arc June/July Issue 116

116 JUN/JUL 2020

www.arc-magazine.com

Breaking Borders arc speaks to teamLab about its quest to transcend boundaries of perception

TEAMLAB INTERVIEWED • WIL IN ASIA • FAR EAST PROJECT FOCUS COVID-19 AND THE LIGHTING INDUSTRY • ERCO ECLIPSE REVIEWED • NEW PRODUCTS

E Eclipse The art of illuminating art

Magical Darklight lens for highest visual comfort

XS to XL – 5 sizes from 32mm diameter

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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48V

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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

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

Become globally recognized for your professional proficiency in architectural lighting design. The Certified Lighting Designer

(CLD) certification is the first evidence-based certification in architectural lighting design in the world. The certification process is designed to assess whether an individual is able to operate as a lead architectural lighting designer in a professional and proficient manner.

040 Far Eastern Travels As Women In Lighting launches its first set of interviews from Asia, we hear about Light Collective’s whirlwind tour of the Far East.

Contents

JUN/JUL 2020 014 016 018 020 024 030 036 110 112 114 124 126

Editorial Comment Headlines Eye Opener Drawing Board Spotlight Snapshot Dark Source David Morgan Product Review New Products Manufacturer Case Studies Event Diary Bucket List

032 Covid-19 and the Lighting Industry Richard Taylor, Founder and Director of Graphic Strategy, shares findings from a recent survey of the lighting industry on the impact of Covid-19, and what it means for the industry going forward.

038 Succession Planning: Why It’s Important to Start Now In this issue’s IALD column, Barbara Horton and Carrie Hawley, Co-CEOs of HLB Lighting Design, break down the importance of planning for the future.

050 teamLab Since forming in 2001, teamLab has grown to become a global art collective, renowned for its immersive installations. We speak to the group about its quest to transcend the boundaries of perception.

100 Light Asia Six international lighting designers travelled to Shanghai for the fifth edition of Light Asia, leading a series of talks and workshops for local students and junior lighting designers.

108 The Leader as a Beacon Lighting Designer Patricia Lopez Yanez shares some vital lessons that she has learnt across her career in her myriad roles as client, leader and creative director.

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The HSBC Headquarters - Hong Kong

DIGITAL MAKEOVER A grand visual statement brought to life with IP’s custom designed lighting to mark HSBC’s 150th anniversary and celebrate both its history and future.

Illumination Physics was commissioned to update the façade lighting and seamlessly integrate three massive media walls into the building’s glass façades.

The building makeover is a permanent feature and comes to life every evening between 6.30pm and 11.00pm as well as participating in the nightly world-renowned ‘A Symphony of Lights’. Lighting and media content have been combined to communicate the tale of the one hundred and fifty year history of HSBC as well as displaying more meaningful images which relate to Hong Kong itself.

For the first time, the building comes to life and imagination has been realised. This is the essence of Illumination Physics contribution to any project.

Specialists in customised lighting to suit your design

illuminationphysics.com

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062 Otemon Academic Ark, Japan Designed by Mitsubishi Jisho Sekkei Architects, the striking new addition to Otemon Gakuin University features lighting design by akari+DESIGN.

Projects

JUN/JUL 2020

074 Louis Vuitton Maison, South Korea L’Observatoire International has created a custom-designed lighting scheme for the new flagship Louis Vuitton store in Seoul, South Korea, featuring a poetic façade by Frank Gehry.

080 Xiqu Centre, Hong Kong HLB Lighting Design harnessed the energy of Qi when designing the lighting for Hong Kong’s new Xiqu Centre, a theatre that fuses traditional culture and modern design.

088 The Okura Tokyo, Japan The recently reconstructed Okura Tokyo pays homage to its original 1962 design, while lighting from Lighting Planners Associates adds a modern flair.

094 Suzhou Olympic Sports Centre, China Lichtvision collaborated with GMP Architekten to illuminate the sprawling, 460,000sqm Suzhou Olympic Sports Centre.

098 Wearnes Automotive Centre, Singapore The eight-storey Wearnes Automotive Centre features a dynamic yet functional lighting scheme, designed by Light Collab.

102 MGM Healthcare, India Dr. Amardeep M. Dugar of Lighting Research & Design has developed a lighting strategy that brings a warm, hospitable ambiance to India’s MGM Healthcare.

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EDITORIAL

Front cover: The Infinite Crystal Universe, teamLab SuperNature Macao (Pic: © teamLab, courtesy of Pace Gallery)

Turn on, tune in... arc’s gone digital with the newly launched arc TV...

Well, here we are again! A quick look at my calendar tells me that, at

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

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 Printed by Buxton Press

the time of writing, we’re in our 11th week of lockdown here in the UK. While it’s crazy to think that it has been that long already, it also feels like a lifetime ago since I last went into our office, or to the cinema, or to a football game, or to the pub (remember going to the pub?!).

It’s safe to say that we’ve all adapted pretty well to the “new normal” of life under lockdown - quizzes over Zoom, webinars, working from home, quizzes over Zoom, webinars, etc. And I have to admit that while the prospect of spending an indeterminate amount of time

at home with just my cat for company during the day (Mrs. Waring

continues to do amazing work as a proton radiotherapist for the NHS) was pretty daunting, this whole experience has given me a newfound appreciation for some of life’s little pleasures: a simple walk along

the nearby river, the sound of birds in the trees and where possible, soaking up some much-needed sunshine!

It’s also allowed us at [d]arc media to try a few new things here

and there, including the launch of our new online platform - arc tv,

where we’ve collated some of the best visual content from across the lighting industry. We’ve also made a couple of our own exclusive

[d]arc thoughts videos. In the first, I chatted with Mark Elliott of

FPOV, Birgit Walter from BMLD, Brett Andersen of Focus Lighting, and Deeksha Surendra of dpa lighting consultants about how the

lighting design industry has reacted to Covid-19 on a global scale.

In our second video, our own Paul James checks in for a chat with

Speirs + Major Principal, Mark Major. We’ve got plenty more exclusive content in the pipeline too, so look out for further announcements.

In between all of this, we’ve also been working hard to bring you this, the latest issue of arc magazine. With a special focus on the Far East, I was delighted to speak with our cover stars, teamLab, about their

creative process, and the ethos behind their incredible installations.

Our Assistant Editor Sarah Cullen also caught up with Light Collective about their whirlwind trip to the Far East, that saw them visit Hong Kong, Bangkok, Singapore and Shanghai in just five days, all in

the name of Women in Lighting (make sure you check out WIL in Lockdown, and it’s excellent playlist too!).

Until next time, I hope you’re all keeping well. Stay safe, and enjoy the issue!

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 IALD publishes report on impacts of Covid-19 on Lighting Design profession (USA) – Report finds room for positivity despite increasing concerns of lighting design professionals.

As the global economy continues to react to, and overcome, the Covid-19 pandemic that has had far reaching ramifications across the world, the IALD has published a report looking into how the virus has affected the Lighting Design profession.

The report, available to view on the IALD website, assesses how the extent of the effects of the pandemic has differed for lighting design studios, based on size, geographic location and distribution of work across different sectors.

Targeting lighting design business owners and principals, a total of 192 participants responded to the survey from across 40 different countries.

These firms ranged in size from solo practitioners (32%), two to five employees (28%), six to 10 employees (20%), 11 to 49 employees (17%), and 50+ employees (3%). The survey opened on 22 April, closing on 4 May. Much like many businesses around the world, the survey found that lighting design firms were not fully prepared for this crisis. More than half (56%) of respondents did not have a business contingency plan in place when the Covid-19 pandemic affected cities and countries around the world. Almost 30% of respondents had an outlined plan, while 16% had a thorough plan that they were following. Findings also revealed that many firms are not prepared for recovery planning either, with 42% not having a recovery plan - half of the firms surveyed have outlined a plan, while 7% have a thorough recovery plan in place.

The survey also found that the majority of firm owners and principals had already tried to access government-based business support (61%), while 29% had not. A further 10% reported that it was either not applicable to them, or that their government did not offer any support measures.

While the impact of this crisis is still uncertain, many business owners remain sceptical about recovery times and how long it will take for business to return to “normal”. As many as 54% anticipated that it will take from one to three years to get back to pre-Covid-19 levels. Some were more optimistic though, with 26% believing that it will take seven to 12 months, and a fifth anticipating recovery times of less than six months.

As expected, the pandemic has also led to a range of effects on prospective work for lighting designers. Although 8% claimed that they have not experienced any decrease in prospective work, more than half (59%) have witnessed a “moderate to major” decrease, while a third have seen a “minor” decrease.

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More than half of the firms surveyed expect to see a continued decrease in both proposals and signed contracts between May and June, with a loss in revenue to match.

However, on a more positive note, a large percentage of respondents (68%) reported that current projects are still moving ahead, although most of these are experiencing some delays. Just over a third of firms, meanwhile, have experienced many of their projects moving more slowly, or stopping altogether.

The pandemic has also seen a huge shift towards working from home, as lockdown measures mean it’s not possible for many of us to go into the office. Luckily for the lighting design profession, many firms were set up well for working remotely before the Covid-19 crisis. A fifth of participants said that they didn’t have to make any changes because their staff were already working from home, while 70% now have all staff working remotely. Surprisingly, 10% revealed they had either some staff or no staff working remotely.

The report concluded that while it is too early to forecast future impact, lighting design firm owners and principals expressed both concern and optimism about Covid-19’s impact on the lighting design profession.

Some of these viewpoints were voiced prior to the pandemic, and have now potentially been exacerbated by it. Some however, see it as an opportunity to adapt and grow.

Many lighting design firm owners and principals expressed an increased concern about the profession, given that to some, lighting designers many not be considered ‘essential’ to a project, in the same way an architect or engineer might be. They fear that if not deemed essential, lighting designers may be value-engineered out of projects, with the role being handled by electrical engineering firms or lighting manufacturers.

However, others believe that the crisis is instead an opportunity to think about the essential work of lighting designers. There is an overarching understanding that the building and construction industry, and all of its collaborators, will have to adapt and change to this new economy. Many participants cited that Covid-19 will change both how we live and our workspaces, providing new opportunities for lighting designers, who will have to adapt to the new technical and economic needs of customers, with one owner stating: “The role of lighting designers will still be a primordial essential in our constructed habitat.” www.iald.org

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

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EYE OPENER

Perpetuum Brooklyn, USA With Perpetuum, Random Studio presents a kinetic landscape that evolves around us. A city in perpetual motion, the installation proposes a drift through overlapping sounds and images. As we move through space, impressions appear and disappear, evoking the feeling of gazing out of the car window at the passing view.

Shaped by Random’s signature sensibility, the work harnesses the vibrant energy of the city and captures the essence of movement, imagining what new forms of mobility can feel like.

Perpetuum was commissioned by A/D/O as part of the global launch of the new MINI Electric Vehicle. MINI has long considered innovation and design to be a critical part of its identity and invests in design, creators and innovators through projects like MINI Living, A/D/O and URBAN-X. The light fixture is the result of a collaboration with Artist Matthijs Munnik, and was a bespoke design to

be featured in the heart of the revolving installation.

“Inspired by the backdrop of our fast-paced environment, we focused on how we experience travel, staring at passing landscapes and ever-changing compositions. Perpetuum was conceived as a kinetic, revolving landscape that invites people to explore, pause and reflect,” said the studio.

“The installation creates a meditative abstraction of a city in perpetual motion. Three rotating rings orbit around a central light sculpture, generating countless overlapping compositions, layering impression over impression.

“Drifting through this ‘third’ space, the viewer’s experience changes from moment to moment, enhanced by an ambient patchwork of urban sounds.”

Perpetuum was on view at A/D/O in Brooklyn until 10 March, 2020. random.studio

www.arc-magazine.com

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Drawing Board

Mayfield, Manchester UK Speirs + Major has recently completed a bold new lighting vision for Mayfield, a 30-acre urban neighbourhood regeneration located at the former railway depot adjacent to Manchester Piccadilly station. The project is being delivered by the Mayfield Partnership, a collaboration between developer U+I, LCR, Manchester City Council and Transport for Greater Manchester.

The unique site, dormant for the past 30 years, will be home to a mixed-use community, comprising commercial, retail and residential buildings, as well as extensive public spaces. The lighting vision has been designed to align with the architectural and landscape design by masterplanners, architects and landscape designers, Studio Egret West, retaining a strong sense of the industrial character while creating a vibrant and highly sustainable after-dark environment.

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The lighting design will also play a key role in helping people navigate the site intuitively, vertically as well as horizontally, as they traverse across its multiple levels.

A large area of open parkland is planned at the heart of the scheme, providing Manchester city centre with its first new public park in 100 years.

The illumination of this area demands a sensitive response, retaining darkness as well as adding light, creating an experience that feels safe, secure and accessible, while delivering a pleasant ambience and character. The lighting will be carefully controlled to minimise any adverse impact on local flora and fauna, particularly alongside the River Medlock. www.speirsandmajor.com

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DRAWING BOARD

Dubai Creek Harbour Footbridge UAE Following on from a 2019 competition, IJP Architects, structural engineers AKT II and GIA Equation lighting designers have unveiled designs for a new footbridge that will connect the Dubai Creek Tower and Dubai Creek Harbour for client Emaar.

Currently in the concept design stage, the 230-metre bridge will span a man-made canal and form a ‘monumental axis’ of the development aligned to Calatrava’s centrepiece tower.

The architectural vision of the bridge is to adhere to the modernity and tradition of Dubai, creating a threedimensional web of steel to produce a lightweight, cloudlike structure that ‘floats’ over the canal. The geometric pattern is a striking architectural feature of the footbridge that expresses harmony between the new and the traditional, between technology, art history, and Islamic culture. The intricate geometric design is inspired by the legacy of Islamic art and architecture and is at the heart of the footbridge’s design.

A double-height footbridge paves the way for citizens, spanning across from the quayside on one level and the promenade on another, linking the city and Dubai Creek Tower to the harbour elegantly. Offering grand views on both levels, the underside provides shading from the heat of the sun for pedestrians, while the upper deck level creates a travel route for golf carts and cyclists. www.giaequation.co.uk

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beautifully lit

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The Prince Akatoki UK Located in the heart of London’s West End, in the 82-room former Arch Hotel, the 5-star Prince Akatoki Hotel brings the ideals of Japanese design and hospitality to the West.

Following a multi-million pound refurbishment, the hotel blends strong design, attention to detail and natural and sensory elements.

The name Akatoki comes from the Japanese word for sunrise.

It represents the feeling that you get when you wake up relaxed, rejuvenated and ready for the day ahead. This is what the project team working on the hotel sought to deliver through their designs and expertise.

Architectural interior design company B3 created the interior design, approaching Foundry to develop a custom lighting scheme to support their work.

“Our brief was to use light to ensure guests left feeling relaxed and recharged. To create a feeling of tranquillity; a sanctuary, away from the normal hustle and bustle of London,” said Neale Smith, Director at Foundry.

On entering, guests are greeted by a light and airy interior, featuring washed natural timber, complemented by striking pieces of art and Japanese-inspired furniture.

“Complementary to the minimalist feel, natural finishes and uncluttered spaces, we used concealed light sources wherever

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possible, integrating them into the fabric of the building.

Custom fixtures were also designed, which we integrated into the tables to deliver a personal light source to those using the space,” added Smith.

Foundry also created the simple, yet dynamic lighting scheme for the restaurant. The lighting here needed to transition from bright and crisp in the day, to sensual, warm and inviting at night. Foundry used warm dim technology to achieve this via iGuzzini’s Laser Comfort fixtures.

“Simple pools of light are located on the tables, while the feature wall behind the sushi counter is illuminated,” explained Smith. “Concealed lighting around the banquet seating emphasises the stylish and warm wood panelling.”

The hotel also houses a dual-purpose space that serves as the whisky lounge, and a site for tea ceremonies. The lighting scheme here features a similar approach to the restaurant, but with much more detailing, courtesy of fixtures from XAL, L&L Luce&Light and Tryka, as well as iGuzzini and more bespoke fixtures designed by Foundry.

“We used a magnetic track, integrated into the wooden slatted ceiling to pick out the tables and bar. The lighting around the perimeter of the space provides flashes of light to the fabric panels. Another stunning detail is the concealed drinks

SPOTLIGHT

display folded into hidden pockets, with tuneable white light to illuminate the bottles,” Smith told arc.

Throughout the Prince Akatoki Hotel, B3 harnessed Japanese traditions, creating a minimalistic, yet warm and inviting atmosphere. One of the core considerations for Foundry, Smith explained, was to develop a lighting scheme that enhanced this atmosphere, rather than distracting from it.

“The minimalist interior design, inspired by the traditions of Japanese hospitality - a fusion of the best of Japan and the western world – promotes mindfulness at every touchpoint.

“As some of the spaces had dual purposes, we used dynamic lighting to mimic nature wherever possible, for example, the rising and setting of the sun – or transformation from a warm tea lounge to an intimate whisky bar. Our custom sophisticated light sources were tailored to ensure optimum guest experience, delivered through our attention-to-detail and craftsmanship.”

Since its opening late last year, the hotel has received rave reviews, and Smith feels that, in part, comes down to the overall ambiance and atmosphere – something that Foundry’s lighting design greatly contributes to.

“It was always our aim to create a unique and emotionally captivating experience, one that transformed every stay into an experience for every guest,” he said.

“We’re incredibly proud that our lighting contributes to the guests’ overall experience and feeling of wellbeing.” www.foundry.london

Pics: James Newton

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SPOTLIGHT

Pics: Gavriil Papadiotis

Royal Wharf Pier UK Royal Wharf Pier on the River Thames replaced an existing, derelict jetty, with an infrastructure solution that creates valuable public realm space. The 130m pier provides a memorable and generous new space that can be enjoyed by the community, Londoners and visitors alike.

The pier extends the Royal Wharf development’s riverside public realm with a promenade that stretches 40m into the Thames, and is publicly accessible all year-round. This linear open space is intended to be reminiscent of traditional British seaside piers, framing long, impressive views towards the horizon.

At the heart of the pier, a 162sqm public viewing platform offers a generous, and peaceful space, featuring elegantly integrated bench seating at its centre to encourage people to linger, relax and admire the unobstructed views up and down the Thames.

DHA Designs developed the lighting for the pier, and in the process had to meet stringent Transport for London (TFL) standards, ensuring that passengers can board and disembark the Thames Clipper safely.

While DHA worked to meet the TFL requirements, the design team also wanted to create a memorable public realm for this new London neighbourhood.

As such, the waiting area is lit using a combination

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of LED Linear’s Venus and Hydra VarioLED linear fittings underneath benches, as well as iGuzzini’s Laser Blade In/Out ceiling lights, which have been carefully integrated into the folded aluminium ceiling and follow the pattern of the ceiling. These have been positioned to ensure a good level of illumination throughout, so that passengers feel safe at all times.

The floating gangway has been lit using linear lighting concealed within the handrail, courtesy of Wila’s Puck, directed onto the deck. Additionally, lighting at the base of the slatted wind break creates drama and illuminates the ceiling. On conventional piers of this type, downlights would be used to provide illumination, but DHA Designs argued against this, citing the benefits of uplighting the slats. Uplighting also meant that light levels on the surface of the water would be limited – another requirement in the lighting design brief.

The triangular viewing platform is lit using concealed lighting within the base of the perimeter glass balustrade. This washes light across the deck, meaning that there was no need for an unsightly handrail, into which lighting could have been integrated. This meant that the glass balustrade could be completely clear, allowing unobstructed views up and down the river. www.dhadesigns.com

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SPOTLIGHT

Pics: Robin Hayes

BREEZE Sweden BREEZE is a monumental, dynamic, site-specific light artwork created for the new parking house at the University Hospital in Örebro, Sweden.

Commissioned by Regionservice Fastigheter in Region Örebro and designed by light artist Aleksandra Stratimirovic, BREEZE takes the form of a relatively thin, free-bending line, intended to be experienced as a fast-drawn ink sketch, that sweeps through all seven levels of the building. This black line carries integrated lighting, courtesy of LED Flex’s Ribbon RGBW, that uses the white wall as a painting canvas, casting light of different colours on its surface.

