discussion on mental health changed recently?

KP: It’s definitely become more open. Stigmas are being broken and many more feel they can talk about their mental health. Charities are doing incredible work and providing much needed access to resources.

There’s also a new level of understanding that prevention methods can be taken through healthier daily habits. Big names like Arianna Huffington talking about the importance of sleep for instance, has been incredibly important for raising awareness and changing mindsets.

KG: Charities are doing an impressive job of trying to raise awareness; Mind really is a household name now. Organisations like CALM and Samaritans have call lines that are helping people on a daily basis. The work they do is literally saving lives by giving vulnerable people someone to reach out to in an anonymous way.

- How do you think both the lighting industry and wider design community responds to mental health awareness?

KG: I think that the lighting design community is very aware of the impacts of poor mental health, and that we are a pretty open, honest bunch of people who want to implement change in the way we work.

However, the research that I did for my talk at [d]arc room last year showed me that a big roadblock for smaller firms is the belief they have to spend a lot of money to make their workplaces happier and healthier places. I want to debunk that misconception because there is so much that can be done for minimal or no cost.

KP: Within the wider design community, I have to say that I have always felt supported by all of the firms I have worked with. But there seems to be more policy in place for the moment when someone actually needs help, rather than practicing regular prevention along the way.

- Is there any ‘normalised’ behaviour in the design sphere that you think puts more pressure or strain on your mental health?

KP: For me it’s the combination of long hours and tech not allowing us to fully switch off. I acknowledge that it’s a high-pressure, deadlinedriven industry, but I also think people can feel under pressure to

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stay late or look at emails out of hours. We often prioritise work over wellbeing, resulting in us not being able to switch off, set healthy boundaries and say no to heavy workloads. This can all lead to overwork and exhaustion, which puts a strain on our mental health.

- What steps are Designers Mind taking to promote better mental health and wellbeing?

KP: We are working on raising awareness by sharing experiences and holding talks and events to create a community and recruit supporting partners. Moving forward, we would like to create tools and resources for the industry, and hold workshops to help people create their own wellbeing toolbox and understand the importance of healthy habits and how they are fundamental to mental health and wellbeing.

- What has the response been like so far?

KP: The response has been incredibly positive. I’m grateful to the designers that have joined, shared their stories and helped spread the word. The Nulty team has been extremely supportive as well. They were some of the first people that I floated the idea past and the team even invited me to speak at its London office where the concept was launched. The forum is still very much in its infancy but with the positive response we’ve received so far, we’re hopeful the momentum will build.

- What advice would you give to someone who may be struggling with their mental health and wellbeing?

KP: I would say don’t try and go it alone. It may feel incredibly daunting and even scary at first but reach out. Connect with someone you trust and start the conversation. I know from my own experience that I felt like an incredible burden to my family and friends. But I’ve since learnt that this never was and never is the case. Everyone goes through something. It’s better to be in this together.

KG: If you’ve never spoken to someone about your mental health before, it can feel stupid and scary and not important because hey, other people have problems too, don’t they? Don’t invalidate your own feelings; own them, accept them and seek guidance on how to work with (not around!) your circumstances to feel healthier.

- What more can studios do to support their staff?

KG: Firstly, I would have to say that stopping the ‘always on’ mentality is a must; some companies have their emails shut off after work hours so there’s no scrolling frenzy at 10pm hoping that someone may have got back to you. Providing support is my other, though quite broad, piece of advice. Offer managers Mental Health First Aid training, offer private healthcare and/or digital counselling options, provide employees with a Mental Health resource guide that shows all of your company’s policies and the resources available to them.

KP: I think focusing on prevention instead of reaction would be really helpful. Whenever I’ve been discussing resource, the same thing is always said: “We work longer hours when we have a deadline, but this isn’t meant to be the norm.” Unfortunately, I think it has become the norm. The London Practice Forum (a community of architectural practices) have signed an agreement to reduce 40+ hour work weeks.

Could the design industry follow suit? www.designers-mind.com

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13/03/2020 09:13:18

DESIGN IN PROGRESS As London-based lighting design studio Design In Progress celebrates its tenth anniversary, Founder and Director Deb Wythe walks us through a selection of projects from its diverse portfolio.

The Hotel Bristol Warsaw, Poland The Hotel Bristol, Warsaw, opened in 1901 on the site of the Tarnowski Palace. The hotel has a rich history, including being made into the headquarters of the Chief of the Warsaw District during the German invasion in 1939. It miraculously survived the war relatively unscathed, standing nearly alone among the rubble of its neighbourhood.

Now entering a new chapter as part of The Luxury Collection division of Starwood Hotels, Design In Progress collaborated with the wider project team to create a lighting scheme that would result in reinstating the hotel as Warsaw’s most prestigious luxury hotel.

All areas were covered in the redesign including a signature cocktail lounge, listed grand hall, bedrooms, spa, pool and an intimate wine bar.

The lighting design is sympathetic to the history while refreshing in style.

Glamour was introduced using a combination of statement pendants with discrete background architectural lighting, highlighting the architecture and interior design features.

The newly-designed contemporary basement spa offered no natural light to play with. Translucent white drape-lined corridors were lit with shafts of cool white light from concealed ceiling slots. Serene treatment rooms were detailed so that guests get no visible glare from the light using concealed lit slots and lit decorative niches located in the bespoke white lacquered cabinetry.

The resulting lighting scheme is a combination of modern architectural lighting and elegant decorative lighting, which enhances the architecture and interior, creating a warm, welcoming atmosphere at this historic hotel.

Chair Arch London Design Festival, UK During London Design Festival 2009, Martino Gamper created a Chair Arch for Wallpaper* magazine using 120 Ercol Stacking Chairs. The idea revives an English tradition from the Victorian age to celebrate special occasions, such a royal visits, with a commemorative arch that spanned the entrance to the town using local industry.

The arch was set in the John Madejski garden at V&A Museum, with the backdrop of the amazing building and the opportunity to reflect the sculpture in the mirror-like still water of the pond. The sculpture was viewed from ground level as well as from above and within, so it was important to locate the lighting cleverly to conceal it from view whilst also catching the shapes of the arches and rendering the colour fade.

Washing the underside of each arch, the light was positioned to flow through the sculpture, accentuating the solid form. Light was used to visually separate the arches from each other whilst also catching the edges of the chair’s seats and legs to reveal the individual elements used to create the sculpture.

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SNAPSHOT

The Sheraton Park Tower London, UK The Sheraton Park Tower is in the heart of Knightsbridge. It is an iconic property designed by Swiss-British architect Richard Seifert, best known for designing Centre Point and Tower 42. The brief was to redesign the public areas including the entrance, reception lobby, lounges and The Hyde Bar of this five-star hotel.

The reception is a grand, elegant space punctuated by a large gold oval coffer housing a spectacular central pendant. Focus lighting on the reception desk guides the guests on arrival, while a feature wall of ceramic petals behind the reception staff is gently washed with light from a concealed slot.

Layers of light were applied to the lounges using decorative table lamps, wall lamps and pendants creating bright inviting spaces to have tea in the afternoon. The Hyde Bar styling was more atmospheric with indulgent darker tones and intimate lighting details.

High quality finishes, fine detailing and high-quality workmanship were emphasised by the lighting scheme minimising the visual impact of the architectural light fittings and allowing the interiors to standout.

The building sits on Knightsbridge, in the vicinity of other high-end hotels.

The main entrance is to the rear on Lowndes Square, so to make its presence known Design In Progress proposed that the exterior façade was also lit. A single high-power spotlight was located at the base of each indent, washing sharp lines of light to the top of the building, trapping it in the creases and stopping at the top of each slot, highlighting the architecture of this iconic building.

Manicomio London, UK Manicomio, Chelsea is an Italian restaurant and bar found on the Duke of York Square. Already a very successful restaurant with a great reputation, the owners wanted to transform the interior.

A fast-paced project from start to finish, the owner wanted to close at Christmas and open in January with a completely new look. The design team was gathered at the last minute, which meant that everyone involved had to worke quickly together to meet the brief on time.

Design In Progress created a simple, quiet scheme to complement the updated interior. A lit coffered ceiling was introduced, offering a warm glow to the space and creating a sense of height, coordinating with the other trades to prevent clashes and get the maximum depth possible. As the furniture layout was planning to remain reasonably fixed, narrow pin spots of light were used to highlight each table and create pockets of light. The texture of fabrics and wall materials in the bar were uplit and artwork highlighted using track spotlights to add a subtle background for the guests.

A lighting control system was programmed to meet the requirements of the three sittings over the course of a day, offering a light fresh space at breakfast and lunch whilst providing an intimate, inviting setting for dinner.

Design In Progress Established in 2010, Design In Progress is celebrating its 10th anniversary this year. An an independent lighting design studio, the practice spans contemporary architectural projects, exterior lighting, hotels, spas, light-art and more.

Founded with a mission to be a small creative lighting studio with a personal approach, Design In Progress listens to clients and collaborates closely with multidisciplinary teams of world-class architects, designers, artists and AV consultants to achieve the best possible lighting designs with the aim to exceed the client’s expectations.

With over 25 years’ experience in highend lifestyle and residential lighting design, creative director Deb Wythe brings a wealth of knowledge and expertise, maintaining a reputation for being completely impartial, using the best products for the task at hand and achieving excellent results. She is passionate about design and applies a creative approach to her projects with a keen eye on the detail. www.designinprogressuk.com

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DARK SOURCE

Clear As Day Sweco Architects discuss the importance of daylight strategy collaboration in architecture, and why daylight specialists need to be involved from an early stage.

B

y being involved early in the design process,

daylight specialists can assure that important architectural decisions are made while there

is still time to optimise a scheme according to site conditions.

Whether a design team is involved in

large-scale urban design or a smaller-scale

architectural project, daylight specialists and lighting designers can

communicate and collaborate more effectively with other disciplines using digital methods.

Although architects and designers cannot control atmospheric

conditions, they can optimise the daylight levels inside buildings

and in the urban environment. This makes them important players in fostering sustainable development and creating healthy spaces for their users. Assessing and evaluating daylight conditions is of

vital importance when renovating or designing new spaces, both in interior and exterior contexts.

In a new construction project, not only is daylight analysis helpful in

understanding daylight conditions in the new space and for checking compliance with rules, regulations or environmental certifications, but also a design decision making tool to help architects and urban designers decide on parameters such as: window types, sizes and

positions; room sizes, shapes, layouts and functions; interior and exterior materials; and building shape, height and orientation.

Furthermore, by using daylight assessment to define a space as

daylit, partially daylit or non-daylit, lighting designers can establish

a basis for creating design concepts or for trying out different control scenarios for the placement and grouping of fixtures.

In a renovation project, daylight analysis can be used to evaluate different alternatives for the layout as well as for interior and

exterior materials. By evaluating the daylight access for each interior space in a building, or by categorising exterior spaces as areas

suitable for specific functions (such as pedestrian paths, playgrounds and outdoor seating areas), daylight analysis is just as important in an urban design project.

Early daylight strategies should be an essential part of the building Helena Friberg Ruge, Architect

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Majid Miri, Lighting Designer and Daylight Specialist

Alexandra Schremer PayĂŠn, Lighting Designer and Studio Manager

and urban design process, both when it comes to compliance with national building regulations and environmental certification

comment

The Marble Hall of Sturegallerian, Stockholm: an advanced multidisciplinary BIM collaboration project. The above images detail the difference in appearance during daytime (left) and at night (right), where the use of architectural lighting complements the natural light filling the space. (Pics: TMRW/Sweco Architects)

systems, and when the aim is to create a new space with an optimal

no need to define the input in the simulation software again.

Using daylight analysis as part of the design process also guarantees

the system’s integration challenge for a multi-disciplinary team still

amount of high-quality natural light.

inclusion of essential sustainability aspects: economically through both savings in energy use and increased productivity, socially

through the health and wellbeing of occupants and ecologically by

reducing energy consumption. In fact, there is evidence that well-

designed access to daylight will increase the quality and value of any building or urban neighbourhood.

Daylight has traditionally been evaluated and verified by quantifying the daylighting performance of a building during later design

phases. So if changes or adjustments were required to correct poor performance, these would most likely be time consuming and

expensive and could also affect other disciplines. Daylight design,

on the other hand, if incorporated as an integral part of the design process, ensures good daylighting and lower energy consumption

from the start. This is where today’s pioneering BIM methods align with the knowledge that we have had for quite some time.

With the help of BIM-based daylight analysis tools, time and money is saved by avoiding faulty decisions or errors in the early phases of the project. Establishing direct communication between the BIM

model and the calculation software core is a first measure towards an integrated design process. Most of the information needed for

daylight analysis is already contained within the model: geographical location, building orientation, rooms and materials. Hence there is

Given the advantages of the new digital tools in daylight analysis,

needs to be addressed. Because of the linear nature of the traditional CAD-based workflow, the level of collaboration between different disciplines was quite low. In most BIM-based projects today,

however, the professionals involved work on the same platform

and often with the same file. This makes the workflow easier and faster and improves the collaboration between experts in various

disciplines. If one team, for example, makes a change to the model, other teams can immediately react to the change. As a result, it is

easy for teams to remain up to date during every phase of the project.

Moreover, it creates a mutual understanding, as key issues in the project can be identified using the same language.

If daylight specialists are called in when building location, layout or window arrangements are already set, there is little chance of

improving negative conditions in a building or an urban context.

However, early and consistent collaboration between architects,

engineers, daylight specialists and lighting designers throughout

the project means that many informed design decisions regarding

naturally lit spaces can be made at the right time. This will improve

any architectural project by making sure daylight is an integral part, from the small scale of interior design to the large urban planning scheme.

www.sweco.se

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The Lighting Practice was founded 30 years ago as a place where a diverse group of people with passion for light could work together to make a difference for their clients and their communities.

To mark the studio’s landmark anniversary, arc looks back at some of its highlights from the past 30 years.

Row 1 BANNER, Angela R. (Lighting Designer I); BARBER, Michael A. (Principal); BERGERON, Thomas C. (Director, NY Office); BORDEN, Alfred R. (Principal); BUCARI, Caitlin M. (Project Manager); CAPRIGLIONE, Maria D. (Controller); CASSIDY, Sean P. (Designer); COGLEY, Jacob N. (Lighting Designer I) Row 2 CONLEY, John D. (Project Manager); CONOVER, Ryan C. (Project Manager); CONSTANTINE, Amanda V. (Lighting Designer I); COOK, Johnathan W. (Project Manager); DIEMER, Helen K. (Principal); FOSTER, Vera (Staff Accountant); FRACASSINI, Matthew J. (Project Manager); HALLENBECK, Chris B. (Project Manager) Row 3 HASAN, Emad (Principal, NY Office); HOWELL, John P. (Lighting Designer II); HOYLE, Jonathan T. (Associate Principal); KEILY, Josh T. (Designer); KNOERZER, Lillian R. (Project Manager); KRAUSE, Annie N. (Accounting Coordinator); LEE, A. Pomme (Project Manager) Row 4 MARANHÃO, Bárbara (Lighting Designer I); MARTIN, Jay L. (Lighting Designer II); Myers, Angela M. (Designer); PENG, Xingying (Lighting Designer I); PINE, Oliwia E. (Designer); SEOK, David J. (Designer) Row 5 STEEN, Veronica L. (Lighting Designer I); STREETER, Taleen L. (Lighting Designer II); VARGASAQUINO, Karina (Marketing Assistant); VENEZIALE, Darcy C. (Marketing Manager); WIDMER, Jered E. (Principal); WILSON, Evan C. (Lighting Designer II)

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PROFILE

I

n 1989, after years of designing temporary shows for theatre groups and rock bands, Alfred Borden, FIALD, CLD, opened The Lighting Practice in

Philadelphia. His idea was to create a collaborative environment dedicated to design excellence and client service.

Fast-forward to today, and The Lighting Practice has grown to a team of 36 creative professionals, including six principals, working together across

two offices, in Philadelphia and New York City. The team still carries the

philosophy that a collaborative approach always gets to a better idea. “It’s

about mutual respect and a shared experience,” Borden told arc. “As designers, we resolve challenges and achieve success by staying open and connected to our clients.”

Over the years, The Lighting Practice has built a reputation as the minds behind the re-lighting of

iconic buildings and landmarks around the USA, including Madison Square Garden, Philadelphia City Hall, Thomas Edison Memorial, Trinity Centre, and the Empire State Building. The firm was part of

the project team that replaced all vertical circulation within the Statue of Liberty’s stone pedestal and created life-safety egress paths across its terreplein and through the walls of Fort Wood. Alongside

its high-profile projects, The Lighting Practice has built strong ongoing relationships with clients like Simon Property Group, Children’s Hospital of Philadelphia, the University of Pennsylvania, Empire State Realty Trust, and retail giant, Target, helping to create cohesive designs and strengthen each client’s brand with each new project.

The Lighting Practice’s team brings a variety of backgrounds to the table. Educational degrees range from architecture and theatrical lighting, to interior design and architectural engineering and others. The firm strongly supports and encourages the pursuit of education as well as personal and professional growth.

Designers hold a variety of certifications based on their unique skills and interests, some of which include Evidence-Based Design Accreditation and Certification (EDAC) from The Center for Health Design,

LEED for Building Construction and Design (BD+C), and Certified Lighting Designer (CLD) accreditation.

As research explores light’s effect on human health, The Lighting Practice continually engages in

comprehensive reviews of data and continued interaction with researchers of human-centric lighting.

At the end of the day, the body of knowledge and experience that The Lighting Practice continues to build is intended to support the success of its clients and the community. “Lighting design does not exist for

the benefit of lighting designers,” said Helen Diemer, FIALD, MIES, LEED AP, firm President and majority shareholder. “It exists because we have clients to serve, and they have needs and goals of their own to serve. Together, what we do as a team and as a community is much more powerful and impactful than what any single individual can do.” www.thelightingpractice.com

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Prince Music Theater Philadelphia, PA, USA / 2000 Lighting is part of the show.

The Prince Music Theater was developed as the adaptive re-use of the former Midtown cinema into a 30,000sqft musical theatre performance facility. The new theatre, named in celebration of famous Broadway director Hal Prince, is reminiscent of Broadway’s golden era. Exposed lamps line the theatre marquee, setting guests’ expectations as they enter. Once within the double height lobby, guests are guided by theatrical spots past a baby grand piano to the theatre, complete with red velvet seating. The Lighting Practice worked closely with AP3C Architects, the theatre’s founder, and benefactors designing architectural and show lighting and control systems for the 400-seat theatre, dressing rooms, rehearsal rooms, entrance lobby and building exterior. The lighting design supports the image of old Broadway without overextending the project’s budget.

Client: American Music Theater Festival Architect: AP3C Architects

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PROFILE

Client: Maryland Institute College of Art Architect: Ziger/Snead Architects Photography: Arch Photo, Inc.

Maryland Institute College of Art (MICA) Brown Center Baltimore, MD, USA / 2003 Light creates an iconic image.

On a hill overlooking Baltimore, this 61,000sqft modernist facility is home to Maryland Institute College of Art’s (MICA) Digital Arts department. Designed by Ziger/Snead and Charles Brickbauer, the Brown Center is the first building to be built on MICA’s campus in nearly a century. Working closely with the architects and their in-house lighting designer, TLP lit the building site, glass façades, interior atrium, and galleries; and designed architectural and performance lighting systems for the 550-seat auditorium.

The primary goal of the Brown Center lighting design was to create a glowing beacon for the MICA campus. The dynamic character of the building’s fritted glass skin required that both interior and exterior illumination be used to achieve this end. Interior lighting was conceived as an additive element within the overall architectural composition.

Fixtures were selected for their performance, appearance, and efficiency. Since power feeds could not be recessed into the post tensioned concrete ceilings, fixture placement and coordination of conduit became critical to the success of the project.

Linear luminaries in perimeter spaces allow the viewer to see through the glass skin to the spaces within. Grazing uplights at the base of the façade located across from the historic main building cause the glass surface to appear opaque at the bottom of the building and transparent as the surface meets the night sky. The sloped glass walls adjacent to the building entry reflect the compact fluorescent paver lights installed at the exterior paving, demonstrating the mirror-like qualities of the glass skin. The style, finish, and scale of the illuminated bollards further integrate the lighting and the architecture. The monumental staircase fades from view behind the veil of the atrium glass. The Brown Center’s crystalline nighttime image is a major presence overlooking the city, a building that has become a prominent icon.

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Client: Simon Property Group Architect: Cooper Carry and Associates Photography: Gabriel Benzur Architectural Photography

Houston Galleria Houston, TX, USA / 2006 Lighting refreshes and revitalises a high-end shopping destination.

Averaging 24 million visitors annually, The Galleria is one of the most popular tourist destinations in Texas. This ultra-high-end retail venue, owned by Simon Property Group, has 375 shops, an indoor ice rink, three office towers, and two hotels. The Lighting Practice was part of the design team led by Cooper Carry and Associates tasked with renovating the original 1970 mall, 1980 addition, and construction of a new two-anchor mall expansion. TLP’s design integrates with the architectural concept to create a stylish environment for the mall shoppers.

Point-source lighting reflecting off the polished architectural finishes adds an opulent patina to the public areas. Modernist custom luminaires and linear light coves maintain the clean lines in the design while softening its edges. The overall image is highfashion elegance.

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The Food Court is on the lowest level of the existing mall and has restricted access to daylight. General light is provided by multiple-lamp downlights fitted with white sparkle hoods. Structural conflicts preclude the introduction of uplit coffers, so ambient brightness is introduced by the glow of custom luminaires with CFL lamps and 3000K neon coves.

The Fountain Court is the central feature of the expansion mall. Par64 halogen lamps in the fountain base change intensity in sync to a programmed water cascade. General light in the mall concourse is provided by multiple-lamp downlights. Up/ down sconces add emphasis to the linearity of the columns. The barrel vault ceiling is uplit by luminaires concealed in coves. Its edge is trimmed in glowing, backlighted faux calcite panels.

The result of this carefully integrated and architecturally sensitive design is a stylish facility where retail tenants are the primary feature.

PROFILE

Texas Children’s Hospital Pavilion for Women Houston, TX, USA / 2012 Lighting creates a place for mothers and children.

To support and better serve their growing community, Texas Children’s Hospital decided to expand its maternity and clinic spaces through an addition to its existing facility. The design team, led by FKP Architects (now Cannon Design), designed the Texas Children’s Hospital Pavilion for Women to provide a full continuum of care for mothers and their babies. Soft luminous curves, inspired by water, and decorative accents, welcome mothers and their families to the new facility.

Throughout public spaces, lighting is designed to articulate curves in the architecture, wash walls for a soft embracing surround, and provide elements that sparkle or glow to highlight destinations. Fiber-optic nodes, which sparkle like water droplets, were carefully integrated into select accent walls and the family dining area ceiling, creating a welcoming and magical effect.

A new sweeping circular bridge over Fannin Street connects the Women’s Pavilion to the main hospital. Internally illuminated bridge columns delineate the circular form and provide a visual connection at night. TLP’s scope also included lighting for the four-level parking garage, entrance canopies, interior public spaces, conference centre, servery and cafeteria. This cohesive design has been described by the client, patients, and visitors as “the ideal patient experience” by clarifying circulation and providing calming areas of respite.

Client: Texas Children’s Hospital Architect: CannonDesign (formerly FKP Architects) Photography: Craig Dugan, Courtesy of FKP Architects

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PROFILE

The Milton and Tamar Maltz Performing Arts Center Cleveland, OH, USA / 2016 Light as part of an artistic re-interpretation.

Case Western Reserve University wanted to thoughtfully convert the 92-year-old historically landmarked Temple-Tifereth Israel into a multi-disciplinary performing arts facility, the Milton and Tamar Maltz Performing Arts Center. The 1,200-seat venue would be used for musical ensembles, academic functions and worship services by the University and surrounding community.

The Lighting Practice joined the project team, led by MGA Partners, and was tasked with finding creative ways to integrate architectural lighting and controls into the unique, domed, seven-sided structure, all while respecting the historic nature of the building. The centerpiece of the project was the conversion of the synagogue’s main sanctuary into a concert hall and the conversion of the historic luminaires to LED sources.

The main performance hall interior is capped by an 85-foot high dome of Akoustolith tiles. Downlighting from a central “chandelier” was deemed most functional and aesthetically appropriate. TLP and MGA Partners developed a ten-foot diameter ring on a lowering device, carrying 28 shielded luminaires and controlled by the theatrical dimming system. In the main lobby, the team refurbished and retrofitted the historic luminaires, and added diffusing lenses behind the perforated bronze, creating a soft and even distribution.

The luminaires were also lowered six inches to reflect light across the terracotta ceiling. Additional lamps were placed in the center of the luminaires to provide downlighting.

Illuminating the exterior dome was especially challenging due to its steeply arching form. Illumination is provided by building mounted floodlights at the dome base, and three pole-mounted luminaires on the site. Precision beam optics and dimming controls allow these luminaires to accent the dome’s curved shape and blend with the building mounted façade lighting. TLP worked closely with the design team and contractors to provide a facility that celebrates the building’s historical architecture with the best modern technologies.

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Client: Case Western Reserve University Architect: MGA Partners Photography: Halkin | Mason Photography

Edison Edison Memorial Memorial Tower, Tower, Menlo Menlo Park, Park, Middlesex Middlesex County, County, NJ NJ (Mills+Schnoering (Mills+Schnoering Architects) Architects)

Children’s Children’s Hospital Hospital of of Philadelphia, Philadelphia, Roberts Roberts Center Center for for Pediatric Pediatric Research, Research, Philadelphia, Philadelphia, PA PA (Pelli (Pelli Clarke Clarke Pelli, Pelli, Ballinger, Ballinger, Cooper Cooper Robertson Robertson Partners) Partners)

University University of of Michigan, Michigan, C.S. C.S. Mott Mott

Left to right: Helen K. Diemer, FIALD, MIES, LEED AP (President); Alfred R. Borden, FIALD, MIES, CLD (Founder and Principal); Michael A. Barber, Assoc. IALD, LEED AP BD+C (Principal); Jered E. Widmer, IALD, MIES (Principal); Jonathan T. Hoyle (Associate Principal); Emad Hasan, IALD, MIES, LEED AP BD+C (Principal, NY Office); and Thomas C. Bergeron, MIES, USITT (Director, NY Office) * The Lighting Practice timeline includes select project experience and firm milestones beginning in 1989

Philadelphia Office Leaders

1989*

1989: Alfred Borden founds The Lighting Practice in

Philadelphia, PA

1989: TLP begins first project, ICI Pharmaceuticals New

Lab/Office Building (Wilmington, DE)

1990: Pennsylvania House Chamber Lighting Study

for Broadcast TV (Harrisburg, PA)

1991: Conrail at One Commerce Square Headquarters

(Philadelphia, PA)

1991: TLP begins ongoing relationship with Children’s

Hospital of Philadelphia

1991: Shake Burger and Roll (Ardmore, PA)

1992: The Salad Bowl (New York, NY)

1993: Mutual Benefit Life, Mellon Bank Lobby

(Wilmington, DE

Benjamin Benjamin Franklin Franklin Parkway, Parkway, Philadelphia, Philadelphia, PA PA (Center (Center City City District) District)

UPenn UPenn Moelis Moelis Family Family Grand Grand Reading Reading Room, Room, Philadelphia, Philadelphia, PA PA (Gensler) (Gensler)

t Children’s Children’s Hospital Hospital && Von Von Voigtlander Voigtlander Women’s Women’s Hospital, Hospital, Ann Ann Arbor, Arbor, MI MI (HKS) (HKS)

Adelphi Adelphi University, University, Welcome Welcome Center, Center, Garden Garden City, City, NY NY (Ballinger) (Ballinger)

Portland Portland Public Public Market, Market, Portland, Portland, ME ME (Hugh (Hugh A. A. Boyd Boyd Architects) Architects)

1994

1999

1994: Helen Diemer joins The Lighting Practice

1999: Clay Center for the Arts & Sciences (Charleston, WV)

1994: Philadelphia Int’l Airport Concourse B, C, D and

E Renovations (Philadelphia, PA)

1999: University of DE, Clayton Hall (Newark, DE)

1999: Villanova University, Mendel Hall (Villanova, PA)

2000: Amtrak 30th Street Station Updates and Exterior

Lighting (Philadelphia, PA)

1995: Michael Barber joins The Lighting Practice

1995: Johnson & Johnson Consumer Franchises

Worldwide (Skillman, NJ)

2000: Arundel Mills (Anne Arundel County, MD)

1995: TLP designs the prototype and roll out for the new

CVS Store Concept

2001: Jered Widmer joins The Lighting Practice

1996: Philadelphia High School for the Creative &

Performing Arts (Philadelphia, PA)

2001: Eastern State Penitentiary (Philadelphia, PA)

2001: Garden Walk Makuhari (Tokyo, Japan)

1996: SEPTA Transit Museum (Philadelphia, PA)

1996: The Concord Mall (Wilmington, DE)

1996: Villanova University, Patterson Hall (Villanova, PA)

1998: SEPTA Suburban Station (Philadelphia, PA)

Chima Chima Brazilian Brazilian Steakhouse, Steakhouse, Philadelphia, Philadelphia, PA PA (DAS (DAS Architects) Architects)

2002: Louise Obici Memorial Hospital Replacement

(Suffolk, VA)

2002: The Streets of SouthPoint (Durham, NC)

2003: Howard University, Louis Stokes Health Sciences

Library (Washington, DC)

Pentagon Pentagon Row, Row, Arlington, Arlington, VA VA (BCT (BCT Architects) Architects)

First First Baptist Baptist Dallas, Dallas, Dallas, Dallas, TX TX (Beck) (Beck)

2004

2009

2004: Dadeland Mall (Miami, FL)

2005: Emad Hasan joins The Lighting Practice

2009: Dell’s Children Medical Center of Central Texas

(Austin, TX)

2005: Cornell University, NCRI Residence Hall

(Ithaca, NY)

2006: Fairmount Water Works (Philadelphia, PA)

2007: City Hall Façade Lighting (Philadelphia, PA)

2007: Philadelphia Int’l Airport, British Airways First

Class Lounge (Philadelphia, PA)

2008: Jonathan Hoyle joins The Lighting Practice

2008: US Capitol Dome Façade Lighting Mock-up

(Washington, DC)

2008: Avenue of the Arts (Philadelphia, PA)

2008: Thomas Jefferson University, Dorrance H. Hamilton Building (Philadelphia, PA)

2009: University of Pennsylvania, Annenberg Public

Policy Center (Philadelphia, PA)

2010: The Lighting Practice is WBE Certified

2010: Empire State Building Historic Lobby Restoration

(New York, NY)

2011: New York Marriott Marquis (New York, NY)

2012: Empire State Building, Tower Lighting (New York, NY)

2012: The JFK Tribute (Fort Worth, TX)

2013: GSK Navy Yard Offices (Philadelphia, PA)

2013: Statue of Liberty, Life & Safety Upgrades

(Liberty Island, NY)

The The Helmsley Helmsley Building, Building, 230 230 Park Park Ave., Ave., New New York, York, NY NY (RXR (RXR Realty, Realty, formerly formerly Monday Monday Properties) Properties)

2009: Helen Diemer is President of The Lighting Practice

2013: The Domain (Austin, TX)

Nasdaq Nasdaq PHLX PHLX Headquarters, Headquarters, Philadelphia, Philadelphia, PA PA (HOK) (HOK)

The The Landmark Landmark Filinvest, Filinvest, Alabang, Alabang, Philippines Philippines (Hugh (Hugh A. A. Boyd Boyd Architects) Architects)

Trinity Trinity Centre, Centre, 111-115 111-115 Broadway, Broadway, New New York, York, NY NY (Beyer (Beyer Blinder Blinder Belle) Belle)

The The Logan Logan Philadelphia, Philadelphia, Philadelphia, Philadelphia, PA PA (BLT (BLT Architects) Architects)

New York Office Leaders

2014

2019+

2014: Nemours A. I. duPont Hospital for Children

(Wilmington, DE)

2014: The Franklin Institute, Karabots Pavilion

(Philadelphia, PA)

2015: LDS Philadelphia Temple (Philadelphia, PA)

2015: DFW Airport Terminal A (DFW Airport, TX)

2016: State Farm Center Atlanta Hub (Dunwoody, GA)

2016: Texas Health Huguley (Fort Worth, TX)

2017: Le MĂŠridien Houston Downtown (Houston, TX)

2017: UMBC, A. James Clark Bioengineering Building

(College Park, MD)

2019: Thomas Bergeron joins The Lighting Practice

2019: Arrigoni Bridge Decorative Lighting Study

(Middletown, CT)

2019: Empire State Building Observatory Experience

Reimagined (New York, NY)

2019: ICR Discovery Center for Science and Earth History

(Dallas, TX)

2019: LaGuardia Airport, Air Canada Maple Leaf Lounge

(Queens, NY)

2019: NYU Langone Health, Perlmutter Cancer Center

(Brooklyn, NY)

2018: The Lighting Practice opens the NYC office

2019: Penn Medicine Center for Healthcare Technology

(Philadelphia, PA)

2018: East Market Development (Philadelphia, PA)

2018: 51 Madison Ave Crown Lighting (New York, NY)

2020: University of Rhode Island, Fascitelli Center for

Advanced Engineering (Kingston, RI)

Target Target Riverdale, Riverdale, Bronx, Bronx, NY NY (Target (Target Corporation) Corporation)

2020: Emad Hasan relocates to lead TLP’s NYC office

Saint Saint Barnabas Barnabas Medical Medical Center, Center, The The Cooperman Cooperman Family Family Pavilion, Pavilion, Livingston, Livingston, NJ NJ (FCA (FCA Architects) Architects)

www.thelightingpractice.com new york | philadelphia

PROFILE

The Landmark Filinvest Filinvest City, Alabang, Muntinlupa City, Philippines / 2017 Lighting energises urban markets.

In the Philippines, supermarkets serve as major retail and entertainment hubs. The Landmark Corporation’s market chain has revolutionised this supermarket experience. The new subterranean 108,000sqft location at the Filinvest Shopping Complex has five levels of department stores above and two levels of parking garage below. Creating a hospitable and intimate shopping experience was an important part of the design. The Lighting Practice was brought onto the project team by Hugh A. Boyd Architects, which understood that lighting would play an important role in achieving the desired experience.

TLP highlighted vertical displays and millwork to compensate for limited daylight exposure. Lighting vertical surfaces played an important role in wayfinding and creating an open feeling. The combination of soft cove lighting and narrow focused lamps accented architectural feature walls, which helped guide shoppers throughout the space. This location was Landmark’s first to use all LED products. All lighting for the project was sourced locally in Asia.

Due to the language barrier and time difference, The Lighting Practice used thoroughly detailed drawings to communicate the lighting design and ensure it was executed as intended. The team coordinated mockups through the architect, after which TLP reviewed internally and provided feedback. TLP treated feature elements, such as the folded wall and facet walls, with lighting fixtures tucked into the architecture throughout the market, to create soft, seamless illumination.

Client: The Landmark Filinvest Architect: Hugh A. Boyd Architects Photography: Courtesy of Hugh A. Boyd Architects

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PROFILE

Client: American Airlines Architect: Corgan Photography: Courtesy of Corgan

American Airlines Admirals Club DFW Airport, TX, USA / 2018 Lighting supports updates to exclusive airport club area.

The American Airlines Admirals Club at the Dallas/Fort Worth International Airport was becoming outdated. The aesthetics and functionality of the club no longer responded to the modern travellers’ needs. The design team, led by Corgan, was tasked with renovating the space and incorporating new technology, enhancing AA’s club member experience.

The lighting needed to command attention, drawing members into the club, and provide visual cues for guidance to the club’s various destinations – dining/bar, quiet rooms, lounges, conference rooms, and other areas. Decorative lighting fixtures help to define one space from the next in the open floor plan. Preset scenes respond to the time of day and the various functions used by the different spaces. For instance, the kids’ room uses playful pendants to cast patterns on the nearby surfaces.