Viewed from a distance, BREEZE gives the experience of a free, organic, airy movement of light that sweeps and whispers through all levels of the building. From close up, inside the stairwell, movement of light, reflections from the wall surface, and the dynamics of light take on a different dimension – more intimate and impressive. Here, viewers are invited to dive into each form’s own universe. www.strati.se

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LIGHTIVITY Lightivity is a UK-based creative lighting design consultancy that enhances spaces, places and experiences with light. Founder Richard Cameron showcases some highlights from its diverse portfolio.

National Bank of Oman HQ Muscat, Oman Lightivity has recently completed the lighting design for the new National Bank of Oman’s flagship headquarters in Muscat.

The dramatic building structure, with a total area of approximately 50,000sqm, stands prominently on Al Sultan Qaboos Street, near the prestigious Grand Mosque and Muscat city centre.

The architectural design of the building by LOM takes its inspiration from the history and topography of Oman. Using the theme of topography, the exterior façade lighting design was inspired by the natural day and sunlight effects found in the local mountain ranges, with areas of light and dark existing together to provide a graduating, layered lighting treatment.

The enormous internal atrium, inspired by Oman’s wadi gorges, delivers a series of dramatic internal spaces. These spaces serve to balance public access with banking security requirements, creating a multi-functional facility that serves as both a staff resource and semi-public and event space.

The resulting lighting design enhances the unique architecture of this iconic building by helping reveal the building material and the layered stone surfaces both internally and externally.

Mirror Lake Shaoxing, China Mirror Lake Shaoxing is a huge mixed-use residential development featuring 200,000sqm of new public and private landscapes.

Lightivity recently collaborated on the initial Phase One ‘Ripple Garden’ landscape lighting design for this beautifully conceived project, designed by rising design stars, LANDmark Studio.

Concealed light was located within dedicated geometric landscape elements such as reflection water pools, tree pits and feature mirror walls. Concealing the light fittings where possible reduced any visual glare from direct light sources and helped create a welcoming, relaxing ambient environment with a sense of calm and wellbeing.

A bespoke light installation feature was also designed and developed to sit within the Phase One development’s central sales centre courtyard – called the Raindrop Garden. The scheme consists of approximately 90 large glass blown raindrops, each internally illuminated and suspended within the courtyard to provide both the functional and feature light within this contemplation space.

The Ripple Garden is now open to the public with the rest of Phase One due for completion in the second half of 2020.

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SNAPSHOT

Gymbox London, UK London gym group, Gymbox, approached Lightivity five years ago to develop and design a series of new, brand-enhancing, immersive lighting schemes for its upcoming chain of cool city centre fitness clubs.

Lighting is a key element within the overall interior design of the clubs, as it needs to provide function and, of course, visual spectacle, while upholding the original ethos and look/feel that has become synonymous with the growing Gymbox brand.

The clubs are generally located in underground basement floor spaces, which offered the opportunity to create a fully immersive lighting experience for gym goers as they descend into the clubs from street level. Each club is a kind of hybrid ‘gym meets nightclub’, with DJs playing every night. The clubs are generally split over two or three floors, with each training zone having its own distinct lighting treatment to help visually compartmentalise the space. There are also interactive spin cycle studios, dance studios, Olympic-size boxing rings and plenty of cardio machines in the open area gym floor zones.

Lightivity’s lighting design approach and use of coloured light within the clubs was originally inspired by the retro furniture and coloured interiors created by Danish design legend, Verner Panton (one of the studio’s heroes).

Each lighting scheme is designed to add a new visual dimension to the clubs interior concept whilst enhancing the overall interaction and user experience within the space. As per the Gymbox mantra, “Going out and working out should be the same thing!”

Shinsegae Department Store Gimhae, South Korea In 2017, South Korea’s biggest department store franchise, Shinsegae, opened its new Gimhae store.

Working with leading retail and brand designers GP Studio, Lightivity developed and designed the lighting scheme for more than 19,000sqm of what is a colossal new shopping experience.

Part shopping mall, part department store, the overall design encompassed two floor levels of mixed retail areas incorporating: Shoes & Handbags, Cosmetics & Beauty, Fashion Accessories, a Food Deli area, Home Furnishing and a huge central atrium and ‘light garden’ located in the middle of the building, visually connecting each floor.

Lightivity also provided the lighting design to the upper floor Food & Beverage court and new Shinsegae ‘Shopping Academy’.

A wide range of energy efficient lighting treatments were designed for all the various individual concession spaces within the department store, each intended to visually differentiate each retail zone from the next.

A continuous, soffit-recessed linear light detail was included throughout the scheme, visually connecting each shopping level and aiding way-finding throughout the store.

During the final construction site stages, Lightivity collaborated with local South Korean design consultants to ensure that its initial design concept and overall lighting vision was brought to reality.

Lightivity Established in 2013 by lighting designer Richard Cameron, Lightivity works directly with developers, architects, interior designers, landscape designers, engineers, planning professionals and end clients. Lightivity’s aim is to create considered lighting schemes that enhance spaces, places and experiences.

With 25 years of professional industry experience, Cameron has built up an international portfolio of high profile, award-winning projects covering a wide range of design sectors including; commercial offices, residential developments, sports arenas, hotels, retail stores, hospitality spaces and daylight projects.

Cameron explains: “The Lightivity design ethos is simple. We believe in putting people at the heart of lighting. We try to enhance people’s interaction and user experience with architecture and the built environment through the design and use of light.” www.lightivity.co.uk

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Covid-19 and the Lighting Industry Richard Taylor, Founder and Director of Graphic Strategy, shares findings from a recent survey of the lighting industry on the impact of Covid-19, and what it means for the industry going forward.

I

t is hard to imagine a more challenging series of events. Starting with modest concern over travel and meetings back in January, within 10 weeks our capacity to meet up, to visit

clients and sites, to audit suppliers and at a

more personal level, even to see family and friends or go to the supermarket to collect

dinner has been dramatically altered. I appreciate that this isn’t

the same everywhere, and of course hope, like quite a few million

other people, this won’t last too long or the impact be too deep, but

we have, unequivocally, entered a new era and with that, some very fundamental changes in the way we can, and very possibly also will do business in the future.

What happened?

I’m an engineer, not a doctor, an epidemiologist, or a virologist. I’ve worked in and around the lighting industry from almost 30 years, and so whereas I can only report anecdotally about the Covid-19

situation, I can report, from the coal face, what’s happening and

where people are looking. I had the idea, back in late February, to ask my network via LinkedIn and a few other channels, how they look

at the situation, and actually wanted to get this article written much earlier, but as the situation evolved, I got more and more valuable

insight that I would like to share today. More than 400 people got in touch with me, initially via the survey as well as by email and then more and more Skype, Zoom or Teams calls. The sheer volume of Richard Taylor, Founder and Director of Graphic Strategy

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input humbled me, and I’m truly grateful to everyone who took the time to contribute. Your opinions have helped form this piece.

Comment

Why did I bother?

Crisis or business as usual?

January this year, and by chance, managed quite literally to “miss

groups: optimism, resignation and despair. The timing for a global

Honestly, I love numbers and current affairs! I was in China in early the boat” back from my location to Hong Kong airport for the flight home. Luckily I had a bit of time, so with the help of some Chinese

friends, I was able to get a bus from the border to the airport. Unlike the normal process however, I went through three temperature

checkpoints, and also a health checkpoint, and more people than

usual were wearing masks. In the times of the SARS outbreak, when I was stationed in Hong Kong, I remember the measures taken,

and these struck me as being similar. What surprised me was not the controls in Asia, but much more the complete absence of any

controls upon my return to London later that day. When I got home, one of my first tasks was to work out how bad this situation could

get and to order a few bottles of hand gel to go with the rest of my household resilience kit.

The lighting industry never gets much attention – we may be only 2–5% of the total investment cost of a building, but other sectors always seem to get more attention. I decided, therefore, that a

lighting-centric survey to gauge the opinions, outlooks and thoughts

of our branch would be a neat idea. I hope, as you read this, you agree!

Since there are a lot of statistics in the findings, I’ve tried to

separate them instead of just showing a big Excel chart. So of the 403 respondents, where were you from?

It would appear that the lighting world has gravitated into three main event on this scale is never going to be good, but the Christmas/

Lunar New Year/Product launch/Covid cycle has hit supply chains

especially badly. With roughly six weeks from the world’s lighting factory to the market, and approximately the same six weeks

between the situation in Asia settling and that in Europe exploding, the logistics of light never had a chance. Some things happened

as usual – I was actually at Euroshop and noted the occasional face

mask but didn’t really see anything untoward during the trip – three weeks later, meeting some clients and friends over in Frankfurt, the situation couldn’t have been more different with deserted airport concourses and 80% empty hotels.

Above all, what is now common was already in the early stages – a

sense of concern, even worry about speaking to the “wrong” people

or being in the “wrong” place and risking exposure inadvertently to

this terrible new-age pathogen. On the streets of the UK, and indeed from my network I believe many other cities around the world, there is a mistrust - who has the virus? Who could infect me? Should they be out? Are they panic buying? Equally we see a lot of happy things,

such as companies working incredibly hard with limited workforces

to supply key projects, obviously at the moment especially in medical fields.

How long do people believe this will continue?

Respondents

2%

Expected duration of disruption Expected duration of disruption

4%

6%

26%

6%

United Kingdom / Ireland Germany / Austria / Switzerland Scandinavia / Finnland

6%

Another three months

43%

Most of 2020

36%

Beyond 2020

13%

France / BeNeLux Other (please specify) USA / Canada

7%

ASEAN GCC / Middle East

7%

21%

Australia / New Zealand Italy / Spain / Greece / Portugal

15%

Another four weeks

8%

Ensuring representative feedback is also good, so I then filtered the

In honesty, those who answered early in the process were naturally

and ended up with what I hope is a good mix of people who

The government position of many European states was alarmingly

results to work out the backgrounds of the generous respondents,

understand the sector, and also understand what is happening in the industry.

relaxed until the numbers started skyrocketing back in early March.

If I analyse the data as a time series, the curve looks quite similar to

that of the virus, with the expected disruption share doubling in the “most of 2020” category during the past three weeks.

2% 2%

Disruption has many facets that are temporary and variable. At

the start, it was the loss of freedom to fly, to drive, to travel. This

6% Management or sales

9%

Manufacturing (branded company)

32%

Lighting design, architecture, engineering design or consultancy Other (please specify)

11%

Manufacturing (ODM / OEM) Product design

17%

more optimistic than those who were answering in mid-March!

End user (supermarket / infrastructure (airport/station etc) / global business unit)

21%

Installation, contracting, facility management

has rapidly evolved to a more fundamental level of shops, bars,

restaurants and “non-essential facilities” being closed down and the excitement isn’t buying a new outfit, but working out if your local store still has bread or salad on the shelf. When the winter

weather is bad, and the police advise against all “non-essential”

travel, the roads don’t look much emptier than usual, but adherence seems to have taken on a new level of responsibility, partly due to

enforcement, but equally due to self-preservation instincts. Equally isolation-fatigue, even amongst some of my contacts, set in during early May and people are electing more liberal interpretations.

The disruption for lighting is also self-evident. Many of my dear

friends, some of them ex-colleagues and some working for clients

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033

of mine are feeling personal disruption. Their places of work have

For the record, I enjoy Light + Building and think that Messe

factory closures, extended home office demands, and, of course,

huge cost to go there, the hotels are notoriously expensive, and the

shortened, in some cases radically, their working weeks. There are some clear challenges to what the market needs and when. Building

sites are suffering from massive disruption – many are still open, or soon will be, but recovery is slow.

As countries emerge from this crisis, one of the key areas of

investment by governments will be in infrastructure to help restart the economy. I’m not suggesting that this will lead to a bonanza

of lighting business, but I do think that it’s more than plausible to

expect businesses to think about how a facelift – for which lighting upgrades are a great idea – can help them appear as the phoenix

quality time is spent with people. Now we have all got used to using Teams, Skype, Zoom and others, maybe we could start to wake to a new environmental responsibility, and participate in more virtual events rather than flying 1,000 or 5,000 miles to see a luminaire?

The future of travel, will largely be defined by how well governments manage their part in this event. Over 60% of respondents were

unconvinced by their local government’s response in guiding and

mitigating the effects, with some particularly harsh comments – I

won’t share the details – about southern European, British and US institutional failings in preparing when they had a chance.

arising from Covidian ashes.

Changes for the way we get information?

One issue, which was significant, was the willingness to go to the bigger shows.

What are the current key disturbances people are worried about?

Will you you still stillgo gothis thisyear? year?

20.4%

Other

d an h alt are He elf aff w st of

9.4%

48.1%

C ashfl ow disrup tion

31.5% 90.6%

YES

NO

YES

Tr re ave to stri l su k e ctio ns or ppl y cli ier en s ts

Were you you going goingtotoaalighting lightingtrade trade fair? fair?

Frankfurt does a great job, but for a small business like mine, it’s a

NO

Ma c eco ronom imp ic con act on stru the ind ustr ction y

MAYBE

Obviously we now know that Light + Building is not happening until to New York in 2021. The other big Asian shows seem unviable due to travel restrictions and therefore people need to get their info in different ways.

What interested me was the clear shift that roughly half the

Supply chain disruption

2022 and that the US LightFair is also off the cards now until it comes

d an h alt re He elfa nts w clie of

respondents were willing to go to shows at a new time, and half were not, or were at least unsure. Mapping the data in this area against the background provided insight. The “show fans” were, to 84%, occupied within the lighting manufacturers, and so “must” go,

As is often the case in surveys, the category “other” revealed very

visit Frankfurt, Hong Kong or Las Vegas is extremely limited.

• Challenges to complete necessary development projects

whereas for those with a choice, the willingness to get on a plane and It has been reported on, comprehensively, that the silver lining

of the Covid-19 cloud is a breathing space for the planet in terms of global emissions, and I do have to ask myself why people go to

shows. Sure, they’re fun, and yes, people meet people and see new

products. At the same time, some of the much smaller shows, such

as [d]arc room, offer local venues and ways for people to connect in a

much more meaningful manner than the big, noisy mega-shows that we have all become so used to visiting.

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useful comments such as:

• Defocussing away from important innovations

• Urgent need to consider long-distance outsourcing and bring production back to base

• I’m worried that the market will only get cheaper and forget how important quality is

• Big and small innovators will all suffer disproportionately • Further delays in projects completion

• Costing going up and the market will go down

comment

On a brighter note, some of the individual conversations I had were a little more positive:

• This will lead to more innovation as “afterwards” people will need to focus on new, differentiated solutions

• The bulk and commodity model will be offset by investments into new technology, if companies are ready

• Lighting design will start to be taken seriously to create healthier buildings

• Building technology will play a role in suppressing future pathogens

How much will your travel when this crisis is over?

About the same (38%, 1,148 Votes) Less (26%, 775 Votes) More (25%, 751 Votes) Don’t know (12%, 361 Votes) Total Voters: 3,035

There are also quite a few people who voiced concerns about media coverage and even that the whole “event” is a conspiracy and may not even be real:

• Scale of mass media conspiracy theorists and the unfortunate impact these evidentially have on the masses!

• Stupid decisions made from fear and incompetence • Fear

recovery should be reasonably quick, but still 26% of respondents expect to travel less in the future.

It would be inappropriate to say “you should do xyz”, yet I really hope that companies and individuals can find the time to appraise their

existing business strategy and think about what the future can hold.

In terms of mitigation, I hope that people will start to rethink lighting.

Clear shifts are under way, right now.

1. The supply chain model with the just-in-time version followed

How can we react?

One final thing I really wanted to know was how people are reacting to the changing situation. The respondents were clear that travel is

tough, at least internationally, and increasingly that national travel is also less desirable and in many cases not really possible. The answers are shown here:

Changing regions of interest

Looking for supply chain enhancements No change

Fewer national trips

by many suppliers is not resilient – a friend of mine told me

recently that just-in-time is never resilient, but I disagree it’s about planning, cooperation and strategy.

2. Automation and configuration need to come of age. You can order a Tesla online, you can configure a laptop online, you can design a

kitchen online, and the rest of each of those processes is fluid and

interconnected right up until installation. Lighting products are not as complicated as a car and I really believe that we need to consider how lighting design, lighting technology, site management and

product configuration can be programmed to work with each other.

3. Yesterday’s boom market isn’t tomorrow’s – there is a clear shift in applications that will make life very interesting for product and solution development over the next few months.

4. Some companies have adapted very rapidly – it’s definitely worth

mentioning that quite a few operations have shifted from their usual

business to supporting, in especially honourable cases, more or less at cost, the creation of additional medical facilities in various countries – it’s spectacular to see that even in these challenging times, the

More home office time

“greater good” has not been forgotten and well done to them all.

More online meetings

On a final note, one respondent did make a very salient comment

Fewer international trips

about a missing option, so without naming him, I’d like to say

obviously I agree, and that personal health, safety and wellbeing must always be the highest priority. What we can do in small, and what our health services do on a much larger scale, deserves appreciation and

What surprised me was how little, at least until the end of the survey period, people seemed to be considering where the future regions of interest may be. Sure, this is a global event and as such, everything is challenged but tomorrow is a new day. I’ve run my own small

business since 2008 and there are good months and those when you

start to question the decision to set up in the first place! A recent poll from the venerable “Business Traveller” magazine revealed that the

especially for the latter, gratitude, respect and admiration.

There was a lot more insight and feedback as well as naturally my

own personal engagement with many different industrial channels, so I’d be delighted to hear from any interested readers if you would

like to know more. You can reach me at richard@graphicstrategy.net.

Many thanks for taking the time to read this. I wish us all strength, health, courage and vision now and always. www.graphicstrategy.net

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DARK SOURCE

Dark Source Stories created by Kerem Asfuroglu instagram.com/darksourced

Succession Planning: Why It’s Important to Start Now Barbara Horton and Carrie Hawley, Co-CEOs of HLB Lighting Design, break down the importance of planning for the future.

W

e started writing this article well before the 2020 worldwide pandemic began to unfold.

Years ago, we observed many legacy owners of lighting design firms aging out without

mentoring the next generation to take over

their firms. For lighting design as a profession to continue to thrive and grow, ownership

transition planning must become a part of our collective conscience as an industry.

Given the current pandemic and added pressures to our businesses, we expect a paradigm shift in the landscape of our lighting design

community over the next few years. Some owners will retire, some will merge with another firm, and some may ride out this current storm, recover and thrive as in past economic downturns.

This article focuses on mid-career practitioners who:

• are thinking about becoming owners in an existing business • already own their business

• are starting a new practice of their own

“For lighting design as a profession to continue to thrive and grow with future generations, ownership transition planning must become a part of our collective conscience as an industry.”

In all cases, we’re focusing on those who can plan their business strategy for the long term; while we are sharing our experience in the process of ownership transition. Our advice is to engage

professionals who can help you evaluate your goals, identify the

ideal business structure, assess the team or potential owners, and determine best options for you and your business.

Our firm’s 50 years in business have gone by surprisingly quickly, and over the years, we observed many firm owners aging out with no plan and little financial reward to show for their many years of hard work.

Our founder, Jules Horton, FIALD thought differently. By the late 70s, Stephen Lees, FIALD joined Jules as a partner, with Barbara Horton, FIALD following suit in the early 80s, purchasing her own stake in

the business. By the early 90s, Teal Brogden, IALD was invited to buy in, strengthening the firm’s West Coast markets. Along the way, we

had a few talented principals become owners who opted out for lifechanging reasons, making room for others. By the mid-90s, we had reached an inflection point. As Jules neared retirement, we sought

professional advice from a management consultant – a professional business strategist who helped us establish an overall framework

and develop a plan for our future. We have now worked with several

wonderful management consultants over the last 25 years, and each has given us new skills and expanded ways of thinking. Today, we

are a 90-person firm based in seven cities throughout the US, led by Barbara Horton, FIALD, CLD Co-CEO HLB Lighting Design

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Carrie Hawley, IALD Co-CEO HLB Lighting Design

14 principal shareholders, and we just celebrated the retirement of a second legacy owner.

IALD

What have we learned from 25 years of succession It’s never too early to start planning.

Don’t wait until it’s too late.

Planning for business transition doesn’t mean giving up control of your company.

Transition planning isn’t interference, it’s protecting and strengthening the legacy you built.

Transition planning gives rising talent opportunities for personal growth and a solid future.

Creating future partners creates ongoing legacy.

You owe it to yourself, your family, staff and clients to have a solid plan.

The plan should be revisited regularly to accommodate essential change.

What are common succession plans?

acquisitions (M&A) expertise. Your internal candidates probably

already understand your firm’s culture and goals, but if you seek to

merge with another firm, you need to practice due diligence to ensure alignment with your firm’s culture and values, then determine what

will be advantageous to each party. You may also engage the attorney to make discreet inquiries.

Accountants/Certified Public Accountants (CPAs) You will need your accountant/CPA to advise and test various financial scenarios for the transaction/transition plans, tax implications, cash transactions or loan options.

Communication Regardless of the format of your succession plan, consider both internal and external communication. Create a presentation

to prospective internal candidates, including a firm overview,

the proposal, the risks and rewards. Communicate to potential

candidates early in their careers so they understand the roadmap to

ownership and are aware that you envision them as potential future

owner. For an M&A deal, plan a message to your staff demonstrating

the benefits and integration plan, then an outside message to clients to present opportunities and assure a seamless transition.

There are several common approaches to succession planning, and

Mentoring

selecting the one that’s right for your firm.

training and building trust in your successor team is critical. Engage

it’s best to rigorously consider the benefits and drawbacks before

Mentoring is the most important part of the plan. Identifying,

1. Passing your business to heirs

your next generation in a strong mentoring plan, conveying the

2. Selling to other co-owners 3. Selling to key employees

4. Selling to an outside party

5. Selling your shares back to the company It’s likely that any approach will have political or emotional

ramifications extending beyond pure business outcomes. Consider your firm’s core values and make sure your approach aligns with

them. This will help you manage or avoid politics, negative dynamics, or teammates leaving due to a perceived lack of future.

What are Important Considerations to Establish a Succession Plan?

By establishing a succession plan, you create a framework that serves as a guide to potential new owners. Here are key components to consider:

1. Determine your succession timeline

2. Identify potential successors, their current strengths and learning areas

3. Prepare a business valuation – use established industry metrics to

importance of responsibilities and risks they will undertake while also highlighting future opportunities and rewards. Areas for

mentoring include defining culture, financial literacy, performance metrics, rainmaking skills, expanding specialty areas or expertise, managing people beyond design and project management, and

understanding legal and human resource matters. The current crisis is a good time to mentor future owners in the cyclical nature of

business downturns. Rather than fearing them, they should not only anticipate but plan for them. Developing sound business practices

and future-proofing techniques will help them learn how to weather inevitable future storms in our industry.

“Mentoring is the most important part of the plan. Identifying, training and building trust in your successor team is critical. Engage your next generation in a strong mentoring plan.”

create a formula

Emotions

5. Establish a due diligence process

prepared for emotional highs and lows, gaps in discussions, time

4. Create a methodology and terms for funding the purchase

Life throws unexpected situations our way, so being prepared is

always best. Once you have established when, who, and how, it’s

important to work with good advisors. Here are key consultants who we found essential throughout our journey. Yes, this costs money,

but let’s face it, most of us were trained as designers, not succession planning experts.

Management Consultants This group advises on developing a methodology that best fits your firm’s structure, establishing an evaluation formula, required skill

sets, and mentoring needs. Many consultants will help find potential external candidates if there is no clear next generation.

Mergers and Acquisitions Attourneys Whether you sell internally or externally, you need a well-

established business attorney, preferably one with mergers and

This process is often very emotional for sellers and buyers alike. Be needed for reflection, advisors’ differing perspectives, challenging legal jargon, and financial expectations that feel unfair in both

directions. Remember that decisions you make are for both parties.

There is no “them” – the new mind set needs to be “we.” Come to the discussion considering what’s best for the company, as well

as all owners involved, being reasonable, flexible and empathetic to each viewpoint. While this process is a bit more complicated

than getting married, the emotional commitment each party is

making feels similar, and candid discussions are essential. It can be exhausting but also deeply fulfilling when final terms are resolved, incorporating everyone’s compromises. Last, be prepared that the deal may not work out. Learn from the experience and move on to consider a new strategy.

And once the deal is done, the real work begins to ensure long-term success!

www.hlblighting.com www.iald.org

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Far Eastern Travels Assistant Editor Sarah Cullen sat down with Women in Lighting to discuss their recent trip to Asia

F

or this instalment of Women in Lighting (WiL),

I travelled across the world to the Far East from the comfort of my desk, in a time when travel

is not permitted due to the Covid-19 pandemic.

We worked closely with the WiL team to create an article that coincides with the release of

their Asian interviews, conducted at the end of

2019 in a whirlwind five-day trip that covered four cities.

I sat down with Sharon Stammers and Martin Lupton to discuss the

trip:“Eight months after the WiL project began and in-between our

lighting projects, we found a small window, mid-November 2019, of

five days in which to cover four cities in Asia – Hong Kong, Bangkok, Singapore and Shanghai,” she explained. “We knew this would be a

unique opportunity for us to expand the online interviews and cover a completely different continent. Since formalighting has its Asia headquarters in Hong Kong, their team organised this whirlwind

trip to Asia, which feels like a lifetime ago - even though only a few months have passed.”

Whilst traveling across these four cities, Light Collective completed thirteen interviews with sixteen female designers, as well as

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women in lighting An aerial view of Bangkok at night, showing the vast city lights.

attending two WiL specific evening events with “extraordinary

from Uno Lai, Phoebe Yu from Lighting Images and Lisa Wei from

Hong Kong based team.

“We were welcomed into all the offices above and given language

members of lighting design”, all with the help of formalighting’s “In Hong Kong we interviewed Isabella Cheung from Inverse

Lighting, Wendy Mak from Arup, Meike Goessling (Hong Kong’s WiL Ambassador) and Joy Wong from Light Links,” explained

Stammers. “In Bangkok, we spoke with Tippaya Prasertsuk from Be Lit, Dr. Vannapa Pimviriyakul from With Light and Rinnin

Kositanont from DJ Coalition. We also caught up with Thailand’s WiL Ambassador, Pilasinee Rattarangsi, at the WiL evening event hosted by formalighting.

“In Singapore, we interviewed Cheryline Chua from KLD Consulting, Josephine Dimalibot Schneider from Bo Steiber Lighting Design and

Phaphorn Kasemtavornsilpa, SunYoung Hwang, Mayumi Banno and Angkana Kongchatri from Lighting Planners Associates. We also heard from Singapore’s WiL Ambassador, Yah Li Toh from Light

Collab, and designer Anna Kadurina from Boomsi Lighting, at the WiL Singapore evening event where the two lighting designers shared presentations about their work.

“In Shanghai, we interviewed Jenna Liu (Shanghai’s WiL Ambassador)

ATL. The last two of these interviews were in Chinese!” she added. support from the local formalighting team when needed.

“The WiL evening events created the opportunity of meeting

other local designers (both male and female) on this short trip.

The Bangkok WiL dinner , held at the top of the highest building in Thailand (where we walked across the roof’s outdoor glass

floor...), the WiL dinner overlooking the Bund in Shanghai, and the networking event in Singapore - again up at the top of the Altitude

roof bar - were all well attended. It was great to meet up with Hong Kong WiL ambassador Meike, Thailand WiL ambassador Pilasinee

Rattarangsi and Ya Li Toh, the WiL ambassador for Singapore in their respective countries.

“The response and feedback we have received from the WiL project

has heightened our sense of responsibility to ensure that designers

feel comfortable to reach out to us and to offer their ideas of how this platform can better support and inspire them.

“This trip resulted in a strengthening of the project in Asia and an

expansion of the WiL community. It was good to be able to explain

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women in lighting

1

2

3

1. Joy Wong having her interview conducted in Hong Kong.

2 & 3. An evening event held in Bangkok where women in lighting and male supporters come together.

4. A relaxed snapshot of Isabella Cheung having her interview with Sharon Stammers of Light Collective.

5. A round table interivew with the female colleagues of Lighting Planners Associates.

Photography: IVANSEASON

the origins of the project in person and to get

and in 2019 she was the on the judging panel for

a pleasure to personally connect with the women

When asked about her experience as a woman

opinions from other parts of the world. It was also we interviewed and to hear their stories.

“The outcome will be 13 brand new interviews

being released on the website to tie in with this article.

“Our brief immersion in the Asian culture, eating

great food and appreciating amazing architecture,

will not be forgotten as Asia clearly offers dynamic opportunities in lighting design. It was our first time in Shanghai, and we met with members of formalighting’s Shanghai office team, so

our overnight visit introduced us to lots of new

lighting professionals and we hope to return for

another visit one day and reconnect with all these new WiL supporters.”

arc sat down with a number of WiL Ambassadors

across South-East Asia to discuss their experiences as women in design as well as their roles in their lighting communities and how they became ambassadors for the WiL project.

Ya-Hui Cheng is the ambassador for Taipei as well as Founder and Design Director of Light

Poetic International. She holds an undergraduate degree in Interior Design from CYCU in Taiwan,

a Daylighting Design postgraduate qualification from KTH in Sweden and a Master’s degree in

Architectural Lighting Design from Hochschule

Wismar in Germany. She has delivered speeches at multiple PLDC events and received an IALD award

in 2016. In 2017 she received both IES International

Illumination Award of Merit and Excellence in USA,

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4

5

the [d]arc awards.

in the lighting and design industry, Cheng

commented: “I was once asked by a male manager about my future plan to have a baby, so the office knew how to plan my future opportunities and

position - this is kind of discrimination. A lot of

women hide their baby plans, so they still get fair chances at work. I believe the fact that having a

baby and taking care of a newborn should be a plus for the women’s professional experience. Such

experience makes them more caring, open minded, tolerant and resilient.”

At the time of writing, the majority of the world

is in lockdown amidst the Covid-19 pandemic. As such, we asked the WiL ambassadors what their

experiences were in Asia during this time. Cheng added: “The lockdown has proved that work can

be conducted at home. That makes it possible for

women or couples to work at home while children are around, and it promotes a work/life-balanced lifestyle.

“Together with the ambassador in Shanghai, we

had spoken with formalighting at the end of last year to make plans for an event in February this

year. However, the pandemic has delayed this plan.

I have also talked to local lighting art and culture foundations, as well as a few Women in Lighting

entrepreneurs at various lighting occasions, and they are fully aware of the WiL movement. Once

the social distancing period is over, we will resume planning of the event.

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“I am also planning to work with a group of women in architecture so

reflected on how WiL was the reason she paid attention to the role

“It is very exciting to see more and more women make their voices

about the ‘female’ aspect of my work as something particularly

we can share more insight and experiences.

heard in many professional and public occasions. However, we hope

to see louder voices from men to support their partners and wives to carry out their professional dreams.”

Meike Goessling is the ambassador for Hong Kong. With a

background in Architecture, Goessling made the common step into Architectural Lighting Design. “I trained in Germany, the UK and the US, and then worked for Lichtvision in Berlin until relocating

to Hong Kong to set up their local office there. It has been exciting, challenging and also a rewarding time working with a great crowd

of people on projects ranging from bespoke installations to largeformat and technical developments. Having recently changed my

role, I am an independent lighting consultant today. It is a privilege to be part of Women in Lighting and based on some feedback I got

throughout the last months, I hope to be able and share some of this experience so far,” she told arc.

When asked about her experiences as a female designer, she

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her gender had played throughout her career so far. “I did not think unusual until WiL approached me. From day one of my education, as well as during work life, I experienced a high percentage of female

students, architects and designers. Looking back, I approached most challenges with a pragmatic ‘how to…?’ mindset and a variable degree of stubbornness, finding a solution.

“The lighting world is very well connected, whether across countries or markets, and I think the high number of women in lighting

supports this collaborative aspect. Living in an environment that

involves people from different backgrounds and parts of the world,

I experienced that eventually how you do your work and what you do matters most.”

Reflecting on her experiences during lockdown in Hong Kong,

Goessling commented: “At the moment, there is a lot of attention

on the direct consequences of lockdown. The impact on people and

societies varies a lot, it materialises in different aspects of life or at another time. Whenever my thoughts go spinning, I try to remind

women in lighting

Shanghai’s skyline illuminated in an array of bright lights and colours.

myself of the perspective beyond and those things that don’t change.

from each other. Maybe this can be an opportunity for younger

design, the long-term change in living and working environments

their daily environment. Ambition is not a negative thing to have and

Yet, there are new experiences and lessons learned. For lighting

requires attention, just like our exposure to different light sources.

Think about the efficiency of virtual meetings weighed against the

value of personal meetings and observing light with your own eyes.

This will impact how we develop a design within the team and how we specify our designs, eventually having an effect on the process and the outcome.

“Gatherings in Hong Kong have been impacted by recent events, but this allowed us to connect with another woman in lighting, which is

Sharon Maghnagi. She has been incredibly helpful and thoughtful no matter what.

“Physical meetings are of high value here and I am still not a keen user of social media, but with more and more people becoming

used to virtual socialising, I would throw some previous hesitation overboard and think this can be an opportunity, not just locally.

“With the idea to create awareness and improve visibility of the many Women in Lighting, I hope to share experience and learn

designers to raise their questions, which they may not want to in

should be used as a positive drive. But getting back to your previous question about my personal experience, eventually there should be a ‘normality’ where a person’s individual abilities and attitude are relevant.”

Yah Li Toh is the ambassador for Singapore and Principal at Light

Collab. After completing a degree in Architecture, like many others

she was inspired to venture into Architectural Lighting and went on

to complete a Master’s in the subject at Hochschule Wismar, quickly followed by accepting a role in Singapore with the Lighting Planners Associates.

“I did not think of starting a practice, but I went along with whatever came my way, so I started freelancing for a residential project and things became busier as more projects came in, which is when I

decided it was a good time to start Light Collab properly in 2010. Of course, it has been a challenge for ten years now – from starting

a practice, getting clients, hiring your first staff, your first office

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women in lighting

1 1. The Singapore skyline is brightly illuminated with the Marina Bay Sands hotel in the centre, dominating the horizon.

2. (Singapore) & 3. (Shanghai) Light Collective with Sharon Maghnagi of formalighting at the evening events in Singapore and Shanghai.

Crossing your finger and thumb together represent a ‘tiny heart’ - a thoughtful symbol of care, much like the peace sign.

2

rental, a bigger team, mentoring staff and business

facets of myself, being a design-preneur,

edge,” she explained.

designers, to bringing together the industry

continuity, branding and having a competitive

“Things started to change in 2015 when I became a professional member of the IALD and also one

of the first five people in the world, and the first woman, to be recognised as a Certified Lighting

Designer (CLD). Doors started opening and clients had more confidence in my, and Light Collab’s,

competency and were willing to give us a chance to embark on projects. With more projects

completed, we were also able to submit for awards

such as LIT and IES Awards and finally the practice and its work are bearing fruits.

“In 2018, I was also very honoured to be one of six to be shortlisted as Designer of the Year for the

Singapore President’s Design Awards and the only

one to receive commendation from the Jurors. 2019 was a really memorable year as I was also named in the top 40 under 40 lighting designers by Lighting Design Awards 2019 and also a Generation T

Honouree for List 2019 for Asia Tatler, one of the 20 future-shapers honourees by the Peak magazine

and recipient of the Skillsfuture Fellowship Award 2019.

“My profession allows me to explore different

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3

to grooming the next generation of lighting

as the regional coordinator for IALD SEA. The

IALD also gave me lots of opportunities to grow professionally; being an advisor to the CLD

Board and serving as a judge for the 36th IALD Lighting International Awards in 2019. I am

also very grateful for the chance to be able to

have various opportunities to spread the love of light and awareness of our profession through

documentaries for national TV and radio stations.”

Speaking from her experiences as a female

designer, she added: “Generally in Singapore, it is still fine. Many of the competitors are led by male figureheads and designers in the design

industry. In the lighting industry, sometimes there is also a slight stereotyping that women are not

hands-on enough, or their technical knowledge

is not as strong. There is also some preference for

foreign talent too in Asia. Thus, it is important for a local female lead designer to have a voice and

presence in order to lead the company locally and internationally.”

Kaori Hiroki is the Japanese Ambassador for WiL and Founder of Lyshus. She has experienced an

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A selection of the interviewees that Light Collective met and conducted interviews with as part of their trip around Asia.

Rinnin Kositanont

Wendy Mak

Isabella Cheung

Joy Wong

Lisa Wei

Thailand // DJ Coalition

Cheryline Chua

Singapore // KLD Consulting

Meike Goessling

Hong Kong // Lighting Design

Consultant

Hong Kong // Inverse Lighting

Vannapa Pimviriyakul

Jenna Liu

Jospehine Dimalibot Schneider

Phoebe Yu

Tippaya Prasertsuk

Lighting Planners Associates

Thailand // With Light

China // Lighting Images

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China // Unolai

Thailand // Be Lit

Singapore // Bo Steiber

Singapore

Hong Kong // Arup

Hong Kong // Lightlinks

China // ATL

women in lighting

equal gender balance in the lighting industry in Japan, claiming a

Stammers added: “This trip resulted in a strengthening of the project

interviews with fellow Japanese female designers, she has uncovered

able to explain the origins of the project in person and to get opinions

50% male/female split. However, when working on a current series of opposing views. “I heard a lot of great stories from each woman I interviewed. However, I found that many women have struggled with ‘old-fashioned gender roles’ and sometimes constrained

themselves. I think now is the time to realise the bias and improve circumstances for our future generations.”

Pilasinee Rattarangsi is the Ambassador for Thailand and is the

Founder of Rangsi Atelier. Rattarangsi graduated with a Bachelor of Architecture and a Rector Certificate of Honours, before continuing her studies with a Master’s of Architectural Lighting Design at

Hochschule Wismar. In 2005, she completed her Theatrical and

Architectural Lighting Design apprenticeship with Jesper Kongshaug, Scenograferne, Det Kongelige Theater (The Royal Danish Theatre), Lundgaard and Tranberg Architects in Copenhagen, Denmark.

Speaking of her experiences as a female designer, she said: “It has been a great experience for 16 years in lighting so far. Nothing to

complain. Ok, maybe a little bit… We work with light and darkness, so sometimes being woman and working late could be difficult in some contexts.

“We are big ‘family’ here; lighting designers in Thailand. So many

of us are friends on Facebook. We share ideas, projects and also our

personal life. We have a very friendly atmosphere and it’s very Thai also, I would say.

“Women make up the majority of lighting designers in Thailand and we all are in the spotlight and receive mutual respect. We have had a Facebook group for Thai Lighting Designers since around 2006 and

we share knowledge etc. on there, and once a year we come together to create a lighting installation piece at Bangkok Design Week.

“I would like to acknowledge the WiL team and their dedication. It

has been growing beautifully, and I am happy to be a part of it. It is

great if I can be a small connecting point for Thai lighting designers

and the other designers elsewhere. When I talk about this project to

suppliers, universities, professional friends, they also appreciate it a

lot - and they really like the name ‘Women in Lighting’, they said it is such a powerful name.”

When asked about her perspective of women in lighting and business

and her time living in Hong Kong, Sharon Maghnagi of formalighting, said: “In my case I am grateful for the childcare infrastructure in

Hong Kong that helped me to seamlessly return to work after only a

few weeks of having my second child, which then allowed me not to lose momentum on the projects I was in the middle of developing,

before I gave birth,” she explained. “Hong Kong really has a cultural mindset of enabling a woman’s participation and productivity in the work force and I consider myself very fortunate to work here

and contribute as a result of the opportunities afforded to me by this great city.”

Upon reflection on their trip, Light Collective received a huge amount of feedback that brought with it a sense of responsibility to “ensure that designers feel comfortable to reach out to us and to offer their ideas of how this platform can better support and inspire them”.

in Asia and an expansion of the WiL community. It was good to be from other parts of the world. It was also a pleasure to personally

connect with the women we interviewed and to hear their stories.”

Looking back at their trip, we asked Light Collective if they had

witnessed any interesting comparisons with other international trips they had conducted as part of the WiL interviews. “The interviewees in Asia appeared to be more confident. Even speaking in English as

their second or third language, the interviewees were very composed and confident in their delivery. They proudly shared their portfolio

of projects but remained so humble notwithstanding the impressive scale of their projects and significant impact of their work,” explained Lupton.