The club’s control system provides adjustment of the motorised shades, to prevent unwanted heat gain and glare from the afternoon sun. This system is a client standard, allowing consistency of lighting controls between various club locations. Employing indirect light throughout is both a branding element for AA and a means to soften the impact of the light on weary travellers. Fine-tuning the quality and intensity of the light was important to the client. The lighting needed to be comfortable, but also help keep travellers awake and aware of their upcoming travel departures. Subdued lounge areas were implemented in the design for those travellers needing a respite from the hustle and bustle.

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BORA

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CRI>93.

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Client: Amicus Therapeutics Architect: CRB Photography: Connie Zhou Photography

Amicus Therapeutics Headquarters Philadelphia, PA, USA / 2019 Lighting emphasises state-of-the-art bio-research facility.

Amicus Therapeutics’ new 50,000sqft Global Research and Gene Therapy Center of Excellence, located in uCity Square, was designed to advance the company’s commitment to biotechnology and the research of rare metabolic diseases.

The Lighting Practice worked with CRB to illuminate the world-class headquarters and established a technologyforward first impression. With the project’s aggressive budget, TLP placed emphasis on the design of feature areas – entrance, atrium, and meeting spaces – and developed a more conservative approach for the lab and office lighting.

Upon stepping off the elevator on the upper level, the eye is drawn to a luminous ceiling system of fibrous panels, perforated with a custom pattern resembling the gene sequence that is at the foundation of their search for cures of rare diseases. The lighting team chose a slightly cooler light temperature for the ceiling to make it feel like the sky; 4000K in the ceiling offers a subtle difference from the 3500K

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used throughout the rest of the space. This compelling ceiling continues in the reception area, where concentric, fluid coves elevate the ceiling plane. The reception opens to a double height atrium, where the ceiling system turns vertical and cascades through a curvilinear floor opening, highlighting a dark metal staircase that levitates down to a series of organic wood plinths with tiered reveals of soft illumination. Large, sinuous lines of light encircle the atrium space, providing a strong visual reference and illuminating collaboration and touchdown areas for employees. Ring pendants and small-scale downlights illuminate soft seating and informal meeting areas.

The labs, which account for two-thirds of the project space, are illuminated by just two fixture types – functional but attractive flat-panels and shallow regress downlights.

Rectilinear direct/indirect pendants and downlights light the open offices. The result of this project is a technical workspace that is collaborative and inspirational.

PROFILE

Inspira Medical Center Mullica Hill Mullica Hill, NJ, USA / 2019 Lighting supports biophilic design and wellbeing of patients, staff and family.

Inspira Health Network wanted to expand its facilities to better serve its community with a new, 465,000sqft state-of-the-art hospital. The Lighting Practice joined the multi-disciplinary IPD team led by Skanska USA, Array Architects, and Leach Wallace Associates.

A main challenge for this project was working with a limited lighting budget while still providing a one-of-a-kind design. The solution was a lighting hierarchy placing emphasis on public spaces and highlighting natural materials and motifs. This approach supports biophilic design, fosters wayfinding, and promotes wellbeing of patients, staff, and visitors. LED sources used throughout the entire project decrease maintenance and provide patient and staff flexibility with inherently dimmable luminaires. The public lobby and waiting spaces create a visual connection to the local community visible through the building’s glass façade, it was critical for the lighting to support this idea.

Glowing glass light boxes are front-lit and backlit, creating a sense of welcome upon arrival, while linear grazers accent wood and stone features on the walls and ceilings, producing biophilic texture. Indirect cove lighting and luminous decorative pendants provide a glow on wood materials, helping balance natural daylight exposure. Elsewhere, a kit-of-parts lighting strategy at nurse stations and the reception uses decorative trim downlights and tapelight integral to millwork, reinforcing wayfinding by emphasising the destination. It was important that the hospitable feeling extended beyond public spaces. Patient rooms were treated like an extension of the home. Visually comfortable ‘skylight’ troffers provide reading, ambient, and exam illumination at the bed, controlled via the pillow-switch device. Wallwashers, decorative sconces, and amber steplights provide additional layers of night lighting, giving patients control of their environment. Various elevations of light, a neutral colour temperature, and dimmable luminaires throughout each space support circadian rhythms.

Client: Inspira Health Network Contractor: Skanska USA Architect: Array Architects Engineer: Leach Wallace Associates Photography: Halkin | Mason Photography

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women in lighting

Debut Celebrations!

Women in Lighting celebrates its first birthday this year. Below we talk with team behind the project, and the army that supports them.

T

his year marks the one-year anniversary

profile of women is significantly lower than men. We want to

Established in February 2019, Light

The project’s official opening was launched with high energy

of the Women in Lighting movement.

Collective duo Sharon Stammers and Martin Lupton joined forces with

Sharon Maghnagi of formalighting and Katia Kolovea of Archifos, to create the

global project. The digital platform profiles women working across the lighting industry with the aim to promote their

“passion and achievements, narrate their career paths and goals, celebrate their work and therefore help elevate their profile in the lighting community.” Despite comprising

approximately 50% of the lighting industry, women are not

as equally represented on the professional platforms as their male colleagues.

A statement on the WiL website reads: “The project is

supported by individual female lighting designers in 60+

different countries. The Women in Lighting ambassadors are a point of contact in each location for anyone seeking to find

out more about the project. The project also includes lighting

designers plus those working in related lighting fields such as

education, journalism and manufacturing. Women in Lighting is not about gender inequality but about inclusivity and how this is beneficial to the profession as a whole.”

“We started this project to try and make a difference. Although women make up at least 50% of the lighting design profession, you only have to look at the number of women speaking at

major conferences, acting as judges in awards, being asked as keynotes and serving on editorial boards to realise that the

change this,” explained Lupton.

and a huge amount of support, which propelled them through the first year with great success.

“Having been involved in lighting design from the very beginning, women have had a greater role in shaping

the lighting design profession than in architecture and

engineering,” commented Stammers. “The lighting design

profession is a supportive industry for women and the many

routes into the profession offer opportunities from a diverse set of backgrounds. It is an industry that is good at sharing information amongst its community and can therefore

offer support to other women who may need it. We want to

encourage women to choose to work in lighting or other related jobs.”

Gaining rapid traction, many women came forward to

represent the project as ambassadors in order to support

and celebrate the female lighting designers in their localised communities. Finland was the first country to host an event

for its community as early as March 2019, which was followed by events held throughout the year in Chile, Australia, Italy, Dubai, Turkey, Brazil, Israel, Peru, Singapore, Thailand,

and India. These individual country events were dispersed amongst an array of industry-led events, where WiL held

a strong presence, including panel talks for darc thoughts at Clerkenwell Design Week and Light Middle East, to the

Pakistan ambassador, Momena Saleem, talking about WiL

on national television. “In October, I gave a live TV interview

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women in lighting

1

The Italian Women in Lighting group champion their female designers on social media. Here is a selection of images of group members that highlights some of their lighting projects completed as lead lighting designers.

as a WiL Ambassador for Pakistan along with my colleague Ana

content to start highlighting the work of the Italian WiL on social

Women in Lighting project and raise awareness about the lighting

the goals of the Women in Lighting project is the construction of a

Tanveer,” said Saleem. “It created an opportunity to introduce the design profession in Pakistan. “With the immense support of WiL, I have been able to take steps like these with great courage and determination.”

Stammers added: “There has been some division of opinion about the project. On one hand, there have been countries that have embraced

the idea behind the project, supporting the need to celebrate women

in lighting and to inspire others with their stories. On the other hand, there are countries where gender balance is perceived to have been

achieved already and see no need for the project. These countries are better placed to help raise up and inspire women in other countries

and therefore we need everyone’s support for the project to succeed.

There is a continuing need for more progressive mindsets and inclusivity in all areas of our industry.”

When speaking with Stammers, the Italian ambassador Giorgia

Brusemini, explained Italy’s WiL journey: “The first Italian round table for WiL was held on 24 September, 2019 in Milan. Twelve

professionals working in the lighting sector sat around the same

table; their skills were: planning, teaching, journalism, production, art and research. Here was the beginning of the creation of original

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networks (@Wil_Italy) showing the specificities of each. One of

digital platform for the promotion of women working in the lighting sector, creating a large database of testimonials that inspire future generations.

“We are happy to officially communicate the creation of the first WiL permanent corner in Italy, and it is a project very dear to me as the

Italian ambassador! The corner, hosted in the Italian headquarters of formalighting (which we thank again for the great support),

will serve to support and help the women in lighting interested in

entering their video contribution on the international portal. We are interested in your story!” said Brusemini.

“In this first year, I started to involve and highlight the profiles

of the professional Italian female lighting designers by building a strong group of twelve to thirteen professionals.

“Through these social networks I also advertise the courses and work of the Italian lighting designers…The WiL network is wonderful!”

Maghnagi and formalighting have supported the project from the beginning; she reflected on what she has witnessed over the last

year: “It has been a privilege to sponsor the WiL project and witness the movement reach so many parts of the world in just one year.

C

M

Y

CM

MY

CY

CMY

K

women in lighting

“We celebrate those who took advantage of the

appreciate the role of male supporters. By serving

stepped out of their comfort zones and stepped

own organisation, as everyone at formalighting

opportunities the project offered - those who

up to speak, shared their work or journeys, served

their own lighting design community, and created a new social network. This first anniversary is a

milestone to reflect on the bigger picture and take

pride in our own contributions. They are all part of the movement now.

“For me personally, I imagined that the first

year of the WiL project would be an exercise in

listening, but it proved to be so much more. The humanistic values from this experience have

made me into a better leader and colleague. It

was like some sort of professional awakening,

which enhanced my relationships and helped me

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WiL, we have positively impacted the culture of our embraced our involvement in the project and

displayed genuine support for the lighting design community and renewed self-awareness.”

Coinciding with this year’s International Women’s Day, WiL celebrated its one-year anniversary by

joining and promoting the social media movement #EachforEqual (see more on this on p.18).

“International Women’s Day 2020 had the theme #EachforEqual. ‘An equal world is an enabled world. Equality is not a women’s issue, it’s a

business issue. The rise of women is not about

the fall of men. Gender equality is essential for

economies and communities to thrive,’” explained

The Italian Women in Lighting team host regular events and meetings to support and celebrate female designers.

Proving to be one of the strongest individually lead teams in the WiL community, ambassador Georgia Brusemini works hard to celebrate those in her Italian community.

Stammers. “Everywhere, gender is on the mainstream radar and

this happen. I’m aware I couldn’t have moved this far forward at

called out. Men’s role in society is more varied and gender roles are

I’ve learnt about WiL; it’s about solidarity and being there for each

impacting how we work. Stereotypes and bias are more likely to be fluid. In more recent years, men as advocates and champions of

change have been recognised as playing a key part in accelerating

women’s equality and as allies in helping build diverse and inclusive organisations that challenge stereotypes and bias.”

Reflecting on her time over the last year, Portugal’s ambassador Paula Rainha had a big year both professionally and personally:

“I had a baby last year who is now seven months old, so I’ve been on maternity leave for most of last year. However, among other

things, we had a social get-together, participated in a light festival, did a lighting guerrilla, and were on a conference panel thanks to

the enthusiasm of the Portuguese community in helping to make

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this stage of my life without their help. So, I think that’s the lesson other. We are not competing at a professional level but moving along and helping each other in whatever challenges we come across.

Tomorrow it might be another one of us that will need an extra push.

I think this is the beauty of this project; we create community spirit

and we have fun along the way. Thank you all for being part of this, I know some of you, not all, but I’m happy to be part of this project.”

To commemorate the project’s one-year anniversary, Lupton created a featured video distributed online and through the WiL network

on this year’s International Women’s Day. It reflects on the various

events and people involved in making the WiL debut a great success over the last year. The video was launched on the WiL social media

women in lighting

Light Collective’s Martin Lupton and Sharon Stammers joined forces with Katia Kolovea of Archifos and Sharon Maghnagi of formalighting to create the wellcelebrated Women in Lighting project and digital platform.

platforms, which have already gained more than

lead by the WiL movement, as well as host panel

commented: “I am deeply grateful and inspired by

[d]arc awards, we were excited to welcome a full

3.5K followers. Social Media Manager, Kolovea,

all of the amazing people I have met virtually on our WiL social media networks and physically at the events we attended this year.

“The incredible online participation and

interaction on our social media challenges, the

wonderful positive messages that we receive daily, as well as the growing inspiring content on the

WiL website: interviews, blogs, new supporters

and positive energy, bring me a massive smile and make me excited for what is coming next. Stay

tuned! Together we are STRONGER so let’s keep lifting each other up.”

The website platform currently features nearly

50 interviews with leading international female

designers sharing WiL stories. With many more

lined up for 2020, the WiL are actively encouraging others to upload their own interviews, either written or filmed, to the website as well.

As well as the interviews, the website hosts the R.A.W Health blogs. R.A.W, written by

Architectural Lighting Designer Martina Frattura

and Lighting Designer and Architect Dipali Shirsat, looks at covering fresh perspectives on the

contributions of trailblazing women in lighting.

The Health blog is a series of contributed stories regarding different health-related experiences women in our industry have gone through, laid bare for all to understand and respect.

Providing Russian-specific content on the

WiL Russian Facebook page, ambassador Olga Tu’zova has created a series of interviews for

the Russian lighting community. Reflecting on her experiences, she said: “It’s such a pleasure

to see how people started to change their mind

about Women in Lighting. I don’t receive all the

bad comments and letters anymore. People have

started to support us, to be interested! And it’s just

one year in! Thanks to all of you with all my heart!”

The team has been successful not only in its

online presence, but it has also been recognised

professionally from the industry, earning awards

for Lux Persons of the Year 2019 for its contribution to the industry, shortlisted for a PLDC Award At

Large and a large amount of 40 Under 40 awards for ambassadors.

The project has been widely covered by

international industry media supporters, of

which the [d]arc media team is proud to be from the very beginning. Both magazines frequently

publish articles on the women, projects and events

discussions during [d]arc room, and for the 2019 WiL panel of judges.

Spanish Designer and Educator Lara Elbaz reflected on her year of participation with WiL: “In less

than a year, WiL has proven to be a powerful tool to celebrate the work of a growing number of

female lighting designers around the globe. The

project has unveiled the uncomfortable reality of

the lighting industry and is offering positive ways of increasing the profile of very talented women.

Personally, I am amazed at how fast and tight the

WiL community is growing and developing, which

proves there was a real need for such a movement.

It has also made me discover there are women

in lighting in the most unexpected countries, all

fighting the same fight, which fills me with pride and hope!”

When speaking about her experiences with WiL, Swedish Designer and Architect Beata

Denton commented: “Thinking about Women

in Lighting three words spring to mind: Sharing.

Encouragement. Joy.

“This project has no doubt had the effect it set out

to do: make female lighting designers more visible.

The core of the project is a feeling of inclusivity. It has been and continues to be, a lot of fun. For me, I think the sharing of life and work experiences

has been the greatest inspiration. The interviews

were the starting point. Personally, I enjoyed being forced to reflect on my own path and my values. It

has been amazing to see female lighting designers from all parts of the world, and to listen to their

challenges and passion for lighting. Meetings in real life always has the greatest impact on me.

That’s why the strongest memories from the

last year are the Pecha Kucha in Rotterdam – an amazing evening; Sharon’s own talk at PLDC in

Rotterdam, so generous; and the panel discussion at [d]arc room, women and men sharing their

views and thoughts. Nothing changes unless we

talk about it. All in all – I am super grateful to be part of this project. It means a lot.”

Stammer’s concluded: “Let’s tackle unconscious bias wherever we see it in the lighting industry

and move forward together. Let’s use this network to share knowledge and inspire each other. Let’s

empower and support women wherever they are, in whatever way we can. Let’s celebrate great lighting design all over the world.”

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PROJECT DETAILS Astir Palace Four Seasons, Athens, Greece Client: Astir Palace, Four Seasons, Greece Lighting Design: Lighting Design International, UK Photography: Gavriil Papadiotis

Turning the traditional hotel layout on its head, the Nafsika entrance lobby welcomes guests onto the top floor, offering stunning views over the Mediterranean Sea.

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hospitality focus

Seasonal Luxury A legendary hotel complex, on the coastline of southern Athenian suburb of Vouliagmeni, Astir Palace Four Seasons resort has recently undergone a massive renovation with lighting design from Lighting Design International.

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A combination of architectural and decorative lighting fixtures have been used to create the entrance spaces for the Nafsika hotel.

The interior lighting is dramatic and modern, mixing a use of bold decorative gestures highlighting its “livlier atmosphere”.

T

he Astir Palace hotel complex first opened in 1958 ,

solutions to the contractors and project team, in order to ensure the

Entering into its new design phase, the Astir’s

Fortunately for the lighting designers, the brief at the beginning of

running successfully as a city resort during the 1960s. renovation saw Lighting Design International (LDI) to

complete the new exterior and interior lighting schemes for the two hotels, Arion and Nafsika. From design to construction, the project

took three years to complete; LDI was brought on board in July 2016 and the resort re-opened in April 2019.

Sandra Brookes, Senior Designer at LDI, sat down with arc to discuss the firm’s involvement in the renovation project: “LDI has an

extensive hospitality and residential lighting portfolio. Therefore,

understanding and achieving lighting design with the Four Seasons’

ethos of ‘a home away from home’ in mind was key for the success of the project.

“LDI has worked with Four Seasons Hotels on numerous occasions and understands the group’s vision. The brief was to design a

sophisticated lighting scheme with a residential feel and fortunately this is what LDI is known for.

“While the structural elements, outer shell and some of the exterior walls were retained, the building was completely renovated and LDI worked closely with the project management and design teams in

order to create a high-end lighting scheme both for the interior and exterior areas at both hotels.”

To realise the new lighting schemes for each hotel, the LDI team devised a mock-up room to test and present the new lighting

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value and appreciation of specification was achieved.

the project was maintained throughout the duration of the

renovation. “It took a lot of lighting mock-ups and tests, hard work

and many hours to get to the level of quality desired. What made this

project special was that the two hotels were unique, yet had a distinct lighting ambience that unifies them,” explained Brookes. “Arion’s look is more sophisticated and aimed at couples and singles, while

Nafsika is more relaxed and family orientated. The lighting helped to enhance each hotel’s distinct personality.”