“The main difference seemed to be the approach to design - there

is a softer approach to the application of light, which would appear to come from cultural reasons. Vannapa, for example, talks about Buddhism and how it inspires her work in her interview.

“Tippaya literally took us on an idyllic journey of a prestigious resort with the images of her lighting design scheme for the project. We felt so tranquil watching the project on the slide show, that we all

longed to experience an actual stay there. The scheme she created

was conscious of light pollution in this luxurious sanctuary, yet she

upheld the prestigious standard of the renowned hospitality brand.

“Lighting design in Asia has its own identity and high emotional intelligence, which the women we interviewed were strongly connected to.

“It seems incredible now that we were able to easily fly to all these

places and meet all these women in their offices, given how much the world has changed since. We couldn’t have foreseen the importance of this connection now, but to have this digital library - which is not on any time schedule, and communicates inclusivity - has allowed

us to build on actions, which are more relevant to our circumstances

today – like the WiL in Lockdown initiative [a collection of submitted snapshots of WiL and supporters from their homes during

lockdown], which is so uplifting to read during a period of isolation.

“It may not be directly related to our recent trip to Asia, but it was very exciting to see that recently a lighting designer from Beijing

submitted her own interview on the website. We also received three

more interviews from designers in Japan. We hope this will continue

and that the WiL movement will reach other areas of Asia and engage designers through our inviting community.”

To coincide with the publishing of this article, Light Collective have published the first set of four interviews. “The digital world has

recently seen a tsunami of webinars, chats, panels and interviews and our concern was that if we released them one at a time, they

would get lost. Over the next two months, we plan to release a set of four interviews every two weeks. Each set will include an interview

from one of the four cities we visited in Asia. They will all be available on the Women in Lighting project website and on some of our partners sites.”

www.womeninlighting.com

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The Infinite Crystal Universe showcases teamLab’s signature immersive aesthetic, creating an otherworldly experience for participants.

(Exhibition view of teamLab SuperNature Macao, 2020, The Venetian Macao, Macao) Pics: Š teamLab, courtesy of Pace Gallery

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INTERVIEW

A World Beyond Borders Since its beginnings in 2001, teamLab has grown to become a global art collective, known for its incredibly immersive installations. arc speaks to the group about its quest to transcend the boundaries of perception.

A

nyone who has taken even a cursory glance at any

design publication or website over the past few years will no doubt be familiar with the work of teamLab.

The global art collective has built a reputation since its formation in 2001 for creating breathtaking,

immersive art installations that push the boundaries of technology and design, leaving a lasting

impression on all who experience them.

Founded in Japan by Toshiyuki Inoko and several of his friends with the

goal of creating a “laboratory to experiment in collaborative creation,” the

collective has since expanded to become an international, interdisciplinary

group of specialists across a wide spectrum of sectors. This includes artists, programmers, engineers, CG animators, mathematicians and architects, whose collaborative practice seeks to “navigate the confluence of art, science, technology and the natural world”.

Since its inception, teamLab has sought to create new experiences through art and, through these experiences, explore what the world is for humans.

The collective explained: “teamLab aims to explore the relationship between the self and the world and new perceptions through art.

“In order to understand the world around them, people separate it into

independent entities with perceived boundaries between them. teamLab

seeks to transcend these boundaries in our perception of the world, of the relationship between the self and the world, and the continuity of time.”

Although the collective now has a worldwide reach, with exhibitions around the globe, it took a long time for teamLab to establish itself

within the art and design world. “In the beginning, teamLab had neither

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Interview

Light Vortex III, part of the Light Sculpture - Line series, is a reconstruction of space and three-dimensional objects using lines of light. The space and objects move, immersing the body of people in the space.

(Exhibition view of teamLab Borderless Shanghai, 2019, Huangpu District, Shanghai)

the opportunity to present ourselves, nor could

shared and reused.

creation,” the collective explained.

“collective creation”, the creation of something

digital technology and creativity and kept creating

strengthens the entire team.

out to be. While we took part in various projects

in the sense that our artworks are created from

technologists, such as architects, CG animators,

are created by a team of hands-on experts through

As time went on, teamLab was able to gain a

Although the large concepts are always defined from

by the art world, until in 2011, when the collective

so we need the whole team to create and think as we

its debut at the Kaikai Kiki Gallery in Taipei with a

Once the wider concept is set, the collective gathers

From there, teamLab gained opportunities to join

project, to then fine-tune the plans. For example,

world, such as the Singapore Biennale in 2013, while

Reborn piece, located in the MORI Building DIGITAL

promote teamLab artworks. Such opportunities

created with a specialist who creates 3D CG flower

we imagine how to economically sustain our art

As a result, teamLab generates what it calls

“On the other hand, we believed in the power of

of a higher quality by a group, which they feel

something new, no matter what genre it would turn

“We believe that teamLab is truly an art collective

to sustain ourselves, we increased the number of

conception to realisation in-house. Our exhibitions

painters and hardware engineers.”

a continuous process of creation and thinking.

passionate, young following but was largely ignored

the start, the project goal tends to remain unclear,

was invited by artist Takashi Murakami to make

go along.”

series of installations.

specialised members relating to that particular

major contemporary art exhibitions around the

in 2014 the New York PACE Gallery started to help

allowed teamLab to expand rapidly, culminating in

the collective organising its own exhibition in Tokyo in 2015.

“This further accelerated our evolution and gave us

opportunities to exhibit internationally in New York, London, Paris, Singapore, Silicon Valley, Beijing, Taipei and Melbourne, among other cities,” the collective added.

Working across a range of different specialisms,

models and animation, a 3D software programmer, an engineer who designs equipment such as

projectors, a software programmer who localises

and integrates dozens of projectors within the space, and an architect.

A vital feature within teamLab’s work is the use of light; whether this is through digital projections on pieces such as Drawing on the Water Surface

Created by the Dance of Koi and People - Infinity

and Universe of Water Particles on a Rock Where

different specialties create together by crossing

effect on installations such as Light Vortex and the

knowledge” – a type of knowledge that can be

of a swirling, colourful light show.

their boundaries, as well as their “transferrable

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ART MUSEUM: teamLab Borderless in Tokyo, was

teamLab says that its creativity is based on

“multidimensionality”, where members with

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its Forest of Flowers and People: Lost, Immersed and

People Gather, or a more transformative, immersive Floating Nest, where viewers are placed at the heart

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interview

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1. Crows are Chased and the Chasing Crows are Destined to be Chased as well, Transcending Space, is one of many immersive installations at teamLab Borderless, in which viewers are placed at the heart of the artwork. Here, crows are rendered in light as they fly around the space, leaving bright trails of light in their path, creating a spatial calligraphy.

(Exhibition view of teamLab Borderless, 2018, Tokyo) 2. Throughout Microcosmoses, hundreds of lights run continuously, changing speed as they get close to a person. As the light travels, its colour resonates out to other nearby running lights.

(Exhibition view of teamLab Borderless Shanghai, 2019, Huangpu District, Shanghai) 3. Crossing the boundaries of other works, and sometimes influencing them, Universe of Water Particles on a Rock where People Gather bridges the borders between the different spaces of teamLab Borderless in Tokyo. Inviting interaction, visitors are able to change the flow of the ‘water’ as they stand in the space or touch the waterfall.

(Exhibition view of teamLab Borderless, 2018, Tokyo)

“Light is an essential part of teamLab’s work,” said founder Toshiyuki Inoko. “We use immaterial digital technology, such as light, to create

artworks that encourage people to rethink their perception of the world.

“For instance, we exhibited an artwork of lamps that uses traditional Kasane no Irome colours in our annual summer exhibition in Mifuneyama Rakuen – teamLab: A Forest Where Gods Live.

“We decided to use the summer forest of Mifuneyama Rakuen as

our colour scheme when making our lamps, but the colour did not

look natural and it wound up with the atmosphere of a neon city like

Kabukicho [Tokyo’s Red Light District]. When we were thinking about what to do, we remembered that in premodern kimono culture, there

was a technique known as Kasane no Irome, in which multiple colours were blended together to create a single new colour.

“Silk was such a thin substance in those times that, for instance,

you could make the front side white and the back side red to create

something that looked pink. The colour is created by layering materials, so the graduation changes depending on air entry. The Kasane no Irome

colours are fixed for each season, and green is often used in summer. So by setting the bright colour to that of summer flowers, then fading to

green when the light dims, the neon-likeness disappears and we were able to bring out the naturalness of a summer forest.

“Originally, nature was made up of nothing but graduations, but by

creating artificial boundaries, humans created the concept of colours.

This work is full of graduations, because each lamp shines with light at different times before slowly fading, making it feel more natural.”

“Digital technology allows artistic expression to be released from the

material world, gaining the ability to change form freely,” the collective 2

added. “The environments where viewers and artworks are placed together allow us to decide how to express those changes.

“In art installations with the viewers on one side and interactive

artworks on the other, the artworks themselves undergo changes

caused by the presence and behaviour of the viewers. This has the effect of blurring the boundary between the two sides. The viewers actually become part of the artworks themselves.”

This interactivity, where viewers are immersed into the alternate reality of the installations, has become a calling card for teamLab, and is

something that the collective seeks to instil in each of its exhibitions.

“Video games, smartphones and the internet are all interactive when you involve yourself intentionally. However, what teamLab focuses

on is connecting interactivity with art,” explained Inoko. “A type of

interactivity we pursue is one in which your presence transforms the work, whether or not you intend to do so. If you find a change caused 3

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“We use immaterial digital technology, such as light, to create artworks that encourage people to rethink their perception of the world.”

Toshiyuki Inoko, teamLab Founder

teamLab’s iconic Forest of Resonating Lamps - One Stroke harnesses the traditional Kasane no Irome technique which, combined with a series of Murano glass lamps, creates a vast, never-ending play of light and colour.

(Exhibition view of teamLab Borderless, 2018, Tokyo)

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INTERVIEW

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1

“Types of art we have seen so far often

around the world, the collective cites its first

It also spawned the creation of teamLab

an obstruction. You feel very lucky if you

Art Exhibition and Learn and Play! teamLab

museum space. Now with two locations –

find the presence of other viewers more of

large-scale solo exhibition, teamLab Dance!

happen to be alone at an exhibition. But

Future Park at the National Museum of

the presence of others as something more

kan) in Tokyo as the moment that really put

what teamLab aims to do is to be able to feel beautiful than ever before.”

“Creative expression has existed through static media for most of human history,

often using physical objects such as canvas and paint. The advent of digital technology allows human expression to become free

Emerging Science and Innovation (Miraiit into the collective consciousness of the

art community. The exhibition marked the

first time that teamLab gathered a number

of its previously showcased artworks under one roof. Incorporating its art exhibition

with Learn and Play! teamLab Future Park,

from these physical constraints, enabling it

the collective combined both new and old

teamLab added.

giving visitors the chance to experience the

to exist independently and evolve freely,” “No longer limited to physical media,

digital technology has made it possible for artworks to expand physically. Since art

created using digital technology can easily

expand, it provides us with a greater degree

of autonomy within the space. We are able to manipulate and use much larger spaces, and viewers are able to experience the artwork more directly.”

While teamLab’s varied portfolio of artworks has seen it exhibit in museums and galleries

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artworks with a unique amusement park,

Borderless, the group’s own permanent

Tokyo, opened in June 2018, and Shanghai, opened in November 2019 – teamLab

Borderless is a “group of artworks that form one borderless world. Artworks move out

of rooms, communicate with other works,

influence and sometimes intermingle with each other with no boundaries.”

Spread across 10,000sqm, the Tokyo

museum features around 60 teamLab

artworks across five separate “worlds” –

Borderless World, comprising the majority

of the art installations; Athletics Forest, a

full spectrum of the group’s fascinating

“creative physical space that is based on the

The large-scale exhibition, which featured

the body and thinking of the world three-

collection of work.

a total of 18 works, was considered a huge

success by teamLab, attracting nearly half a

million visitors across its six-month tenure from November 2014 to May 2015. This

success led to a permanent exhibition at

the ArtScience Museum in Singapore, and the annual outdoor summer exhibition at Mifuneyama Rakuen.

concept of understanding the world through dimensionally”; Future Park, an educational project based on teamLab’s philosophy of

collaborative creativity and co-creation; EN

TEA HOUSE, which incorporates teamLab’s immersive artwork into a floral tea café; and Forest of Lamps, housing arguably

teamLab’s most iconic installation, Forest of

Resonating Lamps – One Stroke.

INTERVIEW

2

3

4

The installation harnesses the Kasane no Irome

dedicated to works by a single artist in the

Murano glass lamps, creates a vast, never-

and light aficionados. In its first year, teamLab

technique which, combined with a series of

ending play of light and colour. On entering the

installation, one lamp shines brightly, emitting a colour that resonates out. This light acts as a

starting point, before spreading to the two nearest lamps, which then transmit the same colour to

other lamps, spreading the light out continuously until the entire space shines brightly.

Although seemingly scattered throughout the

room randomly, the arrangement of the lamps is mathematically determined, with a number

of solutions evaluated so that the variation and distribution in height, direction of the lamp

and smoothness of the three-dimensional path was determined. Light travels to the lamp it is

physically closest to, giving it a natural feeling, while teamLab believes that the arrangement

is “not only beautiful in a static way, but also in a dynamic way when activated by people in the

space, and in a continuous way. It demonstrates the space of a new era that adapts and changes due to the movement of people in it.”

teamLab Borderless has, since its opening, become one of the most-visited museums

world, becoming a pilgrimage for art, design

Borderless in Tokyo welcomed 2.3 million visitors from more than 160 different countries, and

Communications Director Takashi Kudo believes that it is the experiential epitome of teamLab’s creative ethos.

“Art is something we can’t explain with words, and history will decide whether our output

qualifies as art. If we can change people’s minds, then it’s art,” he said.

“We human beings have emotions and we also have something that we can’t explain with

words – it’s cool, it’s beautiful and it’s fun.

What teamLab Borderless does is underpin the impossibility to ‘have’. None of our visitors

can own the artworks. They can’t ‘have’, but they can ‘be’. Today’s society drives us to

‘have’, which imposes limits and division. This simple structure of capitalism bounds us, but

the internet and the digital world beyond have no limitations. At the same time, you don’t

technically own anything on Google or Facebook,

1. Drawing on the Water Surface Created by the Dance of Koi and Boats – Mifuneyama Rakuen Pond from teamLab’s annual outdoor summer exhibition at Mifuneyama Rakuen. Using sensors, the water’s surface became interactive and the koi that are projected onto the surface interact with the small boats that float on the pond. With no pre-determined action, each koi reacts in relation to the behaviour of others close by.

(Exhibition view of teamLab: A Forest Where Gods Live -­ earth music&ecology, 2019, Mifuneyama Rakuen, Takeo Hot Springs) 2. Grid Spaces is another example from teamLab’s Light Sculpture - Line series showing the beautiful, yet simple way that the collective’s artwork immerses its viewers.

(Exhibition view of teamLab Borderless, 2018, Tokyo) 3. For Universe of Water Particles on a Sacred Rock, a digital waterfall was projectionmapped onto the large sacred rock of the Inari Daimyojin shrine at Mifuneyama Rakuen Park.

(Exhibition view of teamLab: A Forest Where Gods Live -­ earth music&ecology, 2019, Mifuneyama Rakuen, Takeo Hot Springs) 4. teamLab created a Turrellian play of pure saturated colour for Expanding ThreeDimensional Existence in Transforming Space - Flattening 3 Colors and 9 Blurred Colors, Free Floating. The space is filled with spheres of free-floating light. When people move through or strike the spheres, they change colour. That colour then resonates outwards, with surrounding spheres changing colour to match. When the spheres change colour, the space itself shifts between a collection of spheres forming a three-dimensional space to a flat wall of colour.

(Exhibition view of teamLab SuperNature Macao, 2020, The Venetian Macao, Macao)

but you’re part of the community. Therefore

you can’t ‘have’ but you can ‘be’. Our artwork is

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Interview

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1. Through the Floating Nest, viewers are suspended in the centre of the vast light artwork of The Way of the Sea, Transcending Space - Gold Light. A digital shoal of fish swims through the space, leaving behind a bright trail of light. The work is rendered in real-time, it is not prerecorded or on a loop. The whole work is in constant change meaning that each play of the work is totally unique.

(Exhibition view of teamLab Borderless, 2018, Tokyo) 2. Another real-time artwork, Floating in the Falling Universe of Flowers, suspends viewers in a vibrant, colourful display of flowers. Here flowers grow, bud, bloom and in time, wither and die, serving as a metaphor for the circle of life and death.

(Exhibition view of teamLab Planets TOKYO, 2018, Tokyo) 3. The interactive Wander Through the Crystal World installation uses an accumulation of light points to create a sculptural body, inspired by the way distinct dots of colour form an image in a pointillist painting. The artwork is in a constant state of flux, changing moment to moment as viewers enter and leave the space.

(Exhibition view of teamLab Borderless, 2018, Tokyo)

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shared the same way. We wanted to make something that will reach

the entirety by making each thing separate and independent, but

As teamLab Borderless continues to attract visitors from around the

perception.

people’s hearts.”

world the collective was due to open its third large-scale permanent

exhibition this year – teamLab SuperNature Macao. However, due to Covid-19, this has been postponed until further notice. The concept behind teamLab SuperNature is to create a “single, massive world

that aims to explore new perceptions of the world and the continuity between humans and nature”.

Intended to be a “body-immersive” exhibition, it’s centred around a

group of works that blur the boundaries between people’s bodies and art. “People immerse their bodies in art with others, influencing and

becoming a part of the artworks themselves, and thereby recognising the continuity between the self and the world,” the collective said.

For founder Toshiyuki Inoko, teamLab SuperNature is a culmination of everything that the art collective has been working towards,

bridging the gap between art and science, and exploring the deepest realms of human perception and understanding.

“Science raises the resolution of the world. When humans want to

know the world, they recognise it by separating things. For example, the universe and the Earth are continuous, however humans

recognise the Earth by separating it from the universe. To understand the forest, humans break it down into trees, then cut the tree into cells, and so on,” he said.

“But in the end, no matter how much humans divide things into pieces, they cannot understand the entirety. People try to grasp

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the more they separate, the farther they become from the overall “How can we go beyond the boundaries of recognition? Through

art, I wanted to transcend the boundaries of our own recognition.

I wanted to transcend human characteristics or tendencies to recognise the continuity.

“Art is a search for what the world is for humans. Art expands and enhances ‘beauty’. Art has changed the way people perceive the

world. Groups move by logic, but individuals decide their actions

by beauty, their behaviours are determined not by rationality but

by aesthetics. In other words, ‘beauty’ is the fundamental root of

human behaviour. Art expands this notion of ‘beauty’; art is what changes people’s behaviour.

“It may be the whole world or only a part of the entirety, but it is art

that captures and expresses it without dividing it. Art is a process to approach the whole, and by sharing it with others, the way people perceive the world changes. Through the enjoyment of art, the

notion of ‘beautiful’ expands and spreads, which in turn changes people’s perceptions of the world.

“Everything exists in a long, fragile yet miraculous continuity over an extremely long period of time. Through our work, teamLab

aims to create an experience through which visitors recognise this continuity itself as beautiful, changing and increasing the way we perceive the world.” www.teamlab.art

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PROJECT DETAILS Otemon Academic Ark, Japan Client: Otemon Gakuin University, Japan Lighting Design: akari + DESIGN Associates, Japan Architects: Mitsubishi Jisho Sekkei Inc, Japan

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Ark of Light The Otemon Gakuin University’s newest campus opened a year ago in the heart of Smart-City Ibkaraki in Northern Osaka, Japan. The striking education facility was designed

by Mitsubishi Jisho Sekkei Architects, with lighting design by akari+DESIGN.