Nestled within its own pine-clad peninsula, the resort overlooks

Athens Riviera, offering the best of both worlds; a laid-back seaside

escape and tranquil forest environment. The Arion hotel building is a boomerang-shape, offering views across both the sea and the pine

forest. “Arion stands tall on top of the hill; its façade visible from a distance. It was therefore decided to emphasise its shape by

introducing an array of narrow washes of light to its ceiling,”

explained Brookes. “This was achieved using two separate details: miniature custom-built fixtures mounted at a high level on the

balcony walls, softly up-lighting the soffits, while at each room level, similarly discreet, low-glare uplights integrated within the existing

twinned columns create a visual rhythm, highlighting their metallic surface. Carefully implemented detailing allowed cabling from the

new fixtures to be concealed within the columns that had to remain

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otherwise untouched.

scheme and control system incorporated within the buildings,

flexible linear LED fixture within an existing marble niche wrapping

enjoy the warm and inviting lighting ambience without knowing

“To increase Arion’s sense of perspective, LDI integrated a concealed around the entire building at first floor level. This creates a unifying line of light to Arion’s outer shell perimeter.”

When guests first arrive at Arion, they are welcomed with minimal

aesthetics in the reception area. The team deliberately chose dimmed lighting levels to create a calm atmosphere in this space. In contrast, the lounge-lobby boasts a double-height, voluminous space with

floor-to-ceiling windows that look out over the sea. A focal point in

the space is a timber bar with marble countertop that is highlighted with pinhole downlights above it and concealed linear LED details

integrated within its fabric. Decorative lighting adds distinguishing features to the space.

“We had the opportunity of having a new and more current lighting

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leaving minimal lighting aesthetic visible. Leaving the guests to where the equipment is located,” added Brookes.

“LDI designed the lighting layouts with the existing structure in mind, but with the advantage that most of the equipment was

concealed from view successfully by the new interiors. Bespoke tailored details were developed in conjunction with the interior designers and incorporated within furniture and the building envelope.”

One of Arion’s special features is its spa. An arcade-like corridor,

which is illuminated by daylight filtered through wooden ceiling slats and artificial lighting details, leads visitors to the treatment rooms.

The lighting fixtures used for this purpose are provided in low-level concealed skirting details, creating a linearity effect. “Concealed

hospitality focus

The Arion hotel building is a boomerangshape, offering views across both the sea and the pine forest. “Arion stands tall on top of the hill; its façade visible from a distance,” explained Brookes.

feature backlighting to the strips themselves and ceiling recessed

bottom across its length. It’s a façade that keeps the interest alive as

circulation axis,” elaborated Brookes.

impactful first impression gathered at the top entrance with the

downlights with low-glare optics create pools of light along the main Throughout the interior public spaces, including the restaurant and

bedrooms and suites, fixtures from Reggiani dominated the lighting specified, with an array of mood adjustable fittings, along with fixtures from LED Linear used throughout.

Secluded on its own beach, the Nafsika hotel stands proudly on the sprawling rocks leading to the water’s edge, with “an architectural language of strong vertical concrete walls. These rectilinear

geometries were framed at the slab edge with a small marker of light and further highlight with a soft wash of light,” explained Brookes.

“The intrinsic beauty of this façade highlights the visual journey, with its ever-changing lighting composition depending on the

viewing angle, new perspectives are modelled with light from top to

in every corner there is a new panorama to be discovered; from the

pillar forest of light to the inviting ambience crafted with light in the social pool area at the bottom, the façade is ever present with its silent, soft, yet powerfully lit backdrop.” LightGraphix LD151

high-powered uplights were used to light the exterior columns

situated at the entrance to Nafsika, with surface mounted LD10238

and LD10237 spotlights used to highlight other features. According to LightGraphix: “The linear-lensed LD38C wall washers installed were RAL colour matched to the façade so they blended seamlessly into

the architecture. Miniature LD51 spotlights create a subtle wash up

each of the balcony walls, and elsewhere LD64s, LD242As are being used extensively.

“As part of the lighting scheme, LDI wanted to create a wash of light

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Turning the traditional hotel layout on its head, the Nafsika entrance lobby welcomes guests onto the top floor, offering stunning views over the Mediterranean Sea.

“Being a summer resort in Greece’s warm climate, both hotels public areas are closely linked to the outdoors.”

Sandra Brookes, Senior Designer, Lighting Design International

Mediterranean Sea. Upon entering the lobby, guests are welcomed by a lit Antony Gormley sculpture with a backdrop that “resembles a forest of illuminated pillars.”

A distinctive lighting scheme guides visitor to descend from the top floor lobby to the swimming pool area below, via a series of interlaced, cohesively designed spaces.

The Avra Lounge’s jewel-like pendants take centre-stage, as you

enter the restaurant’s reception area, creating a bold visual impact

on the dining space. LightGraphix and Orluna fixures were used for

the F&B lighting, with Orluna mini recessed warm dim tilt lamps for the pizza counter.

“Oversized bespoke decorative luminaires with integral spotlights help to retain a clean soffit and introduce drama,” elaborated

Brookes. “The space presents floor to ceiling windows and seamless lighting integration with indoor/outdoor spaces was key. The warm welcoming atmosphere is provided mainly through decorative

fittings and soft lighting integrated within the furniture and building on the balcony ceiling between the hotel rooms. Working closely

with our specials department, they came up with the novel idea of

orientating the LD47 wall light up, instead of down, and mounting it near the ceiling. However, since there was no recess depth, a new, custom surface-mounted version was developed.”

The interior lighting of Nafsika is dramatic and modern, mixing bold decorative gestures highlighting its “livelier atmosphere”. Turning the traditional hotel layout on its head, the Nafsika entrance lobby

welcomes guests onto the top floor, offering stunning views over the

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fabric.”

A sense of intrigue is achieved through the use of varied finishes and a nuanced lit canvas that combines light and dark. One of the design focal points in the interior is the marble slatted corridors. The

beautifully selected marble slats are both front and backlit with a careful balance, creating an elegantly lit canvas.

“Being a summer resort in Greece’s warm climate, both hotels public areas are closely linked to the outdoors. The newly lit façade provides a balanced and considered candlelit-inspired scene to the external presentation. The softly uplit features, such as columns and

Nafsikaâ&#x20AC;&#x2122;s interiors use a bold and beautiful combination of architectural and decorative lighting features to create an energetic and sophisticated ambience for its hotel guests.

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One of Arion’s special features is its spa. An arcade-like corridor, which is illuminated by daylight filtered through the wooden ceiling slats and artificial lighting details, leads visitors to the treatment rooms.

pilasters, combine with the warm glow achieved in the

terraces, provides an inviting illuminated ambience with

visually discreet luminaires. Again, Reggiani fixtures were used for the majority of fixtures, along with LED Linear throughout, LineaLight special mini step washers for the rooms and RCL’s DR7 recessed downlighter, for the ballroom.

“For both façades, a consistent use of fixtures with 2700K LED

sources has been used throughout. Light fixtures and concealed lighting details have been painstakingly specified and designed to eliminate glare and views to sources as much as possible

from all angles. All fixtures used externally have been specified with finishes that can withstand the harsh coastal environment,” explained Brookes.

“For both interiors, low-glare and concealed architectural

lighting discreetly illuminate the spaces throughout, while

decorative fixtures provide warmth at a more domestic scale.

The luminaires specified use either warm or tuneable white

(2200K-2700K) LED sources. The all-day bar and restaurant

spaces use tuneable white and warm-to-dim LED sources to complement the natural daylight cycle in these spaces. A

Lutron lighting control system was used to allow the lit canvas to be adjusted using scene setting capabilities.”

Overall, the two hotels present distinctly different design profiles, yet are intrinsically linked by a cohesive lighting

scheme that draws on the outdoors and surrounding nature to create modern and stylish designs throughout. www.lightingdesigninternational.com

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lighting specified Applelec LED Light Sheet LED Linear VarioLED Flex IQ White ATON HD24 LED Linear VarioLED Flex IQ White ATON HD42 LED Linear Erebus 4 IQ HD24 LED Linear Erebus 5 HD24 LED Linear Phobos SV Light LED Linear Phobos TV LED Linear VarioLED Flex IQ White ATON HD12 LED Linear VarioLED Flex VENUS White SV IP67 LightGraphix LD36 LightGraphix LD40 LightGraphix LD42 LightGraphix LD42W LightGraphix LD43DR LightGraphix LD43W LightGraphix LD47 LightGraphix LD51 LightGraphix LD56 LightGraphix LD59 LightGraphix LD97 LightGraphix LD150 LightGraphix LD151 LightGraphix LD10236 LightGraphix LD10237

LightGraphix LD10236 LightGraphix LD10237 LightGraphix LD10238 LightGraphix LD242A LightGraphix Picture Light LightGraphix Special Fitting Ref. LD35002 Linea Light Group Myia Linea Light Group Special Mini Step Washer Original BTC DP7568/BR/LED Orluna Air Rose Origin Adjustable Orluna Classic Fixed Origin Orluna Classic Warm Dim Fixed Orluna Mini Recessed Tilt Warm Dim RCL DR7 Recessed Downlighter RCL DRX5 Reggiani Mood round L Reggiani Mood Adjustable Round and Square S/M/L/XL/ IP44 Reggiani Mood Adjustable Round M Warm Dim Reggiani Mood Adjustable Double Square M/L TM lighting Zeroforty Spotlight Tokistar Lightstring FL series Wibre 4.0052.20.12

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04/02/2020 17:19

Frozen Music A major renovation of Floridaâ&#x20AC;&#x2122;s Seminole Hard Rock Hotel & Casino saw Focus Lighting design a lighting scheme that brought a lighter, more resort-style feel to the well-known Hard Rock brand.

PROJECT DETAILS Seminole Hard Rock Hotel & Casino, Florida, USA Client: Seminole Gaming Association/Hard Rock International Lighting Design: Focus Lighting, USA Architect: Rockwell Group, USA Photography: Peter Leifer/Cheryl Stieffel: Miami in Focus

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Previous Page The Oculus is an immersive arrival experience that weaves together theatre, technology and architecture to transform the guests’ experience the moment they walk into the venue.

This Page Memorabilia display cases have been given a beautiful glow through lighting at the top and bottom, making them feel like a part of the architecture, rather than an afterthought.

F

ocus Lighting, together with

can inform an architectural space.

Group, started work on the

for this project, Christine Hope, Principal

interior architects Rockwell

Seminole Hard Rock Hotel and

explains: “Through extensive coordination

addition of a large new hotel tower, an

supports these shapes and forms with

the Florida-based property, which saw the

retail promenade, the team also worked on

with the rest of the design team, lighting seamless architectural integrations and enhances the design concept through

an additional casino floor alongside the

custom decorative applications. The result

lobby, other smaller circulation areas and

instruments, offering guests a new, refined

There was a clear goal from the very

Above the lobby bar, the bottom curve of the

renovation of the existing casino, hotel amenity spaces.

suggests the sophistication of a symphony of take on the traditional Hard Rock brand.”

beginning to elevate the Hard Rock brand the

hotel’s guitar tower peeks through the

transforming it into more of a resort lifestyle

Rockwell Group to create hidden pockets

world has become familiar with –

brand, with a lot of design choices made to support this. Rockwell Group’s concept of

ceiling. Focus Lighting coordinated with

within the decorative trim pieces for a short piece of track and two Amerlux Hornet HP

‘architecture is frozen music’ – a famous

track heads to light the bar top and backbar.

space and connects to Hard Rock’s emphasis

chandeliers from Zaniboni evoke the delicate

quote by Gothe, ties into the design of the on the music industry. Images taken by

small cameras inside musical instruments supported this idea and informed the

architectural details, evoking a different

musical instrument within each area. It is a much more thoughtful take on how music

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Lighting Designer at Focus Lighting,

Casino back in 2015. A major renovation of

expansive outdoor area and extension of the

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Speaking with arc about the lighting design

Opposite the bar, layers of beaded string and cadence of the symphony’s string section.

Focus Lighting had each pendant custom-

fabricated from a powder-coated tube, with a

frosted inch-tall acrylic cylinder containing a 3w LED at the bottom. The lighting team

worked with the manufacturer to select the

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hospitality focus

1

1. Opposite the lobby bar, layers of beaded string and chandeliers from Zaniboni evoke the delicate cadence of a symphony’s string section. Focus Lighting had each pendant custom fabricated from a powder-coated tube, with a frosted acrylic cylinder containing a 5W LED at the bottom.

2. A collection of trellises provide lighting for the casino’s gaming tables. Linear LEDs integrated inside these reveal pops of colour, while ball chandeliers are integrated with a mix of internal glow points and adjustable narrow flood LEDs, each on separate circuits so that accents could be adjusted to achieve an ideal level of coverage.

pendants’ LED colour and found the perfect combination of filters to create warmth

within each tube. The pendants were then

fabricated with the outer rings at 5ft-tall and each concentric inner ring six-inches

shorter, creating a rounded dome shape.

A collection of trellises provide lighting for the casino’s gaming tables - their huge

openings and colourful interior evoking the feel of a horn instrument. Linear LEDs

integrated inside reveal pops of colour,

creating a feeling of jazz syncopation, and a

series of wide floodlights sprinkled between them add a playful dappling of light and

shadow. Additionally, ball chandeliers within each trellis are integrated with a mix of

internal glow points and adjustable 2700K

narrow flood LED accents, each on separate circuits so the lighting team could aim

accents specifically to get the ideal level and coverage for tables below.

The rhythmic placement of the hotel’s

memorabilia cases evokes the keys of a piano. The cases are illuminated with

alternating horizontally or vertically-

mounted LED accents by Eklipse Lighting, giving each piece a unique, eye-catching

look. A glow from linear Luminii Lighting LED fixtures at the top and bottom of

memorabilia cases works to accentuate the

warm wood finish of the wall behind them.

Elsewhere in the hotel, a twinkling fibre-

optic ceiling at the Centre Bar was inspired by the flashing cameras of fans at a live

show. All of the illuminators are hidden

within a ring above the bar, feeding out from a central point. Achieving their fibre-optic treatment in the Centre Bar’s complex

curved ceiling required an incredible amount

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The lighting suggests the sophistication of a symphony of instruments, offering guests an elevated, refined take on the traditional Hard Rock brand.

2

Philadelphia Rittenhouse Hotel | Philadelphia, PA USA| The Lighting Practice | Photography Š Jeffrey Totaro Photography

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1. Above the lobby bar, the bottom curve of the hotel’s guitar tower peeks through the ceiling. Focus Lighting coordinated with Rockwell Group to create hidden pockets within the decorative trim pieces for a short piece of track and two Amerlux Hornet HP track heads to light the bar top and backbar.

2. Through a series of light shows, The Oculus creates various scenarios throughout the day - from the pastel colours of a sunrise, to a sunny day at the beach, with colours inspired by the ocean and sand, to more saturated colours that call to mind a night on the town.

3. The Centre Bar was inspired by the flashing cameras of fans at a live show, with twinkling, fibre-optic lighting at the centre of its complex, curving ceiling.

of coordination and detailing between the

choice in a casino, but it was the result of the

fabricators. Focus Lighting mapped thousands of

The warm-dim LEDs ability to shift from being airy

electrical contractor, lighting team and specialty points in the ceiling and gave the electrical

contractors a template to use for installation.

“The scale of the project created some of the

greatest obstacles; there were so many different

components and teams working at once that it felt like we were building a small city. All the teams

worked relentlessly to coordinate with each other and ensure we were all on the same page,” Hope explains.

“As well as this, there isn’t one straight wall in the entire building, everything is free flowing and

curvy. This complex geometry was a driving force

in deciding how lights were specified. For example, we used more than 20,000 feet of ceiling cove

lighting throughout the lobby and casino spaces.

This was challenging because we needed the

majority of this to be comprised of 12-inch lenghts to make all the curves work, which resulted in

more coordination and required a more careful installation.

“The use of warm-dim technology was also a big

decision for us,” continued Hope. “It is an unusual

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amount of daylight in the casino’s adjacent spaces. and crisp during the day to a warmer, more

intimate setting during the evening helped create

the sense of luxury we wanted the space to have.”

Another area of the Hard Rock hotel worth

mentioning is The Oculus – an immersive arrival experience that weaves together music, video content, dynamic water features and light.

Encompassing a 140-inch x 35-inch room, its

design combines natural light with architectural and theatrical lighting from Acclaim, ETC, SSL, Lumenpulse, 5Ten, USAI, and Ketra.

Coordination with water consultant WET Design

allowed the lighting team to optimise the look of a central 10ft-diameter waterfall, which serves as a surface for light projection. The team tracked the waterfall’s choreography to ensure lighting was correctly timed and placed, suggesting a coat of

mist to go around it - a dense curtain of particles that produces sharp, visible projections.

Focus Lighting was also tasked with

choreographing sequences for the attraction’s

eight daily shows. Eighteen layers of light with

hospitality focus

2

1

3

4,600 points of control were designed into The

Throughout the hotel and casino, there is a mix of

console. The lighting team worked closely with

and decorative elements, and while it was a

Oculus, each controllable through a GrandMa

Rockwell Group’s LAB and the programmers from

Candela Controls to choose light colours that were

in sync with music and multiple dynamic video and water elements for each four to six minute show.

“We wanted to make sure we balanced the

architectural lighting with the natural daylight in the space,” said Hope. “You wake up in the

morning with these pastel colours that remind you of a sunrise, then, throughout the afternoon, the

feeling is more like a sunny day at the beach, with colours inspired by the ocean and sand. Towards

the evening, it’s about being out on the town or at a club, so the colours become more saturated and the movement more dramatic to support that

storyline. When a song ‘event’ happens, we made sure that it was a dramatic visual shift from the

architectural setting. We picked colour palettes for each song that were complementary to the colours and themes of the content and song choices made

by LAB, and corresponded in cadence and intensity

to the time of day during which it was played; there were many factors to consider.”

integrated architectural lighting, display lighting

challenge to merge everything together in order to create a unified, coherent lighting scheme,

according to Hope it was always a big priority for everyone involved. “In the past, Hard Rock

memorabilia cases were hung on the wall with not much thought given to their lighting,” she said.

“At Hard Rock Hollywood, the warm glow that

emits from behind cases where they meet the wall make them feel like part of the architecture.

The lighting design plays an important role in

shaping the guest experience. As visitors move

through the venue, they discover a combination of grand, exciting spaces with large architectural

gestures and neatly integrated lighting, and more

secluded areas where lighting provides a source of

intimacy and comfort. Through careful integration and coordination, lighting successfully enhances the architectural language and functional use of

the Hard Rock Hotel & Casino’s new public spaces. www.focuslighting.com

lighting specified Acclaim AI Cove Acclaim Flex Tube SC Acolyte Ribbonlyte Acolyte Ribbonlyte Matrix Amerlux Hornet HP Track Heads Boca Flasher Nanolume Boca HPNLS-HO Boca NanoXM Eklipse Lighting Pixis Track Heads with Lifeline Track Environmental Lights Linear ETC Source Four LED Series 2 Lustr Ketra D3 Color Changing LED Accent Lumenpulse Lumenbeam Large SSL Colourline Cove RGBW SSL Colourline Graze RGBW USAI BeveLED 2.1 WGD USAI BeveLED 2.1 Infinite Color USAI BeveLED Mini WGD Zaniboni Custom Tibi Chandeliers 5TEN Visuals Custom LED Mesh Panels

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HOSPITALITY FOCUS

PROJECT DETAILS Vardo, London, UK Client: Cadogan Estates Lighting Design: DHA Designs, UK Architect: Nex Architecture, UK Lighting Suppliers: iGuzzini, LED Linear, Mode, Orluna

The Grand Old Duke of York DHA Designs has created a sleek, linear lighting scheme for the Vardo restaurant on London’s Duke of York Square, accentuating its curvature, while giving the building a soft, glowing ambiance.

V

ardo is a new restaurant,

its simple transparency, both internally and

providing lighting to the overhanging

historic Duke of York Square on

Internally, all lighting is concealed

to the terrace are illuminated via concealed

situated in the centre of the Kings Road in London, UK.

The restaurant’s ambitiously sculptural form, designed by Nex Architecture, is

defined by a ribbon-like, spiralling concrete wall, creating a continuation of the adjacent Grade II listed wall of the Duke of York

Headquarters, while giving the restaurant

an unmistakably contemporary character.

Set within the wall, large openings provide

access to the main restaurant space, drawing upon a classically-informed colonnade in their arrangement.

The dynamic curves of the large plate-glass

windows are completely retractable, opening up the ground floor space during fine

weather and allowing the restaurant to spill onto the surrounding Duke of York Square.

The lighting for the building, designed by DHA Designs, is intended to complement

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externally.

within the slatted timber ceiling – a task complicated by the concealment of all

services above the fire-proofing material.

Concealed lighting within the bar is

complemented by simple pendants, which provide a focal point to the space.

Many options were explored by DHA Designs when developing the ceiling lighting,

including linear light between the slats.

However, it was felt that the purity of the

timber ceiling should be protected and that

the lighting, the only visible service, should

be simple and pure in form, hence the use of custom surface-mounted fixtures, courtesy of Orluna.

From within the restaurant, the arches around the window, which are such a

prominent feature, have been carefully

uplit by iGuzzini’s Light Up Orbit fixtures,

planting on the roof terrace. The stairs up lighting under the risers, while the roof terrace is lit using LED Linear’s Venus

linear lighting under the benches, as well as a linear uplight along the outside edge

of the deck, which illuminates the polished balustrade and planting. The roof terrace

is lit to an average light level, designed to

match the square below so that it feels like

a more intimate extension of the same space.

The curving linear illumination on the

terrace is intended to emphasise the curved

nature of the building. Lighting is concealed from view so that diners can relax without

sight of a light source. The uplighting at the edge is designed to illuminate guests at the

edge of the roof, creating an animation that draws people up from the square below. www.dhadesigns.com

PROJECT DETAILS RuMa Hotel and Residences, Kuala Lumpur, Malaysia Client: Ireka, Malaysia Operator: Urban Resort Concepts, China Lighting Design: The Flaming Beacon, Australia Interior Design: MQ Studio, China Architects: BEP Arkitek, Malaysia Photography: Zhu Hai, unless otherwise stated

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Home From Home The RuMa Hotel and Residences in Kuala Lumpur plays on Malaysian heritage, offering a contemporary take on the country’s colonial past. Lighting design from The Flaming Beacon helps to create a warm, homely environment for its guests.

O

pened in the winter of 2018, the RuMa Hotel and

Residences is a 253-room development in downtown

Kuala Lumpur, Malaysia. Located in the vibrant heart of the city’s Golden Triangle, the hotel features dramatic

views of the iconic Petronas twin towers.

Designed by Malaysian architecture firm BEP Arkitek, with interior design from MQ Studio and lighting design from The Flaming

Beacon, the hotel takes great inspiration from the country’s heritage, offering a contemporary interpretation of Malaysia’s colonial past,

with an additional, more homely touch; the name of the hotel, RuMa, is itself derived from the Malay word for ‘home’. As such, the design

and conceptual approach for the hotel was based around a home that captures, in spirit, the houses of a bygone era.

The Flaming Beacon was introduced to the project via the hotel

operator, Shanghai-based Urban Resort Concepts (URC), whom the designers have a long-standing relationship with, having worked

together on a number of projects throughout China. Andrew Jaques, Director of The Flaming Beacon, explained more about the design concept for The RuMa: “Like many of the URC projects we have

previously worked on, the RuMa encouraged the design team to

explore contextually relevant information and condense it into a contemporary narrative for the project.

“There wasn’t a specific lighting design brief per se; we were

fortunate to have, on this project, an operator and client who

understood how well-lit spaces can positively affect the experience of their guests. They also trusted the entire design team to work together to deliver a hotel that met this broad approach.

“As the design developed, there was an increasing focus on creating a strong domestic character – hence the hotel’s name, RuMa, literally translating as ‘home’. This brought into focus during the design development the material selection and detailing, which were intentionally humble and tactile.”

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“Playing with shadow and texture makes for subtle but interesting variations for guests to enjoy.”

Andrew Jaques, Director, The Flaming Beacon

Alongside this strong domestic character, other sub-themes emerge and reveal themselves within the project, specifically referencing aspects of Malaysian culture and design. The interior design in

particular took a strong inspiration from the country’s heritage.

Jaques continued: “The interior designer, Andy Hall from MQ

Studio, had spent several months researching Malaysia’s history, including its colonial and mining past, as well as its disappearing architectural vernacular.

“Andy presented his overall design approach to us and from that moment we worked together to find ways to express his ideas through rigorous integration of lighting devices, often with a

contemporary take. He was very receptive to our ideas, especially

those which expanded on his concepts through the use of lighting

techniques, and was willing to modify his interiors to accommodate many of these ideas.”

Indeed the close collaboration between The Flaming Beacon and MQ Studio is something that Jaques felt was very unique to this project,

as “it’s not often you have the lead designer asking ‘will this work for the lighting?’

“It was refreshing to have a design collaborator so invested in maintaining the lighting design intention.”

Throughout the hotel, lighting is inseparable from the interior

design and architecture, forming one unified design strategy. To create this unified feel, Jaques added that The Flaming Beacon

“studied every interior and architectural material and element to

establish their importance and light ability in the space to build up Previous Page The interior design for the RuMa took strong inspiration from Malaysia’s heritage, including its colonial and mining past, and its disappearing architectural vernacular.

This Page The Flaming Beacon introduced amber glass at the front façade, backlit by Luci’s line graze fixtures, to create a warming character as guests enter.

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our lighting scenes”.

“Where customised decorative lighting objects were required to

complement these scenes, we applied complementary material and

finishes to these objects to connect them to the spaces,” he continued.

On an architectural level, The Flaming Beacon used lighting to best

hospitality focus

express the architectural concepts, whether this be

atmosphere across RuMa - one that plays on the

screening lattices, or reinforcing the architect’s

a welcoming ambiance for visitors.

studies.

warm to even warmer late into the evening makes

at the architectural datum, and persuaded Andy to

and texture makes for subtle but interesting

point to make a clearer distinction,” Jaques said.

“This was something we challenged ourselves to

glass, the backlit screen above the datum has a

design collaborators who shared this vision.

backlit screen below.

materials in unexpected and interesting ways. For

wasn’t experienced with a project requiring this

traditional Malay dwellings and used throughout

never lost sight of the project vision and quality

manner to enable shadow patterns to land on the

“From the outset, there was pressure on the budget,

“Finding someone who could still weave the

the ways we overcame this was to strategically

expert weaver was eventually located – she was

“Main public spaces were fully dimmable, but

of Penang – and we went about testing several

some circulation spaces had none. This primary,

the intended pattern, but also enabled the

the LED quality specification, which ironically

Outside of the use of lighting, the design team

cost of LEDs by the time it came to placing orders.”

of materials that would enhance the warm

in being able to create the intimate, warm

the timber and warm stone finishes, and the use of

through the layering and revelations of various

contrasts between light and shadow and generates

implied datum, drawn from colonial fenestration

“Consistent warm light that transitions from

“At the front façade, we introduced an amber glass

for a cosy environment, and playing with shadow

change the density of the entry screen above this

variations for guests to enjoy,” Jaques explained.

“When the floor grazer’s peak beam hits the amber

explore in the design and were fortunate to have

completely different character to that of the

“We constantly questioned how we could express

“Despite embracing the design concepts, our client

example, the kelarai screens, more often seen in

level of detail. To the client’s credit though, he

the projects, were in the spa, woven in such a

expectation and persevered.

floor almost by magic.

and lighting equipment was not immune. One of

rattan in the traditional way was a challenge. An

determine where to use dimmers.

90-years-old and living in a small village outside

exterior and guest rooms had limited dimming and

weave designs until one was made that retained

secondary and tertiary approach continued with

shadowing on the floor.”

resolved itself due to improvements in quality and

worked with the interior designer in the selection

Ensuring that key areas had dimming was critical

environment; materials such as the copper ceiling,

When developing the lighting design, The Flaming Beacon studied every interior and archictectural material and element to establish their importance and light ability in the space to build up the lighting scenes.

This resulted in the designers using light to express the architectural concepts, while creating a warm, homely ambiance.

(Sketch images courtesy of The Flaming Beacon)

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The RuMa Hotel and Residences are situated in downtown Kuala Lumpur, in the vibrant heart of the cityâ&#x20AC;&#x2122;s Golden Triangle, and feature dramatic views of the iconic Petronas twin towers.

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“The lighting is a key element in creating a certain vibe, which can directly influence a hotel’s success.”

Andrew Jaques, Director, The Flaming Beacon

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2

3

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terracotta, all add to the creation of the

lights, the approach was to create a series of

“Unwanted reflections that would have been a

assembled’ in reference to the industrial

added. “One of the few specular surfaces in

“Many of the bigger lighting gestures blur the

only visible via indirect reflected light from

and what is a lighting element. In the entry

The Flaming Beacon used Vista’s flexible LED

idea a giant light fitting array, or simply LED

3000K, in coves and joinery throughout, while

ambiguity is exciting.”

spotlights are used in recessed ceiling slots in

create a sense of drama amid the warm,

illuminated via Lucent’s Prospec downlight

and while it has been gaining plaudits since its

Outside, Lumascape’s LS2010 spike-mounted

lighting has been integral to its popularity.

planters and trees, while Luci’s line-graze

certain vibe, which can directly influence a

façade, and ceiling slot grazers and the lobby

unashamedly announcing itself as being

These lighting elements are complemented by

“Carefully integrated lighting always aimed at

Beacon and manufactured by InnerSpace, that

expressions appear as natural and interesting

Jaques said, “drew inspiration from the

fittings that follow a similar material palate

put a twist on them to suit the contemporary

make for a series of spaces that feel elegant,

He continued: “In the case of the guestroom

www.tfb.com.au

desired ambiance.

lighting devices that appeared ‘machined and

distraction were carefully planned for,” Jaques

aesthetic of the colonial period.

the hotel, the copper-clad lobby ceiling, is

boundary between what is an interior element

adjacent surfaces.”

vestibule, is the curved terracotta half pipe

strips at various outputs, from 2400K to

strips built into the architecture? This

Delta Light’s Halosun surface-mounted JAC

The ambiguity that Jaques speaks of helps to

the meeting rooms and lobby. Guestrooms are

welcoming environment of the RuMa Hotel,

and Soraa’s Vivid MR16 luminaires.

opening in late 2018, many feel that the

uplights provide a soft illumination on

“The lighting is a key element in creating a

fittings wall wash behind screens on the

hotel’s success, especially a boutique hotel

vestibules.

different to its competition,” he said.

custom fittings, designed by The Flaming

making the interior of the architecture

feature throughout the hotel. These fittings,

as possible, and the design of customised light

narratives relating to trading and mining, and

and feel seamlessly part of the interior design,

nature of the project.”

cosy, welcoming, and well… homely.”

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1. Throughout the hotel, The Flaming Beacon questioned how they could express materials in unexpected and interesting ways - as seen in the kelarai screens. More often seen in traditional Malay dwellings, these were woven in such a manner to enable shadow patterns to land on the floor, almost by magic.

2. Custom light fixtures, designed by The Flaming Beacon and manufactured by InnerSpace, draw inspiration from the narratives relating to trading and mining, while putting a twist on them to suit the contemporary nature of the project.

(Pic: Enrico Carcano) 3. One of the main aims for the lighting designers was to create lighting gestures that “blur the boundary between what is an interior element and what is a lighting element”.

4. The use of warm lighting throughout complements the interior design in creating an elegant, yet cosy and homely environment for guests.

lighting specified Delta Light Halosun surfacemounted JAC Spotlight InnerSpace custom fittings Lucent Prospec Luci line graze indoor and outdoor Lumascape LS2010 Soraa Vivid AR111 Soraa Vivid MR16 Vista LED Flexible Strips

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Our innovation and technology has transformed buildings, bridges and monuments through the world into dazzling displays of performance art.

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HOSPITALITY FOCUS

Upscale Upgrades KSLD | EFLA Lighting Design worked alongside Iliard interior design and Chandler KBS project management to upgrade the lighting at Cologneâ&#x20AC;&#x2122;s Radisson Blu Hotel.

T

he 393-room Radisson Blu Hotel in

and behind reception desks.

few minutes from the historic city

mesh fixed to the existing bar structure, creating

Cologne, Germany is located just a

centre, on the banks of the Rhine. It

had been in operation for approximately fifteen years, before the Radisson Hotel Group decided

to undergo extensive renovations, upscaling its

features to promote state-of-the-art facilities and revitalise the brand.

KSLD | EFLA Lighting Design was commissioned

alongside Iliard interior design and Chandler KBS project management to undertake the required

lighting upgrades. The scheme comprised of the

refurbishment of the reception, lobby, Paparazzi lounge bar and Pronto! restaurant, along with

PROJECT DETAILS Radisson Blu Hotel, Cologne, Germany Client: Radisson Hotel Group Lighting Design: KSLD | EFLA Lighting Design, UK Interior Design: Iliard Interior Design, Poland Lighting Suppliers: Simon, LEDS C4

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the creation of a new event space. KSLD | EFLAâ&#x20AC;&#x2122;s project consisted of a redesign and lighting technology upgrade to all of these areas.

Working closely with Iliard interior design and

Chandler KBS project management, KSLD | EFLA developed an LED lighting scheme, replacing

existing lighting and introducing new integrated lighting details for the new walls. These include

LED linear details from Simon carefully integrated into new timber work around each end of the bar

The lighting designers also developed a catenary a canopy of small LED pendants hanging over the bar, improving the intimacy of the space.

The back bar was also redesigned with integrated

lighting to accentuate the bottles of spirits against a textured glass wall. The designers also created

new, crisp custom pendants in collaboration with LEDS C4, striking a line through the space. These were designed to include the emergency lighting covering the majority of the atrium floor.

In the restaurant, existing downlights were

updated with LED technology, and pendants were introduced over tables. New LED linear lighting

was introduced to banquette seating, providing a

wall wash expressing the boundaries of the room.

The new lighting was integrated as far as possible with the existing, dated, lighting control system, while the new bar elements were set on a stand-

alone DALI system. Overall, the design has created a distinct modernisation of the property, which

has been well received by hotel staff and Radisson brand management. www.ksld.com

www.encapsulite.co.uk For further information Telephone: +44 (0)1525 376974 Email: reply@encapsulite.co.uk

WALL SCONCE O

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FEATURES Dimmable Dali, DMX or Leading Edge Multiple lights can operate from one driver Surface mounting wall/ceiling Cool to touch Safe low voltage for public areas Polished or black aluminium parts other colours available Rear mounting disk available in any colour Lamp lengths in any size from 200 - 1000mm Design your own to suit your project, please enquire RGB and RGBW possible 4000k or 3000k

It’s A London Thing The latest addition to nHow’s growing portfolio of hotels, nHow London is a vibrant, playful destination in the heart of the city’s design district, featuring lighting design from Elektra Lighting.

PROJECT DETAILS nHow Hotel, London, UK Client: nHow Hotels Lighting Design: Elektra Lighting, UK Interior Design: Project Orange, UK Photography: Twelve Photographic, unless stated otherwise

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W

Previous Page The nHow London features a series of light-artworks from the nearby Jealous Gallery. Elektra’s flexible lighting system meant that it was easy to tailor the architectural lighting around these pieces.

1. Linear lighting embedded into soffits provides a sleek, modern illumination, in keeping with the hotel’s vibrant interior design.

2. In the guestroom corridors, Elektra worked around exposed services on the ceiling, developing a flexible lighting system that could work around all the possible obstacles that they might encounter.

3. Custom pendants from Northern Lights add a decorative flair to complement the architectural light fittings in the main reception/bar space.

4. In the lift lobby, Elektra worked with interior designers Project Orange to transform the light fittings into an art piece. (Pic: Elektra Lighting) 5. Elektra worked closely with Project Orange on a design concept that enhances all the different areas at different times of the day.