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Opening Spread An evening view of the Academic-Ark. By lighting up the structure in the evening, the architecture itself becomes a lantern that illuminates the large academic campus. (Pic: Yamagiwa) This Page The Library interior glows with warm white LEDs lining the bookshelves and staircase. (Pic: Noomi Kurozumi)

T

he Otemon Gakuin University’s

were driven to create an educational complex that

the heart of Smart-City Ibkaraki in

and encourage exploration.

newest campus opened a year ago in northern Osaka, Japan. The

shrines, the architects created the dubbed

roughly 3,600 students.

that of a shrine that attracted pilgrims from across

Designed by architectural firm Mitsubishi Jisho

Sekkei with lighting design from akari+DESIGN,

Academic Ark as a place of gathering, much like the country to meet. The Academic Ark’s

outstanding triangular form presents steeply

the striking triangular structure presents a

angled sides that create an inviting “gate” that

Project Architect Yasuhiro Sube sat down with arc

Ark, audiences are welcomed with a great floating

beautiful learning facility for the students.

to discuss the project: “I wanted to design a

one-building campus that would encourage

students and educators enter through. Inside the

silver volume in the main hall. The floating volume contains a library filled with books and a book trail

communication in the age of texting and

that encircles the centrepiece, which is flanked by

iconic inverted triangular pyramid floating over

floors. Above, 21 classrooms fill the fourth and

smartphones. My inspiration was the image of an the Earth,” he explained.

“An analysis of the surrounding urban landscape

six large classrooms on both the second and third fifth floors. “A large void between the library and the book trail allows for visibility between the

led me to conclude that a triangular plan was most

floors, making apparent the energy created by a

inverted pyramid form, a powerful contemporary

seen by each other,” explained the firm.

appropriate for the site, and this developed into an shape that attracts students and community members. I used environmental simulation software to further refine the form through computational design.”

In an age of internet technology increasing the

ability to communicate remotely, the architects

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Taking inspiration from traditional Japanese

40,000sqm facility is home to half of the

university’s student population, equating to

064

would draw students in, stimulate their interests

learning site where individuals both see and are Lighting design, by Hiroyasu Yoshino and Mai

Okada at akari+DESIGN, was integrated in the early stages of design in a close working relationship with the architects. “I contacted Mr [Hiroyasu]

Yoshino at quite an early stage in the project, once I’d decided on an inverted pyramid form with a

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3

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floating library inside,” explained Sube. “I wanted

work we both love,” he said. “I’d been wanting to

design, so that the structure and space would really

there weren’t any previous examples of it being

collaborated on other projects, and I love the way

with contractors and construction workers

mysterious atmosphere, similar to the light of the

trial and error to create a huge, seamless floating

the lighting to strengthen the impact of the stay with people. Mr Yoshino and I have

his lighting design is modulated to create a sun and moon.

“Mr Yoshino’s lighting is as essential to my spaces

use that material in an architecture project, but

applied in such a large space. The way we worked unfamiliar with this industrial item was through mass, made a strong impression on me.”

Inside the Academic Ark, the modern architecture

as the sun and moon. The most striking space is

is enhanced with the use of architectural lighting,

power to give life and emotional impact to

building.

environments.”

triangular architectural form,” explained Yoshino.

useless in the dark. His lighting is an art, with the architecture, differentiating it from ordinary

which defines the lines and textures of the

“My brief was to attractively illuminate this unique

Speaking of his collaboration with Yoshino, Sube

“I was also asked to design artistic, centripetal

and the points that require special attention from

make the structure into a reassuring local

added: “I tell him about the space I am envisioning the perspective of user convenience and leave the rest to him. Satoko Uda, Mitsubishi’s electrical

interior lighting, and exterior lighting that would landmark. These fundamental concepts remained consistent from start to finish.”

engineer, also collaborates with Mr Yoshino not

Yoshino claims his initial impressions of the

to post-construction management and operation.”

that of a spaceship. “I wanted to somehow use

only on the engineering but also on issues related

When discussing the design details for the floating library, Sube describes how the working

relationship with Yoshino influences his

architectural choices. “We jointly came up with the idea of using reflective material from the K-Spot spotlights designed by Shiro Kuramata, whose

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triangular structure, both inside and out, were like light to make this silver form float in the air,” he

explained. “I was also thinking about maintenance and using indirect lighting in a way that creates a

physical sensation. All of the interior spaces are lit

with long, thin dotless LED lights. These thin lines of light emphasise the edges of the triangles,

1. This large multi-purpose area is designed for formal ceremonies and presentations. The architectural metal structure forms a unique ceiling, reflecting metallic shimmers of light across the space. Pic: Noomi Kurozumi 2. The intention of this design is to lead people to the silver library through the internal bridge.

The warm light radiates from the library in contrast to the silver sheen of the metal panels through the glass bridge.Pic: Noomi Kurozumi 3. The Studio is located at the triangle vertex.

The stainless steel eco-screen can be seen outside through the glass walls, allowing natural light into the space.

Pic: Shinkenchikusha

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“Mr Yoshino’s lighting is as essential to my spaces as the sun and moon.

The most striking space is useless in the dark. His lighting is an art, with the power to give life and emotional impact to architecture, differentiating it from ordinary environments.”

Yasuhiro Sube, Project Architect, Mitsubishi Jisho Sekkei

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The mass of silver block is floating in the centre of the library. The bookcases are designed around the perimeter of the library to attract visitors.

(Pic: Noomi Kurozumi)

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1. This large studio space is an area for active learning for the students.

The large windows flood the space with natural light with added architectural task lighting above. (Pic: Shinkenchikusha) 2. The Cafeteria holds up to 600 people, of which the general public are able to use. Again, natural light fills the space, which is complemented with linear architectural lighting that reflects softly against the raw ceiling.

(Pic: Noomi Kurozumi)

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creating a futuristic impression. In particular, the

further: “These linear dotless LEDs are controlled

handrails both effectively bring out the library’s

random pattern. I felt that the light needed to flicker

15mm-wide linear LEDs on the outside of the corridor exterior walls and contribute ambient light to the entire atrium through reflection.”

Inside the library space, Yoshino encountered one of the inevitable challenges a project like this brings.

One of the structural constraints he faced was with

the library bookshelves. “At first, I intended to install horizontal LEDs on the shelves, but I then learned

that the lights could not be attached there, so I hastily

switched to vertical linear LEDs on the boards forming the sides of the shelves so that the bookshelves

themselves function as lighting,” he explained.

“Switching to a vertical design had the added effect of

emphasising the height of the shelves and making the space more striking, so the design ended up evolving thanks to on-site problem solving.”

Yoshino’s lighting scheme was so successful due to the attention to detail he carried throughout the

building and to the student’s wellbeing when using the space. One example of this is seen in the

embedded LEDs in the handrails illuminating the

exterior of the library in the atrium. He explained

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with a DMX signal, which dims them in a slow,

in this way because there are no skylights or other

source of natural light in this space. When students leave the classrooms, they experience a sense of

passing time arising from this flickering light, which is similar to slowly passing clouds.”

Along with the health and wellbeing of the student’s playing a big part both the architectural and the

lighting designs, the architecture was also sensitive to its environmental impacts. As Sube explained: “The façade is fabricated from unpainted cast stainless steel, treated to prevent dulling and shaped like

cherry blossom petals - the first example of its kind in the world. This “eco-screen” reduces thermal load by 50% and blocks visibility from the surrounding

residential neighbourhood, so that those inside and outside the building are not aware of one another.

“In Japan, when the cherry blossom trees are in full

bloom, groups of friends gather under them to eat and drink. I wanted to create a place for learning that was surrounded by this same motif of cherry blossoms in full bloom. For the past 10 years or so, I have been

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2 1. The OG Living area is designed as the gathering place where activities can be seen from anywhere in the building. The large floating silver structure inspired Yoshino’s space-like lighing scheme. (Pic: Noomi Kurozumi) 2. On the fifth floor there is a roof terrace. 4-metre cantilevered PCa concrete eaves provide protection from the rain, so classes can be held outside.

The simple architectural lines are mirrored in the internal structure and reflected in the lighting design. (Pic: Noomi Kurozumi) 3. The Skylight of the Professors Lounge in the Library. Natural light is transmitted from the fifth floor courtyard, allowing people in the lounge to feel the sense of time changing.

(Pic: Shinkenchikusha) 4. The Perimeter Terrace on the fourth floor demonstrates the world’s first casted stainlesssteel eco-screen cover from the second to fifth floor. (Pic: Noomi Kurozumi) 3

4

interested in the potential of cast metals to

the lighting design would be unnoticeable,”

amount of solar heat that buildings absorb. Cast

“The building has so many sloping and acutely

steel can be used as-is in a façade. I’d used this

from a fixed direction. That created shadows, and

commercial façades and interiors at the Taipei

forms,” he added.

reduce environmental load by lowering the

aluminium must be painted but cast stainless contemporary approach previously on

Nan Shan Plaza in Taiwan, and this current

project further deepened my understanding of

explained Yoshino.

angled forms, I decided to illuminate them only

a contrast of light and dark that emphasises the “Wherever possible, I designed the lighting to follow the circulation paths and architectural

the material.”

forms so that it would blend into the space. Aside

awareness of environmental impact, and he

facing fixtures to the ceilings. That allowed me to

friendly and long-lasting nature.

the forms came forward strikingly.

Yoshino’s lighting design responded to this

specifically chose LEDs for their environmentally

from the classrooms, I did not attach downwardilluminate the ceiling and wall surfaces so that

“Architects can give their buildings windows and

“The narrow dotless LEDs also allowed me to

makes the interiors more comfortable, but the

overall design. The dotless lights look like the

skylights to bring natural light inside. That

accompanying solar radiation can also create an unpleasant environment,” added Sube. “In the

linearly connect the lighting into a seamless

lightsabres in Star Wars, which I felt was perfect for creating a futuristic, new kind of space.

areas where the stainless-steel façade and

“I’m very pleased with how the lighting design

Yoshino went beyond providing the bare

plan, the lighting became an element of the

windows don’t bring in sunlight or moonlight, Mr minimum of necessary light by contributing to

the creation of one-of-a-kind artistic spaces.”

Throughout the Ark’s unique triangular shape, Yoshino’s design emphasised its shapes, yet

stayed discreet and unassuming. “Because the

architectural design was so incredibly futuristic

and fantasy-like, I did my utmost to ensure that

turned out. I think that thanks to the lighting architecture. It’s not simply task lighting or

illumination, but instead functions similarly to wallpaper or curtains. I feel like the small,

delicate LED lights gave rise to a new kind of design,” concluded Yoshino. www.mj-sekkei.com akari-d.com

lighting specified Artemide Toromeo Daiko LZD-92282AW Daiko LLD-7060LUM Daiko LZD-91947AWE Daiko LZD-92018AB Daiko LZW-60160YB Daiko LZD-92027AW Daiko LZS-92541AB DN Lighting XC-LED1501 DN Lighting SCF-LEDN-1245 Feelux FN1-3000K-24V Feelux Stix HDP24-30K Morikawa Indirect Special TES Lighting Cupola Toshiba LEKT407523WW Toshiba LEKT207323WW Toshiba LEDD17011-LD9 Ushio Lighting DMX Dimmer Controller Yamagiwa H261B

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PROJECT DETAILS Louis Vuitton Maison Seoul, South Korea Client: Louis Vuitton Lighting Design: L’Obeservatoire International, USA Design Architects: Gehry Partners, USA and Peter Marino Architects, USA Executive Architects: D.PJ. & Partners, South Korea Photography: Yongjoon Choi, unless otherwise stated, courtesy of Louis Vuitton

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Designer Lighting L’Observatoire International has created a custom-designed lighting scheme for the new Louis Vuitton flagship store in South Korea.

L

ouis Vuitton announced the grand opening of Maison Seoul, a new South Korean flagship store, last year.

The opening of Louis Vuitton Maison Seoul marks a

further link in the already strong connection between

the Maison and Korean culture. Located in the prestigious

Cheongdam-dong in the Gangnam district, the new flagship store brings together two world-renowned architects’ visions: Frank Gehry’s poetic façade and Peter Marino’s dynamic interiors.

Throughout the store’s five floors, all of Louis Vuitton’s

collections can to be experienced in a variety of intimate spaces,

connected by an airy, floating staircase. Clients are provided with an entirely unique private shopping experience surrounded by

works of art, historical Louis Vuitton archival objects and artisanal savoir-faire.

On the uppermost floor of the store, Louis Vuitton also

inaugurated the Espace Louis Vuitton Seoul, the fifth exhibition

space of its kind around the world. For its very first exhibition, the

Espace Louis Vuitton Seoul presented eight emblematic sculptures

by Giacometti, that belong to the collection, including L’homme

qui chavire [The man who capsizes] (1950) and Grande Femme II

[Tall Woman II] (1960).

L’Observatoire International was brought on board to complete

the lighting design for the flagship store after a pre-established working relationship with the retailer. “We have a good

relationship with Louis Vuitton from a number of projects,

including the Fondation Louis Vuitton, where Gehry Partners was also the design architect,” explained Hervé Decottes, Principal of L’Observatoire International. “We were brought in from the

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Pic: Stephane Muratet

beginning to create the overall lighting concept for the gut

“To enhance the dynamic and poetic façade, we grouped lighting

multi-cultural space, façade and exterior lighting. The project took

the volume, different height glass panels had separate control zones.

renovation of the five-story building, which includes retail spaces, four years from the start to completion.”

Working on the project alongside Decottes, from L’Observatoire

International, was project leader Jessica Jie Soo Tchah and project team members Carrie Chang and Sam Power .

“The nature of the building’s signature Gehry architecture brought with it some design challenges for the team to overcome when

implementing the lighting scheme,” elaborated Tchah. “For areas in the Gehry Partners scope, the glass façade volumes, with a series of enclosed terraces, were the main challenge. We had to locate the

fixtures within the very complex geometrical shapes of the building.

Each curved glass panel has a different shape and height, and is

positioned in different angles, but the lighting effect needed to be

revealed in the same manner throughout. In addition, as fixtures are

located in interior spaces, the detailing needed to be visually pleasing to the visitors.”

In order for this to be accomplished, the luminaires were tried and

tested in multiple full-scale mock-ups and 3D modelling reviews to provide glare-free illumination.

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control zones according to volume, including roof louvers, and within During the scene setting proofs, each volume was set with different dimming percentages,” explained Tchah.

“For areas where the Peter Marino team designed interior retail

spaces, the main challenge was to harmonise the atmosphere and lighting elements from each floor to Gehry’s façade.”

Each floor represents a different universe, according to Marino’s

interior design, but the obvious statement comes from the airy and

spacious entrance atrium. It was important for the lighting scheme to respond to this vast space and connect the different universes

with the varying lighting fixtures from Flos, Feelux, formalighting

and SR Luxconex, considerately placed to avoid being visible. “The lighting gesture was to reveal Peter Marino’s modernist interior

volumes, embracing textural stoned walls, and using grids of light to allow for flexibility throughout the space to highlight merchandise.

By providing back drops with perimeter illuminated walls, lighting created depth within the spaces,” continued Tchah.

“The other challenge was to locally source the majority of fixtures. To accomplish both the client’s and our desires, most of the lighting

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fixtures were developed as custom fixtures [from IMS, PTG and Miso

During the visual mock-up stages, the team reviewed the lighting

specifications.”

cable management, remote power supply locations and the lighting

a permanent dining café to a multi-purpose space that required

“The review process was very critical for the team, as most of the

to “light the dining tables using fixtures with a very tight beam

etc.) are exposed and lighting elements had to be accommodated

For the updated layout the team “kept the same track lighting

In order to combat potential glare from the LED chips, the team

the fixtures, with added wallwashers.”

the signature façade, most of the light fixtures were visible from

issues with placing the fixtures. “We had placement issues for the

had a limitation on locating the fixtures, where they are mounted

system. Because of limitations of height above the finished ceiling,

and tilt in a wide range to reach not only floor surfaces, but also wall

backlit slot gorge to a low-profile recessed track system with surface

“In terms of lighting controls, daisy chaining was one of the

ambient lighting.”

remote drivers.

of the building was illuminated from the inside out. “The key was to

high-quality fixtures from exact fixture offsets, we had to consider

as a part of an architectural element. During the daytime, light

the space. We specified and designed the fixtures and layouts

and creates a lantern effect for the glass volumes.

flexibility.”

with the team, then two large full-scale visual mock-ups were

track fixtures that were used to target three visual elements from a

and window, and a series of enclosed terraced spaces and roof

that are mounted on the stone wall and suspended in space using

Lighting] to meet our required design criteria to support the project’s

fixture locations and specifications as well as the mounting details,

Over the course of the project, the fourth floor changed purpose from

control system.

flexible lighting. The original lighting plan for the dining area aimed

structural elements (tubular structure, membranes, glasses, joint,

spread, since the ceiling is five-metres high,” said Tchah.

accordingly within the listed elements discreetly,” continued Tchah.

system but reconfigured the layout and modified beam spreads for

designed custom luminaires to reduce visibility of the fixtures. “For

Due to the nature of the building’s structure, the team had some

different viewpoints and reflected in the curved glass paneling. We

interior ceiling lights, which were conflicting with the existing MEP

above the tubular structure, so we developed fixtures that can rotate

the fixtures were replaced from a track system within a recessed

surfaces.

mounted track heads and linear glowing light lines to provide

important factors for wiring, since we had a limitation on locating

To enhance the beauty of Gehry’s architectural statement, the façade

“For the interior spaces, besides lighting the merchandise with

provide lighting from the enclosed spaces and integrate the detailing

the strict lighting layout, with grids of light for flexibility throughout

fixtures are hidden but as night falls, light accentuates each volume

throughout to have a minimal, clean aesthetic with options to have

“We had several mock-up studies with a 1:1 scale single glass panel

The ground floor entrance space had specially developed custom

constructed with cladded glass from a high zigzag-shaped vestibule

single DALI track system. One was used to highlight the artworks

louvers,” she added.

projectors with medium beam spreads. The second set was aimed at

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Pic: Stephane Muratet

the merchandise using projectors with very tight

bring a new vibe to the store and to the

wall with a soft, wide beam spread.

two standout architects was a unique experience.

beam spreads, and the third washed the stone Throughout the retail space, L’Observatoire

International designed fixtures that aimed at all the products, including those on top shelves.

These fixtures were easy to aim and lock during the light focusing. A customised-finish Flos

fixture was used on the stairs to combat the site and programmatic restraints of height limitations under the stairs.

Overall, the team created a successful lighting

scheme for the designer retail space. “As we were collaborating with Gehry’s and Peter Marino’s teams, we wanted our lighting design to

harmonise with their spaces and give continuity throughout, even though each space has a

different concept and programme,” reflected Tchah.

“We designed the entire building to be controlled

with an astronomical time clock, so when the sun

starts to go down, the building envelope begins to

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neighbourhood. Working with Louis Vuitton and It is always challenging working with two

architects, but from other projects we’ve worked on together, we are familiar with their design

processes and expectations, so we were able to manage this with a joyful vibe.

The new Louis Vuitton Maison Seoul flagship store in South Korea has had a designer fit lighting scheme with custom fixtures tailored to the varying multifunctional spaces. The retail areas have easily adjustable track fittings aimed at merchandise, and the top floor exhibition space has specified spot fixtures aimed at the artworks.

The entire building glows like a lantern after nightfall, making it a stand-out piece of architecture in its neighbourhood.

“This project was really a team effort, because we had a big team to work with: the client (Louis Vuitton), two design architects, two local

architect teams, the façade consultant, two general contractors, the millworker, local

lighting distributors, local lighting control parties, and so on.

“I want to thank all of the teams once again, because we had some challenges during

construction, but it turned out very successful with their support. The success of this project

was this great team work and positive energy!” www.lobsintl.com

lighting specified Erco Parscan Feelux FLX Stix HDV Series Flos Find Me Flos Spot 90 formalighting Moto Zero IMS custom fixtures Lucent Prospex Miso Lighting custom fixtures PTG custom fixtures SR Luxconex Contour Light

The Light Within HLB Lighting Design harnessed the energy of Qi when developing the lighting for Hong Kong’s striking new Xiqu Centre – a theatre that fuses traditional Chinese culture with modern architectural design.

PROJECT DETAILS Xiqu Centre, West Kowloon Cultural District, Hong Kong Client: West Kowloon Cultural District Authority Lighting Design: HLB Lighting Design, USA Architects: Revery Architecture, Canada Photography: Ema Peter

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Previous Page On entering the Xiqu Centre, visitors are led into a vast, lively atrium, with a raised podium space for presenting the rich and ancient culture of traditional Chinese theatre.

Illuminated by concealed linear fixtures, the lighting serves to complement the centre’s striking architecture, rather than becoming a feature in itself.

This Page The Xiqu Centre is inspired by Chinese lanterns and blends traditional and contemporary elements, to reflect the evolving nature of the art form.

L

ocated on the eastern edge of Hong

fundamental to every decision made, as was the

District, the Xiqu Centre’s striking

such, lighting design studio HLB used layers of

Kong’s West Kowloon Cultural

design, created by Revery Architecture

juxtaposition of richly textured architectural

lanterns and blends classic and contemporary

transparencies and pristine white sculptural forms

Partners, is inspired by traditional Chinese

elements to reflect the evolving nature of the art

form. Stepping through the main entrance, shaped

materials with paper-thin architectural

to heighten the experience of motion and discovery.

to resemble parted stage curtains, visitors are led

Brought onto the project by Revery Architecture,

and space for presenting the rich and ancient

working on performing arts venues around the

The eight-storey building covers 28,164sqm and

Xiqu Centre, the level of attention to detail

culture of Chinese traditional theatre.

HLB harnessed its multifaceted experience of

world and while the results appear effortless at

houses a Grand Theatre, a Tea House Theatre, eight

required by the entire team was substantial, as Teal

specially designed for different types of functions

concepts were established early-on, yet the

professional studios and a seminar hall, all

and activities related to Xiqu (Chinese opera). The design details of each of the facilities have also

Brogden, Senior Principal at HLB, explained: “The selection and refinement of products and

strategies to accomplish these goals was a multi-

been created in response to the practical

year process. A detailed technical performance

form. A unique feature of the venue is the location

international products were vetted for quality and

requirements and aesthetic features of the art

of the Grand Theatre at the top of the building,

which allows for a large open atrium below with space for exhibitions, stalls, and Xiqu demonstrations and workshops.

In terms of lighting at the Xiqu Centre, a strong conceptual vision of ‘Qi’ energy flow was

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light to reinforce the flow and enhance the

(formerly Bing Thom Architects) and Ronald Lu &

directly into a lively atrium with a raised podium

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inspiring iconic imagery of the Xiqu art form. As

specification was established and both local and performance, which resulted in the following

brands being specified: Tokistar, Osram Traxon, AlphaLED, LED Linear, Thorn, Signify Color Kinetics, Whitegoods, MP Lighting, Bega,

Lumenpulse, We-ef, Mike Stoane Lighting, Lumascape and Schreder.

Facade Lighting Reimagined For almost 30 years, Lumascape have been transforming spaces through light and color using some of the most innovative solutions.

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

Our specialties include: ● ● ● ● ● ●

Exterior Grade Architectural Lighting Intelligent Lighting Systems Lighting System Design Commissioning Services Content / Light Show Creation Remote System Monitoring

To learn more, visit lumascape.com.

USA | AUSTRALIA | ASIA | MIDDLE EAST | EUROPE

www.lumascape.com

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“The soft glimmer of the façade, coupled with the more intensely illuminated interiors, strikes the perfect balance to sit proudly on the waterfront as a symbol of both the past and future of creative expression.”

Clifton Manahan, Senior Associate, HLB Lighting Design

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“Numerous spreadsheets compared costs and

sit proudly on the waterfront as a symbol of both

suitability. Once narrowed to a reasonable few,

As a way of welcoming the public and inspiring

To enhance decision making, the architect and

public park – open 24 hours with lectures and

conversations continuously returning to the

While shade is a valuable commodity in the

performance metrics to assess relative value and samples were acquired, and mock-ups performed. owner were heavily involved in the process, with overall project goals and the importance of each product’s long-term performance for this

the past and future of creative expression.”

engagement, the ground level plaza is considered a small performances sprinkled throughout the day. summer months, the symbolic cluster of trees

needed more light than the available daylight could

important cultural asset.

provide, which necessitated grow lights. In

unique concepts for the lighting and we were well

suggested a luminous surround - for HLB, these

the sculptural layers of the architecture would be

sculptural experience.

“The architect encouraged our team to develop

aligned from the beginning of the project so that

addition, the concept of an open-air park

needs fitted well with the desire for a layered

revealed and enhanced with light.”

Inside, the project uses a lot of concealed, linear

Hong Kong Green Building Council’s BEAM Plus

hiding the light sources. According to Manahan

As one of the first projects to accomplish the new Gold rating, HLB’s primary goal was to set a new standard for sustainable lighting design. While

lighting, creating a glowing impression, while

this was a conscious decision as the intent was to highlight and complement the architecture

many surrounding buildings have a discernible

without calling attention to the luminaires

case at Xiqu Centre.

the concept of the flow of Qi. As well as this, the

‘light shadow’ projected into the sky, this isn’t the “As the building is down-washed with light, no

direct-beam illumination is presented to the sky,”

Clifton Manahan, Senior Associate at HLB, told arc.

“At one-tenth of the overall luminance in

comparison to its neighbours, the soft glimmer of the façade, coupled with the more intensely

illuminated interiors, strikes the perfect balance to

1. Luminous lantern panels in the façade that peek through the curtain wall have, in some cases, internal office spaces behind them. These panels are transparent during the day, allowing natural light to filter through, while at night the illuminated patterns emerge.

2. The use of concealed, linear lighting creates a glowing impression inside, which HLB say was inspired by the concept of the flow of Qi.

themselves – this approach was again inspired by unique architectural concept of the building played a part in the decisions made behind the lighting,

“with many of the organic curved shapes requiring complicated detail coordination to ensure they

were subtly highlighted without causing glare or distracting shadows.”

“General performance and plant grow lighting for

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Above While the main atrium space is incredibly bright, the performance hall is a lot darker, with the contrast creating a dramatic reveal for visitors as they enter. Linear direct grazing lights have been used on the surfaces here, to enhance the luxurious textures of the walls, fabrics and curtains.

1. The unique architecutral concept of the building played a part in the decisions made behind the lighting, as many of the organic curves required complicated detail coordination, to ensure subtle illumination with no glare or distracting shadows.

2. While the Xiqu Centre is one-tenth of the overall luminance of its neighbouring buildings, curved apertures in its glimmering façade allow a glimpse into its more intensely illuminated interiors. HLB believe that this “strikes the perfect balance to sit proudly on the waterfront as a symbol of both the past and future of creative expression.”

3. The journey to the main theatre spaces travels through three levels of bright white architecture. While HLB stated that the “architectural materials do most of the work”, the lighting ties it all together, with similar themes of layering and flow.

4. Although the lighting scheme for Xiqu appears effortless, the level of attention to detail was substantial, with the selection and refinement of products and strategies to suit the concept being a “multi-year process”.

the main atrium was limited to the perimeter of

upon entering the performance hall. The

maintenance access,” continued Manahan.

the lighting ties it all together with similar

the ceiling for architectural integration and “This required coordinated architectural

detailing and lighting aiming verification and

documentation. The luminous lantern panels in the façade – that peek through the curtainwall – have internal office spaces behind them in

some cases, permitting filtered daylight into

these spaces. The lighting solution here needed to be transparent in the daytime while

producing the desired effect at night; as such,

strategic areas of 12mm pixel transparent mesh were used to satisfy the multiple requirements.”

While the main atrium is incredibly bright, the theatre space is much darker. Brogden explained how the team used light to

complement this contrast between the two

spaces: “In theatre, as well as in architecture, the use of contrast creates drama,” she said.

“The journey to the theatre – through three

levels of bright white architecture – sets the

stage for the unexpected and dramatic ‘reveal’

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architectural materials do most of the work, yet themes of layering and flow – or Qi.”

Despite these contrasts, the building feels like one unified, coherent lighting scheme and as

mentioned, this was achieved through carefully crafted cove details that tie all of the public spaces together. “The open spaces utilise

diffuse linear indirect cove lights onto curving surfaces to create glow and highlight the organic shapes,” said Manahan. “In the

performance spaces, linear direct grazing lights have been used on surfaces to enhance the luxurious textures of the walls, fabrics and curtains.”

The completed project successfully creates an

impressive, modern, public gathering space and prestigious performance hall that brings the indigenous Chinese opera art form into the modern age. Subtle references to Chinese

culture and art remind Hong Kong of its past, while looking towards the aesthetic of the future. The simple, yet unique façade

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appearance hints at the activity inside and helps promote tourism and activity as the anchor to the West Kowloon Cultural District.

“The team’s greatest challenge on this project was to maintain design excellence while working with a

multinational team,” concluded Brogden. “We had to

address a tight budget, aggressive schedules, a complex

programme and a unique procurement process. Persistence, advocacy and collaboration accomplished the goal.

“Due to the tight budget constraints, the lighting design team was unable to perform close-out aim-and-focus

services that would traditionally provide the important fine tuning for a project this complex. An elaborate system of

mark-ups and remote guidance to the architectural team, as

well as strong local manufacturer representatives, helped us all work together to bring the project to a successful conclusion.

“I would like to take this opportunity to especially honour two key design team leaders who passed away during the project tenure – Bing Thom, CM, founder of Bing Thom

Architects and Francis Yan, Director at Bing Thom Architects, their leadership and fierce commitment to the inspiring possibilities of architecture were our guiding lights.” www.hlblighting.com

lighting specified AlphaLED 90 Series AlphaLED 120 Series Bega 22234 Bega 33096 Bega 66577 Bega 99331 LED Linear VarioLED Flex Phobos Lumascape LS363LED Lumascape LS793LED Lumenpulse Lumenbeam Large/Grande MP Lighting L02 Osram BackLED Philips Color Kinetics eW Fuse Philips Color Kinetics eW Profile Schreder Nemo Column Schreder Teceo

Stoane Lighting Frog Type X Stoane Lighting LVX Stoane Lighting Toad X Thorn Scholar LED Thorn 205 Series Tokistar Advantage Traxon Cove Light AC HO Traxon Liner Quattro Traxon Nano Liner Allegro Traxon Nano Liner XB We-ef DAC200 We-ef DAC 220 We-ef FLC250 Whitegoods 100 Square Floor Wash Whitegoods 150 Linear Whitegoods 300 Panel

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PROJECT DETAILS The Okura Tokyo, Tokyo, Japan Client: Hotel Okura Co. Lighting Design: Lighting Planners Associates, Japan Architect: Taniguchi & Associates, Japan; Taisei Corporation, Japan Interior Design: Taniguchi & Associates, Japan; G.A. Design International, UK; Taisei Corporation, Japan; Kanko Kikaku Sekkeisha, Japan

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Heritage & Prestige The recently reconstructed Okura Tokyo pays homage to its original 1962 design, while a modernised lighting scheme from Lighting Planners Associates brings the landmark hotel into the modern age.

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stablished in 1962, Hotel Okura Tokyo has become a landmark destination for both Japanese and

international VIP visitors for nearly 60 years.

The hotel of the main building closed for redevelopment

in 2015, led by architect Yoshio Taniguchi, son of the hotel’s original architect, Yoshiro Taniguchi, reopening in September 2019.

Although the publicly disclosed architectural drawings for the

reconstruction outlined a modern design, including a 41-storey office tower – the Okura Prestige Tower, and a 17-storey Okura Heritage

Wing, the interior design is a true replica of the original Okura lobby, with the addition of a new entrance lobby, salon, restaurant and banquet hall.

Lighting Planners Associates (LPA), designed the lighting for the hotel, instilling the essence of the original Okura hotel, while incorporating modern technology into the new lighting

environment. The concept for the lighting design, according to LPA Director Kentaro Tanaka, was a “fusion of ultimate Japanese style and modern comforts”.

“The ‘ultimate Japanese style’ was to reproduce the soft gradation of the diffused light that enters through the Shoji and Washi paper,

which is different from the Western lighting environment,” Tanaka explained.

“On the other hand, ‘modern comfort’ is the adoption of energy-

saving LED light sources and the reproduction of illuminance levels that match the living environment of modern people.

“Since the current surrounding environment is different from when it was founded 58 years ago, this transformation and fusion was

essential. In particular, with regard to the illuminance level, the

illuminance was set to be about seven times as high as it was when the hotel was founded. For example, in the lobby at the time of

foundation, levels were at 10-20 lux on average. Now, it’s between 70-140 lux.”

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“Through lighting, we were able to bring back the history of the former building, which opened 58 years ago, to the present day.”

Kentaro Tanaka, Director, Lighting Planners Associates

Although the new lighting design raises the illuminance levels

within the hotel, Tanaka added that it was important to create a

unique balance when it came to brightness. “Without creating a

strong contrast of light and shadow in the space, which we often see at modern hotels, we carried out the design with the goal of shifting the lighting environment with a soft tone.”

As such, LED light sources, a dimming system and projector-type LED spotlights were specified to recreate the softly diffused light

used in the original wing, while the better-suited lux levels add to the desired gentle balance of light and shadow that was absent in the hotel’s original lighting scheme.

The Okura lobby, on the main entrance floor of the Okura Prestige Tower, was one of the areas that was replicated from the hotel’s original interior design. This recreation extended to its very

distinctive Okura lanterns – hanging pendants that wrap the

space in a softly diffused light. In its lighting design, LPA was able

to retrofit these fixtures with LED sources, recreating their unique lighting effect in the process.

“There were a lot of decorative lighting fixtures that were

inherited from the previous building that we reused,” Tanaka

continued. “The challenge was to reproduce the lighting effects of those fixtures with modern LED light sources. For that reason, we made many prototypes to make sure that the LED light sources matched. In particular, the LED source had a slightly different colour temperature, depending on the manufacturer, so we selected a number of sources while experimenting.

“The decorative fixtures inherited from the former building were all made in 1962, so the methods of mounting components and measures to prevent falling away were very simple. These

problems were rigorously verified and overcome through our system of prototype production.”

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However, replicating the original lit effect with

environment that provides guests with a

Tanaka explained: “LED light sources were adapted

“Previously, there was little difference in

source is basically a point light source diffuser

the shape of the decorative lighting. Now, the

and soft light environment.

open lighting environment is realised, so guests

the LED light sources, there were differences in

As part of the wider restoration of the hotel, the

individual differences in the various diffuse covers.

former building, particularly in the lobby, where

sources. This checking work was carried out at the

inviting space for guests. “In the former building,

design.”

lobby, but in the new layout, there is a space to

downlights with hexagonal lampshades from

beautiful plants and the Okura lanterns in front of

hanging pendants, while providing adequate levels

and the lounge now on the right,” Tanaka

larger hanging pendants with these smaller

“We had meetings repeatedly, and experimented

subtle yet beautiful lighting effect, providing

folding screen and planting, as well as the Okura

makes the light a background element, rather than

entrance.”

“It was important to organise the roles of the

hierarchy of light, arranging the lighting

architectural lighting in order to blend the two

before the planting, and finally the gold folding

supporting roles in the space, it becomes a light

Elsewhere, the architects decided to relocate one of

new LED sources wasn’t as easy as first thought.

comfortable atmosphere,” he said.

in all areas to save energy. But since the LED light

illuminance balance, so it was easy to focus only on

covers were essential in order to create a diffused

decorative lighting is still the main feature, but an

“At the time, as with the individual differences of

can feel the lit environment as a whole.”

colour temperature that occurred due to the

architects sought to change the layout of the

So we adjusted these differences with the LED light

they wanted to open it out and create a much more

same time as checking the prototype fixture

there was a lounge immediately after entering the

The lighting plan also includes ceiling-embedded

welcome guests with a gold folding screen,

Yamada Shomei Lighting that complement the

the entrance, with check-in counters on the left

of brightness at floor level. By complementing the

continued.

downlights, Tanaka feels that LPA has created a

with the architect to decide how to present the gold

glare-free and comfortable illumination that

lanterns in the welcoming zone in front of the

a key focal point.

Here, LPA decided with the architect to create a

decorative lighting fixtures and the modern

environment to first show the Okura lanterns,

together. By organising the main roles and

screen is revealed to guests.

Previous Page Located in Tokyo’s central Toranomon district, The Okura Tokyo has become a landmark destination for Japanese and international VIP visitors since first opening in 1962.

(Pic: Takuya Watanabe) 1. The Okura Lobby, on the main entrance floor of the Okura Prestige Tower, has been replicated from the hotel’s original design, and features a blend of distinctive Okura lanterns and hexagonal downlights, custom-made by Yamada Shomei Lighting, to create a soft, diffused lighting effect.

(Pic: Shinichi Sato) 2. The Okura Heritage Wing lobby is adorned with one of the hotel’s original murals - Thirty-six Immortals of Poetry.

Softly lit by LED projector spotlights, embedded into the wall opposite the mural, it creates a museum-like environment for guests.

(Pic: Takuya Watanabe) 3. Originally in the former building of the hotel, a low-ceiling sitting area has been recreated in the Okura lobby. Lighting here reveals the silhouette of bamboo behind paper screens.

(Pic: Shinichi Sato) 4. LPA sought to create a hierarchy of light in the Okura Lobby, arranging a lighting environment that first showcased the Okura lanterns, before the planting and finally the gold folding screen.

(Pic: Shinichi Sato)

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the hotel’s original murals to the Heritage Wing

operator are different companies, so there are

Room of the former building, the Thirty-six

design decisions,” he said. “But this time,

lobby. Originally displayed in the Heian Banquet

Immortals of Poetry mural now greets guests in a space more in tune with a gallery than a hotel

many differences in opinion and blurring in the because the owner and operator are the same, it was possible to make decisions efficiently

lobby. LED projector spotlights, embedded in

without any blurring.”

each rectangular panel of the art piece.

process was evidently of benefit to the hotel, as

the wall opposite the mural, softly illuminate The Heritage Wing lobby uses daylight, filtered through a Japanese motif screen, throughout

the day, filling the space with a natural, diffuse

light. This is complemented after dark by LPA’s artificial lighting design. Stairs leading up to

the Yamazato Japanese restaurant are delicately illuminated from behind the screen, and from adjustable downlights in the ceiling. This illumination is offset by a grand hanging

chandelier, adding to the luxurious, galleryesque ambience that the designers sought.

Throughout its portfolio, LPA has a rich history of working on hotel projects, from ultra-

modern locations to more historic, heritage

buildings. The Okura Tokyo merges the two as a celebration of both old and new. Tanaka added that, from a logistical perspective, the Okura

also stood out as unique amongst other hotels that LPA has worked on.

“In a normal hotel project, the owner and the

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The seamless nature of the decision-making its newly-renovated interior perfectly

encapsulates the ambiance of the original 1960s

design, while adding a modern touch that brings it firmly into the 21st century.

1. Lighting Planners Associates looked to create a hierarchy of light as guests enter, revealing new elements one by one as they arrive.

(Pic: Shinichi Sato) 2. The hotel uses a strong combination of architectural and decorative lighting, creating a balance of lighting that results in a more comfortable atmosphere for guests.

(Pic: Takuya Watanabe) 3. In the Okura Heritage Lobby, a grand staircase leads to the Yamazato Japanese restaurant. The back wall is designed with a Japanese motif screen, allowing diffuse natural light to fill the space during the day, while at night the stairs are silhouetted against the back wall, illuminated from behind the screen and from adjustable downlights in the ceiling.

(Pic: Takuya Watanabe)

And for Tanaka, the opportunity to work on

such a prestigious landmark within Tokyo was a notable highlight. “It is a great honour for me to be involved in the lighting design of The

Okura Tokyo, and to get a first-hand look at the history and changes of Okura.

“Through lighting, we were able to bring back

the history of the old building, which opened 58 years ago, to the present day. As a result we

realised again that the impression of light that guests expect from a hotel is a very large and important factor.

“Lighting is a very important characteristic in

The Okura Tokyo,” he said. Thanks to the work

of LPA, it’s a characteristic that shines brightly. www.lighting.co.jp

lighting specified LED Linear Kalypso Hydra LED Linear Kalypso IQ Luci Creide F Indoor Panasonic NNF12071LD7 Panasonic NYY16536 Panasonic PLD075U20 Panasonic YYY21563 SD Lighting embedded wallwasher Ushio Lighting LDP Searchlight Yamada Shomei Lighting Original Hexagon Downlight

PROJECT DETAILS Suzhou Olympic Sports Centre, Suzhou, China Client: Suzhou Olympic Sports Centre Development Lighting Design: Lichtvision, Hong Kong Architect: GMP Architekten, Shanghai Landscape Architect: WES Landscape Architecture, Germany Photography: Christian Gahl, unless otherwise stated

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Sport City Lichtvision collaborated with GMP Architekten to illuminate Suzhou Olympic Sports Centre, a sprawling complex comprising three sporting arenas, a mixed-use commercial tower, and public spaces.