6. The nHow London is described as “a space where innovation and tradition collide”, playing on its location’s industrial past and technological future with a design that blends heritage with modernity.

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ith each of its six establishments

different areas of the hotel at different times of the

created a bright, colourful and creative

design between the interior design and lighting,”

across Europe, nHow Hotels has

day. “You can say that this was a wholesome

destination for guests, mixing fun,

Gomez added.

vibrant interior design with a cool, modern feel.

As with the other hotels in nHow’s portfolio, each

London, which opened in January of this year. The

London branch is a hyper-stylised, visually

– in the creative heart of the city. Playing on its

how Elektra used lighting to complement such a

where tradition and innovation collide. Located in

space. The lighting concept was envisioned to

technological future [the hotel] soaks up those

experience.

unconventional and disruptive way”.

together with the interior designers to use their

restaurant, bar, meeting spaces, lounges, and a

art piece. As they take over the whole ceiling space,

Orange, in collaboration with lighting design from

leaving the feeling that the ceiling above the

Magdalena Gomez, Design Director at Elektra,

“The fittings then change colour at different times

project: “We were approached by the project

week. This gives the guests different impressions

Orange, having worked with them previously on a

“We also had a lot of fun highlighting the

great collaborative work with really satisfying

are so many details, we just needed to be careful to

Elektra and Project Orange worked together to

Central among these myriad features was the

The latest addition to this portfolio is nHow

boasting their own unique character, the new

hotel is situated inbetween Hoxton and Shoreditch

stimulating destination. Gomez explained further

geography, the hotel describes itself as “a space

striking interior design: “It’s a very lively and fun

a district marked by an industrial past and

highlight and be a part of this fun and colourful

contrasts and plays with them in an

“You can see this in the lift lobby. Here, we worked

The hotel, which houses 190 rooms, alongside a

proposed fittings and transform them into a light

gym, was designed by interior design studio Project

it feels like they are suspended in the nothingness,

Elektra Lighting.

pendant is very deep.

explained how the studio got involved in the

of the day, with different colours every day of the

managers, JLL, as we were recommended by Project

and different experiences whenever they arrive.

couple of other hotel projects; it has always been a

sculptures, graffiti, etc throughout the hotel. There

outcomes.”

select some and not overdo everything.”

develop a scheme that would enhance all the

introduction of a number of light-art pieces from

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4

5

3

6

Gomez continued: “Our original design brief didn’t change, but there

“It’s a very lively and fun space. The lighting concept was to highlight and be a part of this fun and colourful experience.”

instance, the main brand colour changed from red to green, and with

Magdalena Gomez, Design Director, Elektra Lighting

the nearby Jealous Gallery. “Some of the artwork was conceived from the beginning of the project,” Gomez explained. “On these pieces,

we made allocations and designed the lighting to work around them.

“There were a couple of last minute additions and changes, as is

usually the case on every project, but the flexible lighting system we planned for allowed us to adapt to these additional pieces.”

By taking this flexible approach, Elektra was able to cater the lighting scheme to any number of changes that were implemented along the design process, from technical amendments, to different design choices and even adjustments to the budget.

are always some changes that we need to adapt the design to; for this obviously the interior colour scheme was changed. As the

lighting is closely linked to the interiors, we had to make changes in order to have the best result.

“Elsewhere, part of our initial brief was working with exposed

services on all ceilings, including the guestroom corridors. From our proposals, we looked into convenient ways to make the lighting

system flexible in order to work around all possible obstacles we might encounter.

“We worked together with the wider design team to coordinate

Reflected Ceiling Plans for all services and lighting. There is always

so much happening on the ceilings and it all needs to be considered

in detail. Our solution for the public areas was to locate areas for air vents, ducts, sensors, etc, and work the lighting tracks and decorative pendants around these items.”

In some cases, Elektra requested that the services be moved to allow the lighting to be above key locations. In the guestroom corridors, a

suspended, slatted ceiling was installed to conceal the services from

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1. Early in the design process, the main brand colour changed from red to green, and with this, the interior colour scheme was changed.

As such, Elektra had to amend the lighting design accordingly to suit.

2. The nHow London is situated inbetween Hoxton and Shoreditch, in the heart of London’s design district.

3. The hotel is intended to be a fun, lively space for guests, with the lighting envisioned to highlight this colourful, playful experience.

3

direct view; here, Elektra worked with the interior

scheme. “The architectural lighting always falls in

that would help them locate surface mounted

on the interior designers,” Gomez explained. “We

designers to select the right spacing between slats spotlights, while making them less obvious, with the aim to create a theatrical effect for guests.

Despite the high number of changes over the

course of the project, Gomez said that one of the most challenging aspects came with the budget.

“We had to keep a very close eye on what is

expected and how we could deliver what was

expected within the expected budget,” she said.

“This meant that we selected some luminaires, and later on we had to replace them to fit the solution

but with a smaller price tag. On this subject, we’re

very careful to always specify good quality products – we always do thorough testing of solutions and luminaires - but without accruing high costs.”

Throughout its multiple spaces, the hotel features

a combination of both architectural and decorative lighting, with custom-made pieces from Northern Lights and pendants from Gubi complementing

lighting from Linea Light, LED Flex, LightGraphix and Precision, among others.

This blend of architectural fixtures with more decorative pieces came as part of the ongoing

collaboration between Elektra and the interior

designers in creating a unified, coherent lighting

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our scope of work, and the decorative elements are normally work together with the interior designers to see their intent for the FF&E lighting. We select the right lamps to do the right job, and to work properly with the lighting control system.”

The overall impact of the lighting scheme

complements the hotel’s playful interior design,

with its “mix of vibrant colours, dark corners and dramatic effects”, to create a strong, lasting impression on guests.

And while the nHow features a number of unique ‘Instagrammable’ spaces, Gomez feels that

designing inspiring spaces that create lasting

impressions is more important than social media ‘likes’.

“I think one of the most important parts of the

design process is travelling, getting familiar with different brands, and enjoying what you do,” she said.

“These days we are trying harder to create

innovative spaces and trying to cope with the high demand for ‘insta-moments’. But more than just

designing for a nice picture, we prefer to design for people, and to make lasting memories.” www.elektralighting.co.uk

lighting specified Bright Goods The Jane Bright Goods The Joseph Chiara ArchDL Encapsulite MT70-AC-RD Gubi Multi-Lite pendant LEDS C4 Play Surface LED Flex Lumen Line 120 LED Flex Micro Neon LightGraphix LD56T LightGraphix PL1 Linea Light Xenia Lucent Prospex TubeLED Midi Lucent Soft 90 Accent Nordic Aluminium Global Trac Pro XTSC Northern Lights custom pendants Orbit Small Steamer Suspension Original BTC Mast Light Precision Lighting Retro16 Soraa Brilliant Soraa Vivid MR16

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PROJECT DETAILS Al Fattan Crystal Towers, Dubai, UAE Client: Al Fattan Properties Lighting Design: ZKLD, Turkey Architect: Tabanıoğlu Architects, Turkey

The striking architecture of the Al Fattan Crystal Towers is the result of the architects’ wish to “create a crystal feeling in front of the horizontal sand atmosphere.”

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Uncut Gems Dubai’s Al Fattan Crystal Towers are characterised by their striking façades and sharp, angular lines of light. ZKLD designed the lighting for the mixeduse destination, creating a scheme that is both dynamic and serene.

D

ubai’s Jumeirah Beach is one of the UAE’s most famous areas, and for good reason. With a number of high

profile hotels and resorts, the area has become known for its grand, extravagant buildings.

The latest addition to this increasing array of eye-catching

destinations is the Al Fattan Crystal Towers, also known as Rixos

Premium. Designed by Turkey’s Tabanlıoğlu Architects, the high-end 35-storey mixed-use twin towers comprise of retail areas, a hotel, luxury apartments and penthouses.

Alongside the sand-coloured architecture of the surrounding beach hotels, the Al Fattan Crystal Towers’ sleek, angular glass façades

bring a glamourous sheen to the Dubai skyline. The architectural idea behind the towers’ unique form was to “create a crystal feeling in front of the horizontal sand atmosphere”.

The lighting for this striking new development was designed by

ZKLD, which developed schemes for the interiors, landscape, and the

dramatic façade. Mustafa Akkaya, Design Director at ZKLD, explained the thought process behind the lighting design: “The project is in a

region that culturally has major interest in grandness and splendour.

From the beginning, this was well-known and obviously affected the lighting design decisions. However, we also knew that we must set a balanced design under this flamboyant appearance that welcomes people who stay or visit the hotel, and creates a cosy ambiances to

make them feel at home. In contrast to this flashy envelope, interior areas and landscape lighting also followed these intentions.

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To bring the most out of the Crystal Towers’ unique architecture, ZKLD sought to highlight the triangular forms on the façade through striking lines of light.

“An established bond between dynamic stance and serene ambiance was most

desired by ZKLD from the beginning of the design phase.”

Throughout the design process, ZKLD also established a bond with the architectural team, thanks to a “mutual exchange of

ideas”, that Akkaya feels “helped to make the whole process as streamlined as possible.”

This was of particular use during the

development of the façade lighting. Inspired by the refractions and reflections that light creates when passing through a crystal,

ZKLD sought to highlight the triangular

forms on the façade through lines of light.

These lines make the building rise

dynamically at the oceanside, in contrast to the surrounding buildings.

“Emphasising the crystal effect on the

façade through lighting was one of the main

challenges that we encountered, because the building is located in one of Dubai’s most

“Emphasising the crystal effect on the façade through lighting was one of the main challenges that we encountered, because the building is located in one of Dubai’s most famous areas.”

Mustafa Akkaya, Design Director, ZKLD Studio

famous areas, and can easily be seen from different angles throughout the city,”

Akkaya explained. “Therefore, the gutter detail was designed by considering the

lighting effect as seen from a distance. It

took several mock-ups and collaboration

with the architectural team to execute the

necessary detail of the gutter to obtain the desired result.”

While the façade lighting creates a lasting

impact from a distance, the designers also

wished to bring this feeling into the interior

areas as well, with traces of the fractal forms dotted throughout.

A shining example of this can be found in the Alley – the lobby area, which acts as a

spectacular focal point for the interior design. “Because it was like a passage

connecting the city to the beach, it was aimed at attracting people inwards.

Considering this, we wanted to introduce a brilliant light effect on the ceiling to grab attention,” Akkaya said.

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39mm 1.5in

STR9® MONO STR9® RGBW/RGBA/RGB 300

600

900

1200

1500

298mm 11.7in

598mm 23.5in

898mm 35.4in

1198mm 47.2in

1498mm 59.0in

52mm 2.1in

STR9® SLIM MONO

71mm 2.8in

60mm 2.3in

GVA, MondoARC Ad, STR9 Series, V07.indd 1

2020-04-01 15:30:12

hospitality focus

2

1

1. The Alley, the lobby area of the project, features a dynamic light installation comprised of Traxon’s DMX-controlled PXL Board LED fixtures, creating a play of light, colour and motion and bringing a modern touch and “attractive soul” to the vast lobby space.

2. Designers at ZKLD aimed to create “an established bond between dynamic stance and serene ambience.”

3. The recurring motif of linear lines of light can be found throughout the towers, with linear fixtures from Ilmas and Osram providing sleek, integrated illumination.

3

“Guided by the crystal form, triangular shaped

of light are complemented by recessed up- and

illuminated in a way that creates a magnificence

Despite its grand, exuberant appearance, one of

Through the use of Traxon’s DMX-controlled PXL

“interlocking the soul of both dynamism and

motion has been created, bringing a modern

design that is holistic in its appearance.

surfaces are created under the skylights, and are and brilliant effect in the area.”

Board LED fixtures, a play of light, colour and

touch and an “attractive soul” to the vast lobby

space that, according to Akkaya, “welcomes not

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calmness in one structure”, while creating a

To do this, Akkaya explained that the design team “intended to establish a bond between dynamic stance and serene ambiance”, with light being

Lighting has been seamlessly integrated into the

towers, while creating an atmospheric flow

many different spaces, creating a smooth

Although the architecture of the Crystal Towers is

architectural fabric of the project throughout its

Endo Gerd Erco Emanon Erco recessed floor luminaire Flos recessed floor luminaire Fontana Arte Vertigo Ilmas Estro Comfort Ilmas Estro JSP Ilmas Estro Spot Osram Linearlight Flex Protect Tobias Grau Studio Quattro Wall Traxon Media Tube RGB Traxon PXL Board

the key facets of ZKLD’s design approach was

only the people who stay at the hotel, but also visitors from the outside”.

lighting specified

down-lighting from Flos, Erco and Endo.

used to highlight the architectural form of the between spaces.

atmospheric flow as visitors transition both

striking in and of itself, the lighting design from

once inside from one area to another. “By using

highlighting the impressive structures and

between the exterior and interior spaces, and

the geometry supported by the lighting effect in interior spaces, we have created a uniform

ZKLD is a major contributor in its success, drawing visitors in.

“With the help of the glittering lighting design,

identity in all spaces, even though these spaces

Crystal Towers has become a stomping ground

course, the lighting levels and distributions have

Akkaya said.

have different functions,” Akkaya continued. “Of been considered according to their functions.”

Such examples of this can be found with the recurring motif of continuous lines of light,

echoing the eye-catching effect of the façade

lighting, through the use of Ilmas’ Estro Comfort

and Osram’s Linearlight Flex fixtures. These lines

not only for tourists but also for city dwellers,” “Most importantly, it has become an iconic

sculptural crystal, that has brought another identity and another level of prestige to its surroundings.”

www.zkldstudio.com

HOSPITALITY FOCUS

Heritage Highlights The Hansom Lobby of London’s Renaissance Hotel has undergone a dramatic redesign, where lighting by Light.iQ highlights the site’s original features.

T

he Hansom Lobby at London’s Renaissance Hotel

throughout the day. At dusk, the lighting starts to slowly change

entrance to the original St Pancras Station, which dates

scenes. As a result, the most dramatic views of the Victorian Gothic

occupies what used to be the canopied and cobbled

back to 1873, with the two flanking walls of the lobby and

from 2700K to 2400K, and down to 2200K during the late-night

walls happen after sunset, when the natural light from the canopy

canopy retaining most of the original detailing from George Gilbert

fades away and the walls become ‘alive’ with lighting.

Danish design studio Space Copenhagen was appointed to redesign

spotlighting from Precision Lighting, alongside white-tunable

Scott’s design.

the central lobby space and reception area, which comprised mainly of loose FF&E and soft furnishings. As with any Grade I listed

To achieve the desired lighting effect, Light.iQ utilised track and spotlights from Luce5. These were complemented by further

tunable-white LEDs from LED Lunear and Lucerna, as well as linear

building, no major interventions or alterations to the building fabric

wall grazing bars from LightGraphix, and custom LED window reveal

new lighting design, developed by Light.iQ, had to address the two

In addition to the architectural lighting, a new, elegant and simple

below the canopy.

Copenhagen and Light.iQ, to recreate the illusion of a streetscape of

are allowed when it comes to lighting integration. However, the

Victorian gothic walls that surround the lobby, as well as the lounge

uplighters from iGuzzini.

version of an old fashioned street lantern was designed by Space

To achieve this, a system of discreet spotlights was carefully

Victorian times. The lanterns gently flank the two walls of the lobby,

remotely located towards the far ends, in order to avoid the visual

feeling after dark.

integrated into the glass and iron canopy, with all the transformers clutter above. These spots provide soft accent lighting to the tables

and furniture in the lounge and reception area. Other spots provide

and the dim-to-warm light sources contribute to the overall warm www.lightiq.com

soft illumination to the beautiful water pipes that come down from

the iron structure, as well as gentle accenting to the intricate carved stone surfaces above the door lintels and window arches.

The walls had previously been fitted with old technology to

illuminate the reveals. This has been substituted with new, whitetunable linear LEDs with wall-grazing optics. New spotlights

and surface-mounted uplights were also mounted carefully and discreetly onto the arch details.

The vast amounts of daylight in the space called for a flexible lighting system that responds to the quality and quantity of natural light

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PROJECT DETAILS Hansom Lobby, Renaissance Hotel, London, UK Client: The Renaissance Hotel Lighting Design: Light.iQ, UK Interior Design: Space Copenhagen, Denmark Lighting Suppliers: iGuzzini, LED Linear, LightGraphix, Lucerna Lighting, Luce5, Precision Lighting, Zico Photography: Manhattan Loft Corporation

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ALL THE LIGHT YOU NEED.

1

Wireless Winners

I

n March, the winners of the inaugural Casambi Awards

were announced. Originally scheduled to be held during

Light+Building, the awards aim to celebrate outstanding architectural lighting projects that incorporate Casambi

wireless lighting controls and use them to the very best effect.

Casambi controls are deployed in thousands of projects

around the world, and the judging panel - consisting of Arup’s Pavlina Akritas, Kai Piippo of Light Bureau, Marc Juarez from

The first annual Casambi Awards celebrated the best projects from the past year that utilise the company’s wireless lighting controls.

Seoul Semiconductor, Andrea Nava of Erco, and [d]arc media Managing Director Paul James – had a tough job identifying

the most impressive examples from a wide range of entries.

The judges evaluated every entry in detail, picking out those that showed the greatest creativity, route from concept to execution, and the smartest use of lighting controls.

The winning project in the first edition of the awards was Abby Lighting & Switchgear for its offices in Mumbai, India – the

lighting for which was designed by Zubair Ahmed of Studio Plus.

Abby Lighting & Switchgear is a company that prides itself

on its culture of creativity and innovation. These values are

reflected in the design of the company’s stylish new workspace.

As well as providing an inspiring space for the Abby team, the office also serves as an experience centre for its clients.

“When we first looked at this space, the main source of inspiration was the abundance of natural light streaming through the glazed

windows. Right from the beginning it was clear that we wanted to harvest daylight as much as possible,” explained Zubair Ahmed.