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omprising a 45,000-seat open-air stadium, swimming

pool and multi-purpose sports hall, as well as a mixeduse commercial tower complex that houses retail,

hospitality and office facilities, the Suzhou Olympic

Sports Centre is a vast new development on Suzhou Industrial Park, China.

Spanning approximately 460,000sqm, the site was developed by

GMP Architekten, and plays on Suzhou’s long-standing tradition of landscape design, while the three stadiums, each topped with

conspicuous, undulating roofs, act as visible landmarks from afar.

Lighting for this expansive site was designed by Lichtvision, which worked in close collaboration with the architects, based on the overall architectural intent.

Given the complexity of the usage of this centre, lighting had to fulfil numerous aesthetic and functional requirements. The goal for

Lichtvision was to create a scheme that would support general and special event uses, the aesthetic demands of the architecture, and

also the functional orientation and guidance, at both large and small scale, while also considering the environmental impacts to the cityscape and the surrounding nature.

Situated in an open landscaped area, each building within the sports centre is positioned on its own platform that is elevated from the

ground in a layered terrace arrangement. When walking through the development, those layers build up to shape the podium buildings’ façades. “The three sports arenas have a unifying design language, using façade lamellas that undulate in terms of height, width and

distance to each other,” said Clemens Seipelt, Regional Director of Lichtvision’s Hong Kong studio.

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Previous Page The three stadiums across the Suzhou Olympic Sports Centre all share a unified design language, using façade lamellas that undulate in terms of height, width and distance to each other.

1. While each of the stadiums is cast in a bright, even illumination, pole lights dotted across the site add a more dynamic element to the wider public realm and landscape lighting.

2 & 3. A comparison between GMP Architeckten’s original concept designs, and an aerial shot of the completed project, with the site illuminated at night.

(Pic 2: GMP Architekten) 4. Alongside the three stadiums, the commercial tower stands out. Here, Lichtvision designed an individual, dynamic lighting approach that features a careful integration of visual media into the building’s façade.

(Pic: Zeng Jianghe) 5. The initial design concept saw Lichtvision opt for a flood lighting approach for both exterior façades and interior vertical surfaces.

(Pic: Zeng Jianghe)

“Together with individual roof designs, they build

features and landscape integrated fixtures

Their different functions define what is behind

Wibre, acdc, Schreder, Sill and iGuzzini] comprise a

up the outer skin that ties all the arenas together. their skin and influences whether the façades

appear transparent or solid. The goal for us was to

define a lighting scheme to fit all centres, in order to maintain and underline the architectural

hierarchy of the volumes within the space.”

The lighting concept therefore creates an

individual layer of visible depth by contrasting the

unlit arena façades’ lamellas with the inner flow of activity and attraction during events.

The commercial tower façade however, stands out

thanks to an individual, dynamic lighting approach featuring a careful integration of visual media into the façade fins, courtesy of Philips Color Kinetics’ eW Accent MX Powercore fixtures.

Although the site features a number of different buildings, each with their own requirements for

illumination, Lichtvision sought to create a sense

of unity across the site. The design team achieved this by taking a more dynamic approach to the wider public realm and landscape lighting.

Seipelt continued: “Lighting elements on this human scale feature more vivid aesthetics.

Handrail lighting at steps, ramp lighting, water

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[courtesy of fixtures from the likes of Wagner,

variety of different lighting elements that unify to form one dynamic layer of light, creating those individual focal points.”

When specifying fixtures, Lichtvision had to

consider efficiency in terms of both cost and

energy, needing a sustainable way to enhance the

large architectural volumes throughout the sports centre. As such, the design team took a flood

lighting approach for the exterior façades and interior vertical surfaces. This also catered to

additional considerations regarding installation

time and maintenance. However, from the initial concept stages in 2013, to the project’s eventual completion in 2018, Seipelt explained how the development of lighting technology, and

particularly LEDs led to some alterations as the

project progressed. “The development of LED and how it influenced and changed fixture design,

optics, etc, is especially interesting, because during the design stage we had to base the flood lighting

concept on conventional lighting, as at that time, LED could not fulfil our technical and aesthetical requirements.

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“However, once it came to the procurement phase

Lichtvision, and as such, Seipelt revealed that

become sophisticated enough to be able to deliver

“The sheer size of the project was something new

some years later, local Chinese manufacturers had good quality LED-based lighting equipment.”

Elsewhere, the smaller-scale lighting elements, which featured integrated fixtures at water

features, sculptures, trees, paths and ramps from the likes of Wibre, acdc, and Schreder were

considered to be the “human-scaled components” within the overall scheme. “These added a higher

level of variety such as light distribution, direction and luminance levels,” said Seipelt.

While a rather repetitive landscape path lighting

system, with pole-mounted fixtures from Sill and Technilum, was considered by Lichtvision as the

most appropriate solution, supporting the people flow management scheme. “These provide a greater sense of security and orientation for

wayfinding, with higher uniformity and especially vertical illuminance,” continued Seipelt.

“Aesthetics-wise, this repetitive layer of light

creates a buffer between the extremely even façade lighting and the more dramatic landscape lighting.”

Suzhou Olympic Sports Centre was one of the first projects of this scale in mainland China for

there were “some lessons learned along the way”. for the Asian team at that time, besides the

coordination with multiple parties across the

globe, onsite coordination, document quality, site workmanship, and so on. This has changed over time though, and the team has now become far

more familiar with large-scale projects like these.”

Lichtvision worked closely with the architects

throughout the whole development process, with

regular discussions through workshops and video conferences on the conceptual options for the

lighting design. This “open and constructive team effort, based on skilled communication, led to a great integration of all elements,” Seipelt said.

Such a collaborative approach resulted in a project in which the lighting and architecture are well connected, creating a cohesive, harmonious

environment. Speipelt concluded: “Lighting adds another architectural layer, and in doing so, both elements work together in great harmony.” www.lichtvision.com

lighting specified acdc IGLu acdc Linear Fino Bega 8998 iGuzzini iRound iGuzzini Light Up Philips Color Kinetics eW Accent MX Powercore Schreder Focal Reflector Schreder Modullum Maxi Schreder Modullum Mini Sill High Power Projector Technilum Aiguille WAC Lighting InvisiLED Pro Outdoor Wagner Lumenrail Ledpod Wibre Light Out Wibre Underwater Light Out

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Light Showcase Light Collab creates a sophisticated, modern lighting scheme for the newly opened extension to the Wearnes Automotive Centre in Singapore.

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earnes Automotive’s new eight-storey Automotive Centre is the latest extension of the existing car

centre at 45 Leng Kee Road in Singapore. The new complex, with its intricate façade pattern

conceptualised by Pencil Office, makes a bold statement. Lighting design firm, Light Collab, was brought on board to create the

lighting scheme for the glossy showroom and functioning work spaces.

“We strived to highlight the intricate façade pattern and, in order to enhance the architectural features, we incorporated uplighters discreetly into the façade frames as points sources,” explained Yah Li Toh, Principal at Light Collab. “Several options were

discussed with the client to optimise costs and thus, the lighting positions were selected to craft the visual pattern of a V, making up the corporate letter, W for Wearnes.”

The uplighters were on DMX-controls with different scenes choreographed specially for occasions and weekends.

Large-scale car display cases are accentuated by the lighting and

PROJECT DETAILS Wearnes Automotive Centre, Singapore Client: Wearnes Automotives, Singapore Lighting Design: Light Collab, Singapore Interior Design/Facade Design: Pencil Office, Singapore Photography: Guo Jie Khoo

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showcase the cars in these display boxes.

The façade lighting has turned the Wearnes Automotive Centre into an iconic building that can be appreciated from the taller surrounding neighbourhood, the elevated track station, and commuters on the passing trains.

This complex is also one of Singapore’s first climate-controlled

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5 1. The Wearnes Automotive building is covered in a pattern of ‘V’ shapes that when aligned together, create a ‘W’ that reflects the brand’s name. These have been illuminated in such a way that ensures the building stands out from a distance in its surrounding neighbourhood.

2. The reception area and lounge welcome visitors into a vast atrium that is flooded with natural light from the skylight above. Lighting is used to direct visitors through the space and guide them up the stairs, which are surrounded by a “skin” of upright rods - a theme carried throughout the centre.

3. A glass showcase features a highlighted vintage car as a focul point in the showroom. The ceiling continues the rod-pattern that was first introduced in the lobby and emphasised with linear lighting and spotlights.

4. The lounge area adjacent to the meeting rooms is a warm and chic space that is softly illuminated with a clean line of spotlights following the linear direction of the corridor.

5. In the dining area, the rodded lighting was diffused to avoid the effect of multiple shadows appearing across the dining tables.

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car galleries used to store rare cars owned by high

continued Toh. “Due to the sheer quantity of the

It incorporates workshops on the lower floors,

downlights to reduce the effect of the multiple

net-worth individuals.

boutique car displays, office, conference facilities, and an exclusive club lounge overlooking the car

gallery on the seventh and eighth floor. The lounge on level eight boasts a bar, private dining area, and cigar bar.

Upon entering the reception on level seven,

visitors are greeted by a double-volume space

atrium with a skylight, allowing natural light to filter into the space.

Light Collab incorporated uplighters, high-

performance spotlights and the integration of

concealed lighting into the staircase to provide layers of illumination for both day and night.

Curved rods were added to the atrium space to form a “veil of skin”.

“The aesthetic language of the rods continues, and small downlights were integrated on their ends to act as general illumination of the dining area,”

rods, diffusers were added into the individual shadows.”

Office spaces and meeting rooms, with customised surface-mounted linear fittings, also incorporated the strong language of interaction between the

horizontal and vertical lights. Decorative lighting elements were also used to bring a soft glow into the warm textures and colours in lounge.

The exclusive club lounge and car gallery were

fitted with layers of lights. Linear luminous bands on the ceiling were also programmed for the

“batman cave” effect for special events, along

with spotlights that were integrated to accentuate the cars.

Various lighting scenes were pre-programmed to

allow different requirements of lighting levels and contrast levels throughout. www.lightcollab.com

lighting specified ABB Lighting control system Acclaim HP-Mini-Dot Colors LED strip lights Colors linear profile fittings Erco Parscan Orluna Origin Rise recessed downlights Rise recessed spotlight

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099

The Next Generation The fifth edition of Light Asia welcomed six international lighting designers to Shanghai for a series of talks and workshops with local students and junior lighting designers.

I

n late 2019, the annual Light Asia

sharing ideas and experiences among lighting

lighting students the chance to work

Divided into a series of seminars and workshop

event returned, once more offering

with professional lighting designers

from around the world on a series of installations.

Following on from the 2018 edition,

which took place in Fukuoka, Japan, the latest instalment was held in Shanghai, on the campus of Tong Ji University.

Hosted by the Light Asia Society, a non-profit body corporate, alongside Tong Ji University,

Ju Di Design and Innovision Design Group, the idea for the yearly lighting design workshop is “based on the concept of altruistic gift

sharing and voluntary participation, based on non-commercial principles”. Lighting

equipment sponsors for the event included KKDC, Self and Philips Color Kinetics.

The three main goals for the event are centred

around education, promotion and dissemination: nurturing lighting specialists of the next

generation by providing practical training

and inspiration to local students and junior

lighting designers; promoting and enhancing general understanding on the importance of

a designed lit environment to the view of the general public and local policy makers; and

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professionals from around the world.

sessions, the 2019 event welcomed six lighting designers from around the world: Marinella

Patetta from Metis Lighting; Graham Rollins of

LDI; Cherry Wang from Arup China; Alsion Loader of Electrolight; BPI China’s Tian Xin; and Miki

Matsushita of Miki Matsushita Lighting Design.

After a series of presentations on lighting

design, education and the importance of lighting designers’ role within the wider project team,

these six designers led practical workshops for 80 students from four different local universities -

Tong Ji University, Fudan University, Shanghai Jiao Tong University and China East Normal University – which saw them create a number of temporary lighting installations across the Tong Ji campus.

“The site offered many opportunities for

considering the role of light,” said Marinella

Patetta. “A temple situated inside the University, it is a place of calmness and meditation, and there is a complete absence of light at night, which makes the water, the rocks and the architecture vanish.

“Working on such a site with the students

in such a short time was rather challenging, but the outcome surprised us in a positive

far east focus

way, while the studentst saw this familiar

will continue to explore lighting in their future

Over the course of one day, the students were

Miki Matsushita, taking part in Light Asia

place change completely through light.”

able to brainstorm with the lighting designers, develop prototypes and tests, and then

unveil their installations in the evening.

Cherry Wang added: “The whole process was

joyful and fruitful. I hope that it inspired ideas

and discussions, and that the younger generation of designers felt the beauty of the lights.”

Graham Rollins’ team produced an installation

that served as an artistic response to the natural environment, in which fundamentals in colour contrast were explored, tricking the viewer’s eye into seeing pink light when the light is

actually blue. The artwork was conceived as an abstract reflection of the site, where vertical lines of warm light represented the trees

growing, and the midnight blue hue and dappled cool white spotlighting represented the blue sky at dusk, and the onset of moonlight.

Rollins said of the event: “I am very grateful

to have participated in such a well-organised and rewarding exchange. As a participant I

have learnt so much from the other masters

and my talented team of students. I hope that in turn the students have learnt from me and

projects with new techniques and enthusiasm.” for the third time, commented: “At Light

Asia 2019, I had the chance to meet brilliant

Light Asia welcomed six lighting designers from around the world to Shanghai to collaborate with 80 students from four local universities on a series of temporary lighting installations across the Tong Ji University campus.

students, and over just two days we achieved

so much. As one of the mentors, I simply gave them some ideas and showed the fittings.

The outstanding project they built from this small beginning was utterly astonishing.

“I hope that even just one of the participants has discovered the delight of lighting design thanks to this event.”

Tian Xin led a team of students to light up

a stone bridge, sharing his lighting design knowledge with them in the process. “It was fun, inspiring, challenging, and I

actually learnt a lot from the young students instead of only ‘teaching’,” he said.

“It also gave me the opportunity to think

deeply about what exactly bridges mean to our lives, other than connecting physical spaces.

I believe that Light Asia itself, in this sense, has created an invisible bridge, which has

connected professionals from different countries, cultures and ages, through light and design.” www.lightasia.org

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101

The Healing Process Dr. Amardeep M. Dugar of Lighting Research & Design has developed a lighting strategy that brings a warm, hospitable ambience to India’s MGM Healthcare.

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PROJECT

PROJECT DETAILS MGM Healthcare, Chennai, India Client: Mahatma Gandhi Medical College & Research Institute Lighting Design: Lighting Research & Design, India Architecture: KGD Architecture, India Photography: Gowtham Raj

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Previous Page MGM Healthcare was inspired by a “health-caring movement” that looks to redefine the patient experience through design, expertise, technology and environmental sustainability.

1. Taking queues from the hospitality sector, MGM Healthcare uses warmer colour temperatures and decorative touches, such as the large Aromas pendant over the reception desk, to create a more welcoming environment compared to that typically found in healthcare facilities.

2. General corridors were illuminated via bespoke, ceiling-recessed doubleasymmetric linear profiles, while Astro’s wall-mounted up-downlights provide supplemental illumination.

3. Abby’s ceiling-mounted, cylindrical downlights with adjustable heads provide accented illumination in the VIP Lounge, supplemented by decorative floor lamps from LEDS-C4.

4. With a built up area of more than 300,000sqft, this 11-storey, 400-bed hospital was optimally designed by KGD Architecture to provide the most comforting ambience for healthcare.

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D

ating back to 300BC, India has a rich

right place was considered critical in this

sciences, with world-renowned

and savings as a result of lower energy costs.

history in medical education and

movement, characterised by acute cost awareness

physicians such as Jivaka

With a built-up area of more than 300,000sqft,

Kumarabhacca and Charaka showing the world

this 11-storey, 400-bed hospital has been

At a time when surgeries worldwide were done

the most comforting ambience for healthcare;

Sushruta, performed the most advanced and

healing and a sense of serenity, from the city’s

reconstructive. Sushruta was also a great teacher,

in critical care areas, to thematic art galleries on

surgical skills by getting them to make incisions on

Nadu.

Inspired by this glorious past, the Mahatma

and users demanded a variety of lighting

Institute has developed a reputation for medical

efficiency. As such, Dr. Amardeep M. Dugar,

was the launch of India’s first USGBC, LEED

Design, was brought in to develop the lighting

Nadu – MGM Healthcare.

Although utility in terms of wayfinding was

“health-caring movement”, which looks to

experiment in terms of brightness, colour

parameters – through design, expertise,

general principle followed throughout the hospital,

Lighting was recognised as an imperative element

state lighting as natural as possible, so as to

therapists during treatments and to promote the

and staff.

of wellbeing. The right light at the right time in the

explained, was to move away from the traditionally

how to treat diseases and illnesses.

optimally designed by KGD Architecture to provide

primitively, well-trained surgeons in India, such as

every aspect of the hospital reflects an ethos of

complex surgeries, including cataract, plastic and

tallest vertical garden, to the use of music therapy

giving students practical, hands-on experience in

each floor celebrating the various facets of Tamil

the skin of fruit.

These myriad tasks and the vastly different spaces

Gandhi Medical (MGM) College and Research

treatments, without compromising on energy

education in India. The next stage of its evolution

Founder and Principal of Lighting Research &

Platinum-certified hospital in Chennai, Tamil

design for the hospital.

The inspiration for MGM Healthcare came from a

non-negotiable, there was a lot of room to

redefine the patient experience across all

temperature and colour rendering. However, one

technology and environmental sustainability.

which was to make the effect of the 100% solid-

in this movement, to support doctors and

provide a better sense of wellbeing among patients

healing process in patients with an increased sense

One of the key methods of doing this, Dugar

PROJECT

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cold, sterile atmosphere of hospitals and

ceiling-mounted cylindrical 3000K

include patient and staff safety; staff morale

hospitality lighting.

accentuated illumination, which can also be

sustainability.

functionality and style of a hospitality

Decorative floor lamps from LEDS-C4 and

design in healthcare lighting, I used my

emotional response from the hospital

Lighting are added next to seating areas,

and friends who were undergoing treatment

This style is evident in the MGM Healthcare

guests to relax or socialise. Gold-finish

tends to exacerbate their anxiety and stress

professional, to complement the furnishings

and gold colour scheme used in the entire

colour temperature of 3000K was used in all

“While a well-lit lobby was essential, care

The decision to use the warmer, 3000K

Dugar opted for a neutral colour temperature

illumination that might create environments

areas of the hospital was integral in creating

areas, striking a gentle balance without

explained.

was the result of a process Dugar refers to as

semi-clinical areas, such as corridors and the

reception and waiting areas, each with its

“Evidence-based design in healthcare is a

with decorative luminaires to create a more

‘feel’. The reception desk is well-lit, and

promise for benefitting key stakeholders,”

In general, the corridors were illuminated via

pendant from Aromas, lit at 3000K, so that

built environment is represented by nine

asymmetric linear profiles in 4000K. Taking

go first, and have adequate illumination for

environment, visual environment, safety

or wheelchairs, these fixtures wash the two

The lobby space also incorporates a separate

sustainability, patient room, family support

illumination as well as wayfinding. After

allocated for important guests and visitors.

support spaces.

using an analogue rotary dimmer mounted

relaxed and soothing atmosphere. Abby’s

stress, evidence-based design evolved to

In the executive floor corridors, catering to

create something warmer, more akin to

downlights with adjustable heads provide

and productivity; and environmental

“The preliminary brief was to provide the

used to highlight the paintings on the walls.