Casambi was used not only for daylight managing, but also

to showcase a variety of different solutions and concepts, by

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casambi awards

4

2

5

3

6

varying light levels and colour temperatures.

nature, playing with layers of light. Casambi

space decreased energy consumption by 36%

office while in pursuit of 6-star Green Star

“We are strong believers that no design is

The runners up in the Casambi Awards came

Bajaj of Abby Lighting. “The light and the lighting

The Prince and Princess of Wales Hospice in

The occupancy sensing approach in the

compared to a conventional lighting solution. complete until someone is using it,” said Ritu

controls have to inspire the clients to incorporate the same in their offices or even homes without

was instrumental in delivering a beautiful v2 rating, and WELL’s Gold rating.”

from the fields of healthcare and hospitality.

Glasgow, Scotland was the first hospice in the

UK to follow the Sengetun model of care, based

too much effort. Since Casambi is a system that

on research showing that the aesthetic design

wiring framework, it was our preferred choice.”

on patients’ wellbeing. Lighting is crucial to

for a retrofit project like this, because no new

created by Atelier Ten and Holder’s Technology.

can be easily integrated within the existing

Ahmed added: “Casambi was the ideal solution

of a healthcare facility has a measurable impact this vision, and the lighting for this project was

cabling of any kind was required. That meant the

Elsewhere, the Greek island of Mykonos is home

can adapt very easily if changes need to be made.”

lighting designers ASlight to create a lighting

installation was quick and simple, and the system Marc Juarez, Technical Director for Europe

at Seoul Semiconductor and member of the

to another runner up; Santa Marina Hotel invited solution for its main entrance tunnel. The goal was to design a first impression for guests, that meets

judging panel, said of the winning project:

the high expectations of a five-star luxury hotel.

environment, I would definitely like to work

patient care, an impactful first impression,

“It looks like the perfect light for an office

there! The lighting is adapted to our circadian rhythm and they have sensors to keep energy low when people are not present.”

Fellow judge Pavlina Akritas, Associate

Lighting Designer at Arup, agreed: “The

lighting design at Abby’s office was inspired by

1-3. The winning project from the inaugural Casambi Awards, Abby Lighting & Switchgear’s offices in Mumbai, India, with lighting design from Zubair Ahmed of Studio Plus.

4. The Prince and Princess of Wales Hospice in Glasgow, Scotland, was one of the runners up, with lighting designed by Atelier Ten and Holder’s Technology.

5-6. Fellow runner up Santa Marina Hotel, on the Greek island of Mykonos, featuring lighting designed by ASlight.

Whether the aim is to provide outstanding

or a productive and efficient workspace, the

projects entered into the inaugural Casambi Awards showcase the best of what can be

achieved using the latest in wireless controls. www.casambi.com

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What You Should Have Seen

Muro Orluna In contrast to typical wallwasher products, Muro is a miniature LED luminaire that creates uniform lighting, while being specifically designed to blend into the fabric of the ceiling. By using a straight optic, Muro creates a straight beam edge, unlike typical downlight wallwashers. This optic reaches floor-to-ceiling even illumination. It cuts in perfectly to the ceiling edge, leaving no shadows or space unit. Muro also benefits from Orluna’s proprietary Origin engine, which is celebrated for its high CRI and R9 values. www.orluna.com

Eye Intra Lighting Eye’s modern, clean look, and a 360° rotating mechanism that follows the functionalities of the illuminated areas, make this flexible spot the perfect choice for hospitality, retail, and private residences. Eye has a high lumen output and high IP protection, which allows it to be installed both inside and outdoors.

Beneath its coloured die-cast material is a series of thought-out details, making Eye a responsive lighting fixture. www.intra-lighting.com

Fil 45 Lamp Fil 45 is characterised by its compact design and adaptability to different architectural environments. It is a highly versatile luminaire that allows for built-in, trimless, mounted or suspended installation. Thanks to the optimisation of dimensions and the range of light distributions, Fil 45 offers a high range of optical solutions. It is highly versatile, and adapts to the technical requirements of different spaces. Direct distribution is facilitated with Opal, Opal Comfort or Tech diffusers providing solutions for better glare control. www.lamp.es

Orba Phos Orba is a comprehensive family of interior and exterior projector luminaires featuring a wide, modular choice of installation options.

The high range of adjustability is achieved by a magnetic ‘puck’ and rail design that enables complete control. The ø70mm spherical body is also the patented heatsink for the high-power Cree LED. Delivering up to 830 luminaire lumens, Orba features easily interchangeable optics of 10°, 20°, 30° and 50° – all of which can accept a honeycomb anti-glare louvre for tighter beam control. www.phos.co.uk

Nebula Collection Neri Nebula is the new urban lighting collection designed in collaboration with American architects, Skidmore, Owings & Merrill (SOM).

The collection is composed of a lighting system, illuminating bollard and pathlight.

The system – featuring three luminaire head types, two poles of four different heights, banner holder, planter and snoots – provides powerful flexibility for achieving ambitious and efficient lighting plans. Designed to elegantly complement any public space, it blends seamlessly with contemporary as well as historical surroundings. www.neri.biz

DIVA Free Feelux A slim linear LED, with spot-free output with AC connection, DIVA Free does not need transformers anymore. Endless Maximum connection per power is its key strength.

Feelux’s Diva series always guarantees luxurious lighting with high CRI and slim LED. Among the Diva series, the new NDFree is the most useful and innovative version www.feelux.com

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new product focus

Following numerous postponements and cancellations of high-profile trade shows and exhibitions around the world, from Light+Building to LightFair International, we’re happy to bring you a selection of the new products and innovations that you should have seen on the show floor.

Vorsa John Cullen Lighting The versatile Vorsa has more than 200 variations and is adaptable to suit all requirements. It comes in three different sizes so you can pick the power of spotlight that you need. An additional Fixed 20 miniature spotlight can be used where size is an issue. With three different beam widths you can light more precisely. Different fixing mechanisms add to the versatility – medium, mini and plaster-in bases or track. Easy click and fit connections allow for quick changing. www.johncullenlighting.com

Explora Star Hacel The new Explora Star pendant presents an artistic and unique lighting statement.

As part of the Explora range, the Explora Star showcases a translucent yet reflective design, offering direct and indirect lighting. The stylish luminaire can be easily linked to create an array of imaginative configurations, delivering up to 5.400 lumens and efficacies of 97 lm/W, CRI 80. Complementary wall light and colour changing options complete the range, offering a diverse choice of architectural lighting. www.hacel.co.uk

Yori Linear Adjustable Reggiani Yori Linear Adjustable is the latest Yori family product update and it now comes adjustable for unique accent and vertical illumination.

It has an outstanding 0–120° horizontal and 0–359° vertical adjustability. Available in three sizes, it’s a gracious yet powerful fixture with 1000, 2000, 3000lm packages.

The system comes with controlled, glarefree micro lenses and has the added benefit of high cut-off black or white reflectors for narrow, medium and wide beam angles. www.reggiani.net

Glint Hero Glint Lighting The multi-award winning Glint Hero with Light Shift technology is the first luminaire in existence that can point light in any direction without repositioning the fixture.

Instead of lamps inside reflector cones facing outwards, Hero’s LEDs shine up into tiny reflectors that shift via a joystick. As reflectors move relative to the fixed LEDs, the light angle changes without moving the fixture. This allows perfectly-aligned, parallel, streamlined fixture installation. And with LEDs pointed up inside the reflector, Hero has no glare whatsoever. www.glintlighting.com

Purolinear 360 Sonneman Purolinear 360 is a system of linear tubes, set within the geometry of surface-mounted cylinder brackets, which rotate individually to direct the LED illumination in 360° along their axis. Arranged in a linear pattern or along a single, the possibilities for compositions are endless and unlimited in scalability.

The system creates dramatically variable illumination across large planes or narrow lengths of surfaces. It can also transition between wall and ceiling mounting using corner connectors, providing an unbroken path of directable linear illumination throughout a space. www.sonnemanawayoflight.com

Philips IoT sensor Signify New IoT sensor bundles from Signify are designed to collect and deliver data via the Interact Office connected lighting system and Environmental monitoring APIs. The new sensors enable businesses to monitor their office environment and optimise conditions for employee health and wellbeing. Smaller than a matchbox and easily upgraded on site, the sensors can monitor occupancy, the number of people, temperature, noise level, daylight levels and relative humidity and are Bluetooth enabled to provide indoor positioning and navigation capabilities. www.signify.com

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Blade Spectral Blade by Spectral is a patented complete system of vertically mounted acoustic baffles, matching LED lighting and all fixings and suspensions. Blade is particularly applicable in buildings where thermal mass can be exploited and offers a compelling and efficient engineering solution. Available in either standalone or visually continuous runs with invisible plug and socket through wiring, magnetic joiners and integrated multi sensors for energy management. Blade has been designed to meet the most stringent sustainability directives with high luminaire efficacy and excellent acoustic performance. www.spectral-lighting.com

FLC300 We-ef Sleek with minimalistic design, the FLC300 projector series offers a choice of highprecision optics with superior glare control and visual comfort. In addition, an extensive optical toolkit is provided, allowing customisable beam spreads for special effects and project-specific requirements.

A choice of five compact projector sizes, ranging from 58mm to 180mm diameter, deliver a luminous flux of 530 – 5460 lumens, and with a standard colour temperature of 2700K, 3000K and 4000K, in four precisely controlled beam distributions ranging from wide to very narrow with a sharp cut-off. www.we-ef.com

Stellr Lucifer Lighting Lucifer Lighting introduces a new, innovative fixture that bridges architectural and decorative lighting. Stellr is a bold, significant entry in the decorative/architectural market, offering advanced, patent-pending engineered technology and sophisticated design that gives architects, interior designers, and lighting designers infinite lighting options with a single fixture. The elegant Stellr uses two independently controlled, warm-dimmable light sources in a single fixture for either just the downlight, just the wave-guide, or both for a broad range of easily changeable lighting profiles. www.luciferlighting.com

LightPaper EOS Light EOS Light’s new LightPaper is thin, lightweight, flexible, cuttable and versatile LED lighting material for indoor and outdoor backlighting applications. Wrap it around curved surfaces, cut it into custom shapes and use it to make textured and translucent objects shine from within. Perfect for wall and ceiling applications, door signage, overhangs window displays and canopies. Easy to install with nails or its 3M industrial tape backing.

Available in multiple lumen packages / wattages and Kelvin temperatures. wwww.eoslight.com

sunDial Quad Artistic Licence sunDial Quad, the new DMX/Xicato controlled trailing edge mains dimmer from Artistic Licence, received the 2019 Gold PLASA Award for Innovation. With outstanding dimming performance and advanced safety features, sunDial quad works ‘out of the box’ with all dimmable replacement LED sources.

Performance is further optimised through the selection (via RDM) of one of four editable dimming curves on a per-channel basis. With four channels, each providing 250W, the product is also suitable for legacy dimmable incandescent or CFL sources. www.artisticlicence.com

Eclipse Erco With Eclipse, Erco presents a new generation of lighting technology for high-quality exhibition lighting and retail. The new Darklight lenses guarantee highest visual comfort and project precise light beams.

The ray tracing from one light point achieves an evenly illuminated surface. The new spotlight programme is a modular system – five sizes enable illumination from display cabinet to atrium. Eleven light distributions accentuate precisely – from narrow spot and changeable zoom optics all the way through to homogenous wall washing. www.erco.com

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new product focus

LED Light Sheet Applelec Manufactured in the UK, Applelec’s LED Light Sheet is a versatile backlighting unit that delivers bright, even illumination suitable for a variety of applications.

Featuring a slim profile of 6mm or 8mm, the LED light panels can be employed within retail display systems, used to create a dramatic wall of light, or even to illuminate surface materials such as decorative glass and graphics. The premium panels can be used in a diverse range of internal and external applications, giving you the opportunity to create truly stunning lighting schemes. www.applelec.co.uk

Ultima LED Linear The concept behind Ultima was to design a luminaire that perfectly blends into any architectural concept with minimal structural impact. The use of nano-structured optics reduces the overall footprint into a 10x13mm form factor. It features seven crisp lighting distributions from spot to asymmetric. A high level of integration in any building structure offers tremendous lighting freedom while reducing the consumption of raw materials to a minimum. The anti-glare louvre contributes to make it disappear from sight by concealing the light source and directing the light where it is intended. www.led-linear.com

Nest Landa Nest is a willow weave made by hand and subjected to a nanoparticle paint treatment for maximum resistance to atmospheric agents. Designed to be placed in the grooves of trees, with 8W LED light source, it emits a full beam of light upwards with a colour temperature of 3000K. Opal screen for diffused light, Nest is available in Ø17cm and Ø23.5cm; an IP65 protection degree that makes it ideal for outdoor applications. www.landa.it

Orma Range Linea Light Group Orma_Concentrica includes the Concentrica_R models, for refined aesthetics with two concentric luminous rings that act as a path-marker. Orma_Micro adds a new dimension and completes the range: with a diameter of just 2cm, it represents the perfect solution for anyone looking for an uplight with path-marker function and minimum bulk. Orma_Glass adds a touch of elegance, concealing the flange and covering the top with a transparent glass diffuser that makes up a dedicated optics compartment and aesthetically redefines the product. www.linealight.com

Jade Colour Flow & Tunable White CLS The CLS Jade Colour Flow & Tunable White is a unique lighting concept using innovative new LED modules. Suitable for numerous applications, from thematic environments in museums and showrooms to shops and other locations where functional lighting can be combined with coloured lighting in order to change the ambiance. Available in many variants, with a unique control range such as Wireless DMX and Casambi for the most demanding projects. www.cls-led.com

45 3sixty Specialty Lighting Industries Starting as a small aperture downlight, the 45 3sixty fully retracts from the ceiling, transforming into a pendant or continues its journey to become a mono-point spot capable of 360° of rotation and +/-45° of tilt.

It is equipped with wireless motor control, dynamic beam shaping from 10° to 50° and full color RGBW and Tunable White technology. All controlled from a single mobile app. www.specialtylightingindustries.com

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CASE STUDY

Tree of Light L&L Luce&Light provided an elegent, intimate lighting solution for the Tenuta di Sipio, on the outskirts of the Italian province of Pescara.

T

enuta di Sipio, a 66-hectare Abruzzo

Ginko 2.0, with narrow 17° optics and anthracite

of a bygone time. Available for private

projectors were fixed directly to the structure’s

farm estate retains the rural charms

events, part of the venue’s structure

has recently been renovated, using bioclimatic architectural principles to transform this

anonymous agricultural building into an exclusive restaurant.

The structural and lighting design was carried out by architect Rocco Valentini and his team, who developed an architectural concept inspired by

the symbol of the tree and the way its branches

reach upwards, towards the light. Like a tree, the

supporting structure rises from the ground in the form of a trunk that rests on a corner of the glass envelope. Radiating out from this, the structural

elements – triangular corten blades – interweave in a complex pattern of branches between the

floor and the ceiling: a criss-crossing of slender,

organic elements that rise to the sky and return to the ground.

Sloping perspectives and large glazed windows

are highlighted by a play of chiaroscuro and soft lighting, which recreate the feeling of being outdoors. L&L Luce&Light’s Ginko family of

projectors proved to be best suited to this project.

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finish, was chosen to light the restaurant; the

corten branches. The result is an elegant, warm and intimate atmosphere that invites guests to relax and feel at ease as they share a gourmet dining experience.

Outside, Moby 2.1 underwater recessed fixtures with particularly minimal glass covers draw

attention to the swimming pool. These fixtures

won a German Design Award 2019 for their discreet look and for the range of solutions and lighting scenarios they can produce. The 16-millimetre

thick glass cover and vitrified serigraphy provide maximum impact resistance while ensuring the luminaires ‘disappear’ into the pool’s

lining, leaving only their light output visible.

These fixtures are suitable for different types of underwater use (in seawater or thermal water,

and even chlorinated pools) and can be installed at depths of up to ten-metres. The built-in IPS (Intelligent Protection System), patented by

L&L Luce&Light, protects them from any water infiltrations.

www.lucelight.it

Majestic Magi Linea Light Group collaborated with the University of Florence to bring a new light to the Magi Chapel in Florence’s Palazzo Medici-Riccardi.

W

hen developing lighting schemes, historical

Bambino by Filippo Lippi, accompanied by worshipping

challenging environments, due to the delicate

Linea Light Group’s task was to improve the view, usability

sites and museums can be some of the more nature of the objects on display.

Linea Light Group recently completed a number of projects in this area, from important churches to national and international museums, such as the Musée des Arts Décoratifs in Paris.

The latest addition is the Magi Chapel, located in

Florence’s Palazzo Medici-Riccardi, where Linea Light Group collaborated with the University of Florence to illuminate the historic chapel.

The Magi Chapel is home to a cycle of frescoes, created

between 1459 and 1460 by Benozzo Gozzoli, pupil of Beato Angelico; a piece of Renaissance heritage that depicts the entire Medici dynasty in power, and its court of

neo-Platonic philosophers – from Piero II Gottoso, who

commissioned the work, to his father Cosimo Il Vecchio, to the young Giuliano and Lorenzo Il Magnifico. The

work refers to various historic events, including the 1439 Council of Florence.

Alongside this majestic artwork, the altarpiece, positioned in the apse, holds a copy of the original Adorazione del

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angels facing the altar on the walls of the apse.

and accessibility of the Chapel, making the lighting

uniform and highlighting surprising details that had never before been noticed.

In order to emphasise the extraordinary, expressive peculiarities of the Benozzo frescoes, Linea Light

Group fine-tuned a multi-projector system, managed

individually to adapt to the particular layout of the hall.

The Optus LED projector, usually used as a static element,

was made dynamic thanks to a customisation process, and it ‘lives’ in the hall as a multi-projector in seven different frames, positioned over the entire floor plan.

The system also allows the diodes to be switched on and

off through Bluetooth communication directly with all the Optus units on the perimeter in order to emphasise and better describe each aspect of this showcase.

Thanks to its dimming feature, the product also becomes

an educational tool for the museum guides, allowing for a significant improvement of how the works can be used. www.linealight.com

CASE STUDY

Floor To Ceiling The Toronto Carpet Factory’s iconic industrial façade has been given a facelift with illumination from GVA Lighting.

G

VA Lighting’s FL50 LED spot and flood luminaires

have been used to illuminate the west-facing wall of the Toronto Carpet Factory in Liberty Village, Toronto.

The district is iconic for its industrial brick buildings, constructed in the late 1800s. The manufacturing facility fills an entire city

block and, at the time of its inauguration, was considered stateof-the-art.

In recent years, the landmark has been converted into stylish

office spaces and cafés for a community of innovative businesses and start-ups. The Carpet Factory’s management team is

committed to a number of forward-thinking sustainability

programmes, so when considering illumination for its building, LED lighting was the most discerning solution.

GVA’s FL50 monochromatic luminaires offer more than 3,200 delivered lumens in an ultra-narrow 4.5° beam distribution to

cast light to the full height of the 80ft columns. With more than 6,800 configurations of FL to choose from, electrical contractor Electro-Works was able to achieve the precise desired lighting

effect on the brick exterior, grazing the columns and catching in the window arches to accentuate the classic architecture while

minimising light pollution. The luminaires themselves, supplied in a black matte finish, complement the historic brick structure and highlight its timeless demeanour. www.gvalighting.com

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Pic: Timothy Schenck / Erco

Shape-Shifting Shed Erco worked with Tillotson Design Associates to illuminate New York’s latest cutting-edge cultural space.

T

he Shed, an extraordinary new shape-

space that can be reconfigured in several ways.

Yards on the West Side of Manhattan,

in such a large structure were also crucial

shifting cultural space in Hudson

New York, was one of the most talked

Working with Tillotson Design Associates to create

Shed is connected to the High Line on 30th Street

the Grasshopper projector to illuminate the

and aims to bring performances and art to New York’s newest neighbourhood.

a solution that met all of the criteria, Erco provided ‘skin’ from either end of the section – providing the right intensity and uniformity needed.

The eight-level base building – with two large

These 18W fittings – just under 750 in all – are

artists’ lab and skylit event space – features a

moveable outer shell and were customised with

to create space for larger performances. A steel

of the fixtures within the cramped corner spaces.

gallery spaces, a 500-seat theatre, rehearsal space, 37-metre telescopic shell that can extend out

mounted within all the corners of the beams in the a remote driver box, necessitated by the location

structure clad in ethylene tetrafluoroethylene

The fixture heads had to be installed as close as

over the base building, gliding along rails on to an

mounting bracket was created and the driver

(ETFE) cushions, the outer shell deploys from

adjoining plaza to double the building’s footprint.

Known as the McCourt, the space can be used

possible to the mounting surface, so a special

positioned remotely, to reduce the space occupied

by the fitting. A 5000K colour temperature conveys

for large-scale performances, installations and

a contemporary, literally cool aesthetic.

or more than 2,000 standing.

round Kona 48W projectors, a total of 66, specified

events, accommodating a seated audience of 1,250, The nature of the structure posed a series of

unusual challenges and requirements for the lighting in terms of the translucency of the

material, the mobility of the structure (in that the

fixture had to withstand the outdoor environment) and the importance of sight lines and glare in a

www.arc-magazine.com

considerations.

about buildings of 2019. Designed by Diller Scofidio + Renfro in collaboration with Rockwell Group, The

120

Ease of installation, operation and maintenance

Lighting the east façade of the building are Erco’s

in the same 5000K colour temperature. The range was developed to deliver high luminous flux with

maximum visual comfort and the powerful output allows the fitting to be spaced further apart. www.erco.com

CASE STUDY

Fantastic Flinders As part of the Victorian government’s refurbishment plan, Melbourne’s Flinders Street Railway Station underwent both exterior and interior works, including the upgrade of its façade lighting from Lumascape.

T

he original Flinders Street Station in

light fixtures that can be operated remotely.

in 1910, designed by James Fawcett

train station can be clearly seen, but what is less

Melbourne, Australia, was completed and H.P. Ashworth from the Railways

Department. Today it is the busiest railway station in Australia. More than 90,000 passengers pass

through the entrance each day. Flinders Street’s

façade depicts Edwardian architecture and is one of the most well-known icons in Melbourne.

In 2018, a state-of-the-art LED lighting system was unveiled, with more than 90,000 LEDs and an advanced control network. The nighttime transformation of the building’s classical

architecture is breathtaking, from the beautiful classic colours of red, blue and green, to highimpact dynamic lighting effects.

The façade lighting can respond to many social and cultural events held in the city such as Australia Day, St. Patrick’s Day, Breast Cancer Awareness and more. The project features more than

20-kilometres of cable and 1,100 automated LED

The visual nighttime transformation of the

obvious is the level of intelligence in the control

system behind it all. The system enables optimum operation, delivers detailed reports in real time,

facilitates maintenance and simplifies customised lighting effects, all via the internet. Lumascape supplied PowerSync enabled luminaires to

highlight the building accents, including the nextgeneration Vestalux V1 direct view linear outliner to add definition to the façade.

Significant energy savings from the transition to LED technology coupled with maintenance

savings through a fully monitored solution were

key considerations in partnering with Lumascape.

Lumascape worked with Darkon and Apec Electrical to create this special lighting show on this iconic building in the heart of Melbourne city. www.lumascape.com

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121

Bio-Adaptive Lighting Zumtobel supplies visionary lighting solution for Infobip headquarters in Croatia

I

T and telecommunications

been highlighting the benefits of holistic

human expectations and activities, e.g.

trusted in Zumtobel for the

is modelled on daylight and increases

automated daily routines in the office.

in Vodnjan, Croatia. The global company

creative work environment. Using the

selected the slim, linear LightFields

services and omnichannel messaging

Gruppe Nymphenburg, it was possible to

version. As a pendant version, it offers

communications operators. Its 500+

adaptive lighting system has a calming and

with the best possible glare control thanks

screens in offices and conference rooms,

When working at a PC or laptop all day,

direct and indirect light also creates a

control and high flexibility was required.

in daylight, thereby helping to support the

II spotlights also provide brilliant accent

offices and meeting rooms, but also a fitness

employee wellbeing. The Zumtobel LITENET

building is provided by Slotlight Infinity

The building is just one part of the high-

has an integrated daylight sensor and

chill-out area, Ondaria shines like an

an apartment complex for employees and

by monitoring the sky. In addition to

achieves uniform lighting of the room.

a park. Zumtobel’s challenge was to create

efficiency can also be achieved through the

also creates a cosy atmosphere. In the

the different areas of the campus, with the

presence detectors and time sensors.

of the apartments, the decorative Caela

How important is daylight for people? What

protection against direct sunlight and the

light distribution. The individual lighting

performance? How can a lighting solution

the right light colour and intensity, and in

outdoor for the outside area as well as

These are the questions that Zumtobel

technology ensures that the intensity and

Puresign safety luminaires.

from Munich as part of a neuropsychological

defined completely independently of each

specialist Infobip recently

light quality through Active Light, which

through pre-defined static lighting scenes or

lighting at its new headquarters

employee wellbeing, while promoting a

For optimal office lighting, Zumtobel

offers, among other things, mobile cloud

neurophysiological measuring methods of

evolution luminaire in the tunableWhite

services for companies and mobile

demonstrate to Infobip that a new bio-

employees ideal light for screen work,

employees predominantly work at their

balancing effect in office workplaces.

to MPO+ optic. The interaction between

so a lighting solution with optimal glare

you need lighting that adapts to changes

positive working atmosphere. SuperSystem

The company headquarters not only has

body’s natural biorhythm and increasingly,

lighting. The basic lighting throughout the

area, a restaurant and a training centre.

lighting management system installed

in the form of discrete light lines. In the

tech Infobip campus that also includes

controls the overall tunableWhite solution

artificial sun. This extensive lighting fixture

guests, a car park, several sports grounds and

greater lighting comfort, maximum energy

The distribution of light and soft shadows

an optimal and efficient lighting solution for

intelligent integration of daylight sensors,

communication zones and in the living area

focus on the needs of the employees.

Automatically integrated blinds provide

provides inviting general lighting with soft

influence does lighting have on employee

artificial light follows the natural rhythm in

solution is rounded off with SuperSystem

contribute to a greater sense of well-being?

brilliant quality. Zumtobel’s tunableWhite

emergency lighting through the Resclite and

studied together with Gruppe Nymphenburg

colour temperature of the luminaires can be

www.zumtobel.com

study. For many years now, Zumtobel has

other – for a lighting concept that follows

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CASE STUDY

Designer Digs Intra Lighting provided specially tailored lighting for The Tannery, a new, puroposebuilt student accommodation facility in the heart of Dublin’s University district.

F

ollowing a demand for high-quality, purpose-

to enter. Night & Day fixtures, with direct and indirect

the Tannery puts students at the heart of

the rotating ability of the luminaire’s top part supports the

built student accommodation in Ireland,

functionalities, help accentuate the natural light, while

the city’s University district. Located in the

creative design choices.

historical Liberties area of Dublin, it is a stones throw from

With its design, Think Contemporary wanted to highlight

Royal College of Surgeons, and Dublin Business School.

features in student accommodation. With this in mind, the

Contemporary, developed a number of lighting scenarios

that was within the budget. The Intra Kalis range, connected

within the complex; from the illumination of the gym and

solved that problem, while creating a dramatic, continuous

cinema room. The designers sought to create a lighting

The Kalis range enables special junctions to cover corners

the students.

lighting design turned out simple. The biggest challenge came

Intra luminaires. Uniform illumination is created with the

lighting. The designers worked it out by using smaller hatches

and designer-like clusters created from Pipes Tube fixtures.

continuous, while still allowing access to the ceiling void.

residence halls and aim to create an interactive space that

obstruction but also free from light pollution. The lighting

Pipes C bring a high visual comfort in the reception area,

silica dust. Lighting designers worked with the façade

transition zone to minimise contrast. Minimalist chandeliers

drilling and easily allow for future maintenance by the

the reception area from a lighting standpoint, while shining

The complete project was carried out using low energy but

In the study lounge, a combination of Pipes C and the

various award bodies from health and safety, to design.

Technological University Dublin, Trinity College Dublin,

that corridors are often overlooked when it comes to design

Shay Cleary Architects, alongside designers at Think

team wanted to do something interesting with the lighting

throughout the Tannery, to cater to the number of facilities

in long strips and surface-mounted centrally to the ceilings,

fitness suite, to the specific needs of study halls, and the

line of light.

scheme that both looked good and helped productivity for

with seamless turns - this meant that the long central

The modern and functional design features a wide range of

from the location of access hatches adjacent to the linear

106 light box, which is complemented by Pipes R spotlights,

on either side of the lighting strip to keep the linear light

Luminaires are tailored to the overall aesthetic of the student

Outside, the architects wanted the courtyard area free from

promotes the feel of culture and belonging in its space.

played a part in this, where the project was aiming to reduce

through an inwardly recessed reflector. Its funnel acts as a

to ensure lights were placed in static locations to reduce

created by Pipes Tubes attract attention and add character to

building owners.

light directly on the coffee tables.

high output fittings, and as such was acknowledged by

modular design of Kalis luminaires encourages students

www.intra-lighting.com

www.arc-magazine.com

123

Pics: Erik Hesmerg

Past, Present & Future A refurbishment of the Zuiderzeemuseum in Enkhuizen, Netherlands has seen the installation of more than 500 CLS fixtures.

T

he Zuiderzeemuseum in

The permanent exhibition within the

the tale of the past, the present,

refurbishment, and as part of this, has

Enkhuizen, Netherlands tells

and the future of the Ijsselmeer

area. The Ijsselmeer was created in 1932,

when the Afsluitdijk (Enclosure Dam) was placed to separate the Zuiderzee from the

Waddenzee (Wadden Sea). Ijsselmeer is the lake that was created by this dam.

The museum consists of both an outdoor and indoor museum, with the outdoor museum

including more than 140 historical buildings, and is designed to look like an actual Dutch village. The indoor museum exhibits a

wide selection of art, culture and heritage

from both before and after the placement of the Afsluitdijk. Characteristic to the

Zuiderzeemuseum is the fact that it serves as a bridge between the cultural historical

exhibits on display, and contemporary art and design.

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www.arc-magazine.com

museum has recently undergone a massive been supplied with new illumination.

During intensive tests, various brands

were compared with each other on a large set of criteria, such as colour rendition,

smoothness of the light beam, dim range

and pricing. Following this series of tests, it was deterimined that CLS Lighting was the best solution for the project.

Frank Hulsebosch of 50LUX was the light advisor during the testing process and

also took care of the illumination of the permanent exhibition.

In all, 500 Focus HP T 230V fixtures with the superior Magno dim were used, combined

with 185 Jade Expo Local Dim fixtures and 85 Focus Compact GII T DMX fixtures. www.cls-led.com

CASE STUDY

Pics: Hundven-Clements Photography

Arm In Arm Light fixtures from Spectral contribute to one of the most extensive examples of smart lighting in the world at Arm Holdings’ headquarters in Cambridge, UK.

A

rm Holdings’ new headquarters building,

they were also used in a continuous configuration at

Park, Cambridge is one of the most

The smart building concept came from Hilson

located on Peterhouse Technology

technologically advanced and extensive

implementations of smart lighting in the world.

The £90 million building, designed by Scott

Brownrigg, echoes Arm Holdings’ pedigree by taking

inspiration from the structure of silicon – the science behind integrated circuits. Internal and external

architectural details have been designed to reflect

crystalline silicon. The architect specified Spectral

Blade light fittings, and by using special lengths, was

able to create dynamic zones, while integrating power over ethernet drivers into the Blade system creates a compelling smart lighting installation.

Blade was used to create diamond-shaped meeting rooms on two floors in buildings A, B, C and D, and

all the tea-points throughout the building.

Moran and the building was constructed by Kier; BW Interiors did the fitout with Bancroft delivering the

electrical and smart lighting infrastructure. Spectral

worked with Prolojik to integrate Power over Ethernet (PoE) drivers into the Blade system, and the result is one of the world’s largest PoE lighting installations.

Around 6,000 light sources in total operate over

PoE within the building. Integration with sensors, switches and scene panels, enables optimised

occupation, illuminance and scene control with

equivalent performance to any sophisticated DALI

system. All lighting is wired back to the IDF rooms. www.spectral-lighting.com

www.arc-magazine.com

125

The leading international magazine for lighting in architecture

Subscribers benefit from: - Reviews of the most exciting projects in the world - In-depth profiles of leading figures from the lighting design and architecture profession - Special features on stand-out products and collaborations - Coverage of international exhibitions and conferences - Bonus subscription to International Lighting Design Survey

www.arc-magazine.com/subscribe

ADVERTISERS INDEX 3F Filippi........................................ 71

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[d]arc awards.............................. 8, 9

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ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK

Recolight_2018.pdf

32

13/02/2018

15:37

Join the WEEE scheme that sets the standard for the lighting industry.

£10.00

TRANSPARENT CHARGING Charging is per lamp or luminaire sold which means you have no hidden costs and can accurately forecast what you will be charged each month. No need to worry about national targets, market shares, or compliance fees.

LARGEST COLLECTION LIGHTING WEEE SPECIALIST NETWORK FOR LIGHTING We lobby to get the regulations You and your customers have access to the UK’s most comprehensive free of charge recycling service network for lamps and luminaires.

info@recolight.co.uk www.recolight.co.uk

right for lighting. Members of LIA, ILP, Eucolight and elected chair of WEEE Scheme Forum

NOT FOR PROFIT

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of e tim ge* Event DIARY t n a ct cha e r or t to c c es bje t a u ll d n. S A E: atio T O lic *N ub p

Event Diary Industry events where you’ll find arc in the months ahead GILE 9-12 June Guangzhou, China

LANDSCAPE 22-23 September London, UK

BIENNALE INTERIEUR 22-26 October Kortrijk, Belgium

www.guangzhou-international-lighting-

www.landscapeshow.co.uk

www.interieur.be

INTERLUMI 25-27 July Panama City, Panama

LIGHT + BUILDING 27 September - 2 October Frankfurt, Germany

HONG KONG INT’L LIGHTING FAIR 27-30 October Hong Kong, China

www.inter-lumi.com

www.light-building.messefrankfurt.com

www.hktdc.com

LEDUCATION 18-19 August New York, USA

LED EXPO THAILAND 7-9 October Bangkok, Thailand

LEDFORUM.20 5-6 November São Paulo, Brazil

www.leducation.org

www.ledexpothailand.com

www.ledforum.com.br

PLASA 6-8 September London, UK

LIGHT SYMPOSIUM WISMAR 14-16 October Wismar, Germany

IALD ENLIGHTEN EUROPE 18-20 November Oslo, Norway

www.plasashow.com

www.lightsymposium.de

www.iald.org

INTERLIGHT MOSCOW 14-17 September Moscow, Russia

IALD ENLIGHTEN AMERICAS 22-24 October Palm Springs, USA

[D]ARC AWARDS 3 December London, UK

www.interlight-moscow.

www.iald.org

www.darcawards.com

exhibition.hk.messefrankfurt.com

ru.messefrankfurt.com

128

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Radiant is operating as normally as possible during the crisis with most staff working from home. We are still delivering orders although lead times are longer than usual.

Let us know if you need any information or samples during this difficult period.

Stay safe

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4 x high power LEDs with elliptical lenses per module.

Up to 8,700 Lumens per Mtr. www.radiantlights.co.uk

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02/04/2020 15:45:12

THE BACK PAGE BUCKET LIST

#15 Light Space, Pakistan

Curated by

“A place that defines light itself.”

Momena Saleem and Ana Tanveer Light Space Founders

What: Sunset over wet grasslands.

Where: Karomber Lake, a high altitude lake in the extreme north of Broghil, a valley in Chitral, Pakistan.

How: Take a jeep ride from Chitral to Broghil and a trek of almost 8-9 hours.

When: The best time to visit the valley is during summer, especially during July.

Why: A place where you become a part of nature. The surrealistic reality is as delusional as the reflective sky image in the lake and nature being merged by their essence, one feels enclosed within. A place where I lost my words and became light itself.

Photo: Karomber Lake, Ishkoman Valley by Sher Ali Saafi CC BY-SA-4.0

170 130

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Our Flexi-light-TIR provides unrivalled wall grazing capabilities from a small flexible form factor. Incorporates total internal reflection optics and can bend in X & Y axis.

Available in black finish & various CCT options.

Wall grazing reinvented! vexica.com