“As this was my first foray in evidence-based

environment, so as to elicit a certain

wall-mounted up-downlights from Astro

personal experience while visiting family

users,” he said.

creating a more relaxed atmosphere for

at hospitals. The cold and sterile atmosphere

lobby, which had to be inviting yet

luminaires are specified to match the beige

levels. Therefore as a first step, a warm

and décor in creating an overall appeal.

lobby and lounge areas.

the non-clinical areas.”

was taken not to flood it with overabundant

colour temperature in all the non-clinical

of 4000K in the clinical and semi-clinical

akin to an emergency room,” Dugar

a more hospitality-like environment, and

causing too much contrast. However, some

The lobby was divided into entrance,

“evidence-based design”.

nurses stations, were illuminated at 3000K

own lighting treatment to provide a different

developing field of study that holds great

balancing effect.

prominently highlighted with a decorative

he said. “It proposes a framework where the

bespoke, ceiling-recessed, double-

patients and visitors know exactly where to

design variable categories: audio

care to avoid glare for patients in stretchers

reading and signing necessary paperwork.

enhancement, wayfinding systems,

walls of the corridors, offering glare-free

VIP Lounge – a waiting area specially

spaces, staff support spaces and physician

dark, these linear profiles can be dimmed

The lighting solution here sought to create a

“From its initial focus on reducing patients’

on the entry walls of each corridor.

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105

1

1. Abby’s Circulo and Enso luminaires create a more intimate feel within the administration office, while providing optimum lighting conditions for the working environment.

2. The executive floor corridors, which cater to the high-end suite rooms, are illuminated at a soft, warm 3000K. Circular coves with LED tape from Ledos provide a lighting scenario more akin to a hotel corridor.

3. A rhythmic composition of ‘floating’ linear profiles integrated between the wooden rafters of the cafeteria provide illumination at night, while complementing daylight from the vast windows during the day.

4. Training rooms for the doctors, which also double as auditoriums for major conferences, required a flexible, programmable lighting strategy.

Ledos’ LED tape provides ambient illumination, complemented by spotlights from Abby, all at 4000K. 5. MGM Healthcare features the largest vertical garden in Chennai.

The green wall brings a natural feel to the pre-function area outside the training rooms. Although situated under a large skylight, linear grazers from Abby provide supplementary illumination to the wall.

the high-end suite rooms, circular coves with

environment for both paper and screen work.

illumination more akin to a hotel corridor.

luminaires, in different sizes and configurations,

in 3000K provide supplemental illumination in all

luminaires also match with the exposed ductwork

In the doctors’ offices, lighting had to serve

When illuminating the cafeteria, bright lighting

3000K LED tape from Ledos provide a soft, warm Bespoke, wall-mounted decorative up-downlights corridors.

multiple functions, as the spaces act as both a

regular office and an examination room. Office

in the ceiling.

was used as a means of keeping staff and visitors

awake and alert. The use of ambient and punctual lighting elements defines the design and feel of

require high levels of general illumination and

natural light during the day, while a rhythmic

skin, for example, for visual examination.

integrated between the wooden rafters provide

individually adaptable, while examination rooms good colour rendering to show the true tone of the

the cafeteria. Large windows let in plenty of

composition of ‘floating’ 3000K linear profiles

However, since the majority of the consultancy in a

illumination at night.

patient, a soft general illumination was deemed as

special training sessions, also double up as an

doctor’s office consists of simply talking with the

the best lighting solution. As such, Abby’s Skylight modular panel luminaires in the grid ceiling were

The training rooms, used by doctors for conducting auditorium for major conferences, meaning that they are dynamic environments where people

deemed the best way of reaching the 500lux

meet, learn, share ideas and collaborate. This

4000K and high Ra 90 value.

designed for easy pre-programming and dimming.

Elsewhere, MGM Healthcare features a number of

other areas, both public-facing and back of house,

each with their own specific lighting requirements: from administration offices, to the cafeteria and training rooms. The administration office

combines direct and indirect lighting with task lighting, to create an optimum working

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create a more intimate, less clinical feel, while the

lighting has to be ergonomically correct and

average requirement, with a colour temperature of

106

Abby’s Circulo and Enso circular pendant

called for a flexible lighting strategy that was Ceiling coves with Ledos’ LED tape in 4000K

provide ambient illumination to eliminate glare and fill in the shadows on faces. Additional

spotlights from Abby, also in 4000K, provide accentuated illumination.

However, the highlight of the hospital though is the vast, living green wall. The largest vertical

project

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3

4

5

garden in the city, the green wall brings a

health and wellbeing are becoming widely

outside the training rooms. Although situated

developing lighting for a healthcare facility, its role

light, supplemental illumination was required for

hand to provide some additional consultation to

required illumination. Additionally, the living wall

to boost wellbeing.

welcoming natural feel to the pre-function area under a large skylight that allows for ample natural those sections of the wall not receiving the

becomes a night-time feature, especially during

conferences, which meant that it required special

recognised within the lighting design field, when is much more pertinent. Dugar was therefore on

the building staff on how the lighting could be used “Lighting for health and wellbeing has now

become the single selling point for almost all

highlighting. Abby’s linear grazers in 4000K were

projects, and more so for this project, as it is all

upwards, evenly washing the green wall. The rest

the healing process was the prime objective of this

to a bare minimum, ensuring the focus remained

integral factors here. All key building management

used from the top-downwards and below-

of the lighting in the pre-function space was kept

about healthcare,” he explained. “As improving

project, health and wellbeing were definitely more

on the green wall.

personnel were briefed and educated right from

Healthcare, each with their own lighting

them onto the same page with respect to lighting.”

With all of these myriad areas throughout MGM requirements, creating a sense of unification was one of the most challenging aspects for Dugar.

the concept design stage itself, in order to bring The end result is a thoughtful lighting strategy that, while catering to the specific needs of a

“Subtle design elements, especially in terms of

healthcare establishment, does so in a way that

or gold finishes were introduced for visual

usually associated with hospitals. Instead, what

decorative elements such as similar up-downlights continuity within the different spaces,” he explained.

“In spaces where it was not possible to include decorative elements, this continuity was

maintained through similar cove lighting elements or colour temperatures.”

While the links between good lighting and good

eschews the overlit, cold and clinical environment Dugar has developed creates an environment that is warmer and altogether more welcoming, where

lighting becomes a subtle, yet significant element in the overall healing process. www.lighting-rnd.in

lighting specified Abby Bling Abby Circulo Abby Enso Abby iGraze Abby iKap Abby Inline Abby Look Around Abby Luke 3-Way Abby Skylight Abby Spa50 Aromas Cube Astro Lighting Rio D-Lite LED K-Lite Anja K-Lite Trioscope L’Azure Vibrance Ledos LED tape LEDS-C4 Premium LED

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107

The Leader as a Beacon Lighting Designer Patricia Lopez Yanez shares some vital lessons that she has learnt across her career in her myriad roles as client, leader and creative director.

T

raditional educational institutions prepare students to be design consultants, but not

necessarily leaders. Leadership is something that is learnt with time, in practice and by working in the real world, however strong professional skills are of course always

required, and act as a base for career growth. In

this article, I would like to share the main lessons learnt, reflections and experiences that have opened my eyes in my role as a client,

leader and creative director, which can be a guide to other lighting designers to understand better the dynamics of the design and execution of a project.

Working as the Lighting Design Director for a real estate developer has given me a unique insight of the client’s and project’s

requirements. Firstly, from this perspective, things are perceived very differently than from a consultant’s point of view, as many

additional factors and stakeholders need to be considered in the

design process. I have understood the importance of surrounding

myself with a team that I completely trust and that have faith in me

as their leader. Finally, working in this role, my appreciation for the lighting design profession has greatly increased.

As part of my Programme for Leadership Development at Harvard

Business School, I was recently given a case study called the “Leader as a Beacon”. I was inspired as I found the title to be very poetic,

and I immediately associated it with lighting. What I took from this case is that it is essential for all of us to acquire leadership skills,

not necessarily to lead from the top, but from whatever our position in our company or our team is. A leader sees the panorama around

them, sees the big picture, and with a clear vision, briefs, informs,

influences, motivates and also protects the team. A leader must also be aware of the inner strengths of the company, be able to be very resourceful, at the same time keeping a team lean and agile.

My understanding of a client’s role is now very different than

before as I have realised that a client indeed has more power, but with that power comes both a great sense of responsibility and a

lot of pressure. The role of a client is not easy, as they experience

first hand the challenges of representing a company in constantly

changing external conditions in terms of economy, market demand Patricia Lopez Yanez, Lighting Design Director at Emaar Development

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and design trends. Also, they need to work with the interior decisions and politics within the company as things can change very fast,

comment

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Throughout her career, Lopez Yanez has had the responsibility of overseeing architectural projects both within the UAE and internationally, leading the lighting design conception, development and implementation across different types of projects, such as masterplanning, hospitality, residential and retail. Pictured are examples of her work on the Dubai Creek Harbour public realm (1), Dubai Creek Residences (2) and Flamingo Sanctuary artwork (3). (Pics: Ausra Osi)

after feedback given by upper management, the operator or end

Finally, lighting designers are such key players in the design and

Decisions need to be made quickly, sometimes instinctively, with not

lighting designer was barely given a place in meetings and our

consequences of a delayed decision can create a domino effect and

role has completely changed, some real estate developers and

What has worked for me has been the implementation of lighting

this expertise, sometimes in-house.

learnt from the company, and which give consultants a better

very well aware of the architectural design, client’s guidelines,

communication with everybody, to be able to convey the sometimes

designer is responsible for how the project is perceived at night and

When directing a project, I learned that it is very important to think

is so important. We all know how a slight change in intensity or

the company and external consultants, contractors and end clients,

and intimidating to an attractive space where people want to gather.

the right team is key to the success of a project, in some cases, a

the information from other disciplines.

firm with international expertise and bigger team will be required.

proposed has an impact in coordination with other services, in the

manufacturers and suppliers, it would simply not be possible to

technical responsibility, a designer should also have empathy, be

vision, cannot work alone and needs to be humble to ask for support

be very practical and intuitive.

In terms of the team and design process, radical ownership, a strong

to understand the psychology of the client. Be bold and confident

lighting concept, as we were taught in school, is very important.

mind or simply is not able to convey exactly what is wanted, have

It should be used to make consistent design choices throughout the

requirements, and be open to feedback. It is so refreshing to be

From a practical view, from the perspective of the developer, and

expectations, transcending the initial brief.

translated into a compelling story that will be experienced by the

importance of deeply understanding the client’s project vision and

is that common sense and simplicity almost always win. The spaces

and ease that the ownership of a project from the designer’s part

by people. A highly sophisticated design with state of the art

sense, simplicity and practicality in design.

users, which then needs to be translated to the consultant team.

success of a project. I remember when I started in my career, the

all the information that would be ideally required, as the financial

reports were sometimes added as an appendix. Nowadays our

negatively affect the programme and budget of the project.

multinational design firms have realised the importance of having

design guidelines to convey the vision, preferences and lessons

A lighting designer’s role is also very complex, as we must be

picture of the expectations. Also, always keeping an open and direct

restrictions given by the MEP and project’s budget. The lighting

changing requirements of a project and be open to feedback.

throughout the day in areas where there is no natural daylight, which

about the human factor, to be able to manage a diverse team inside

colour temperature of a light source can take a space from uninviting

and approach each one with their own language. The selection of

We also know the responsibility that we have when coordinating all

small local consultant team will be enough and in other cases a

Quality control is very important, as each light point and product

Without a supporting design network and lighting community of

overall project’s programme and in the budget. In addition to the

execute a project. In summary, a leader needs to have a very clear

able to think in terms of the end user and not be scared to simplify;

when needed.

Besides design knowledge, it is very important for the designer

concept, quality and consistency in deliverables are essential. A

to propose a solution if the client does not have a clear brief in

However it should transcend purely abstract and aesthetic notions.

enough confidence to show flexibility to accommodate the client’s

process that will later be translated into a cohesive final product.

presented a concept that shows initiative, that exceeds the client

people who end up using the spaces, a strong concept will finally be

The main message I would like to leave us all to think about is the

people visiting or living in the spaces. One of my main lessons learnt

brief, the significance of a strong design narrative and the confidence

are usually not there to be admired, but to be lived in and experienced

gives a client. At the same time not forgetting the value of common

technology, but that cannot be figured out or enjoyed by the end user

www.patricialopezyanez.com

is not ideal. It is only by true teamwork, considering all the people

involved and dimensions of a project, that success will be obtained.

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109

Total Eclipse In this issue, David Morgan shifts his attention to Eclipse, Erco’s newest LED spotlight range, inspired by the Mario Bellini modular range of the 1980s.

E

rco is one of the most interesting and

influential architectural lighting companies.

Still family-owned after 86 years and

employing 850 staff worldwide, it continues to develop innovative ranges of luminaires and

to promote itself as selling ‘light’ rather than luminaires.

The company, originally named Reininghaus and Co, was founded in 1934 by Arnold Reininghaus with two partners, Paul Buschhaus and Karl Reeber, who had all worked together in the electrical

industry. Although the German economy was suffering from the

worldwide depression, Reininghaus and Co grew into a successful mid-size company in this period and its name was abbreviated to

the phonetic Erco. The earliest products were lighting components,

including ingenious sprung loaded and balance rise and fall pendant mechanisms for sale to the lighting industry.

As the company grew in the immediate post-war period, the product focus was on mainly decorative and domestic technical luminaires.

The change in direction, which led to the architectural lighting

company that we are now familiar with, started in the mid 1960s

when Reininghaus’ son-in-law, Klaus Maack, took over the running of the company. He realised that the home lighting market was

subject to short product life cycles and identified a new approach

based on providing sophisticated lighting tools for architects where

providing the right quality of light rather than lighting products was the key focus. He felt that investing in complex luminaire systems

rather than individual products would yield longer product life and

higher margins. He also understood the contribution that design and marketing could make to the transformation of the company.

During this era, Erco worked with many leading industrial designers to produce distinctive and cutting-edge luminaire designs. The distinctive Erco brand identity, designed by Otl Aicher was also

developed during this period to encompass all the visual aspects of the brand and the ‘Light Not Luminaires’ campaign won a German marketing award. In recent years, however, the luminaire design

style has become more muted and neutral with an overall corporate product design style being applied without input from named external designers.

The latest development from Erco is the new Eclipse spotlight range, which shares the name and some design concepts from the original Mario Bellini designed modular spotlight range from the 1980s.

Many of the design ideas from this icon of 1980s design are still

evident in the new range, although the lighting technology is now all LED instead of using halogen and HID sources. The interchangeable reflector modules, designed with an SLR camera lens aesthetic,

fitted onto a common body housing a magnetic transformer. The

new Eclipse range takes that concept and expands the scope to an amazing extent.

With more than 28,000 options, it is a remarkable design and

engineering achievement that took almost four years to complete.

David Morgan Associates, a Londonbased international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting.

Email: david@dmadesign.co.uk Web: www.dmadesign.co.uk

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It is understood that the product definition and design development was a multi-disciplinary process involving members of the Erco sales, marketing, technical and production teams. The Eclipse

development was apparently one of the most extensive and complex development projects in the company’s history.

DAVID MORGAN

There are five spotlight sizes in the range, starting with the smallest

without any spill light and provide good visual comfort with a 60° cut

3.2W. The largest size at 145mm diameter delivers up to 6,468 lumens

The quality of the light output from the two samples I examined was

The spotlights can be mounted onto three types of track adapter. The

few slight imperfections in the beam on a couple of the lenses. The

LV Minirail track. All five spotlight sizes are available with a 230V

remarkably wide thin blade of light.

track with DALI conductors to give a fully integrated appearance.

plugs into the back of the spotlights. One version provides local

standard three circuit track. To complete the mounting options the

and phase dimming while other modules provide Casambi or Zigbee

230V track with a custom-designed adapter incorporating a 48V DC

not seem to be an option at the moment.

Standard LED light engines include six fixed colour temperatures

although I found that the moulded lens fixing bayonet ring came

on filters enable the fixed LED colour temperatures to be fine-tuned

were rather loosely held and could be pulled off quite easily without

and barn doors are included in the range. Up to three accessories can

production batch and perhaps this would not be an issue with

Probably the most impressive aspect of the Eclipse range is the

The overall design of the spotlights was well-executed with no visible

primary lens. The light output from the primary lens is then

a small homage to the earlier Bellini design, which is a nice touch.

with a bayonet fixing designed for single-handed assembly and

idiosyncratic and did not correlate with the body casting design.

remove these lenses. As you would expect, the range of secondary

performance of the samples was excellent. Considerable effort has

beam angles, two fixed wide symmetric beam angles, two zoom

The Eclipse range is a major development for Erco and is likely to

distributions, a wall washer and a framing accessory with adjustable

premium retail brands.

size at 32mm in diameter, which delivers up to 375 lumens from

off angle.

from 58.4W. All sizes of spotlight incorporate integral drivers.

good with even distributions, no colour over angle issues and only a

three smallest size spotlights are available with an adapter for 48V

elliptical distribution from the 35mm diameter sample produced a

AC InTrack adapter that fits within the profile of three circuit mains

Dimming control is achieved with a very neat add-on module that

The three smallest size spotlights are also available with adapters for

manual dimming, the multi-dim module provides DALI, push dim

track adapters on the low voltage spotlights can also be mounted into

wireless control. A combination of manual and remote dimming does

transformer.

The build quality of the samples I tested was generally acceptable,

with a CRI of up to 97, tuneable white and RGBW options. Four add-

loose on one of the 60mm lenses. The lenses on the 60mm sample

on site. A wide variety of glare control accessories including snoots

rotation. It is possible that the samples I tested were from a pre-

be attached to each spotlight using the bayonet system.

production products.

optics. Each spotlight size incorporates a light engine fitted with

screws and the body castings include a perforated pattern that pays

modified with a secondary optic, which attaches to the spotlight

Some of the design detailing on the mounting-bracket seemed rather

disassembly. Rotate clockwise to attach and anti-clockwise to

Apart from these small details, the overall impression and the optical

optics is ample; for each size there are three symmetric fixed spot

been taken to minimise any stray light leaks.

options – one symmetric and the other rectangular, two elliptical

be very successful in its target markets of galleries, museums and

shutters. The Darklight wide lenses produce a soft edge beam

www.erco.com

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Hot Off The Press

LD155 LightGraphix The new LD155 is an IP67-rated, high powered, adjustable uplight designed for internal and external use. The product features a new light engine giving more than 900lm output, and an innovative new ball joint design. This houses the LED, optics and accessories, allowing 360° rotation and 25° tilt adjustment in any direction. Quick onsite focussing is achieved with a removable inner bezel allowing all adjustments to be done from the front with no requirement to remove the product from the mounting surface. www.lightgraphix.co.uk

Faisca F6 Lumascape The Faisca F6 is an intelligent and highpowered architectural marker light with a simple yet elegant design that allows for easy and rapid deployment. Plug and play electrical connections further contribute to the quick and easy installation process.

The F6 utilises ultra high-performance colour LEDs, achieving high intensity while maintaining beautiful saturated colours with perfect even illumination. From highlighting architectural elements to smooth crossfades and colour flows, there’s no limit to what can be achieved with the F6 and other luminaires in the PowerSync4 network. www.lumascape.com

Volga Unilamp Volga is a new series of robust, marinegrade stainless steel fixtures, featuring an underwater spotlight, in-ground uplight and spotlight. It utilises high power LEDs in 2700K, 3000K or 4000K, with high quality optical lenses offering narrow, medium, and wide, as well as elliptical light distribution. Volga is an ideal choice to illuminate swimming pools, decorative pools and fountains. To avoid installation issues, Volga is pre-wired and fitted with an anti-condensation device.

The marine-grade 316 stainless steel body guarantees corrosion-free appearance throughout the product’s lifetime. www.unilamp.co.th

Mika Colour Flow & Tunable White CLS The Mika Colour Flow series is available in white, RGBW/RGBA and Tunable White variants. The fixtures are delivered with a CLS LDC-407 DMX driver, with the optional possibility for wireless DMX or Casambi control. The Mika offers 58° vertical adjustability, while optics can be changed in seconds. CLS also manufactures a wide range of Jade rail fixtures, which are equipped with the same LED modules and optics. This enables lighting designers to combine the Mika and Jade series. www.cls-led.com

Hole Aldabra Hole is the new recessed spot from Italian brand Aldabra, launched in time for the brand’s 20th anniversary this year.

Ceiling recessed with no glare, Hole is easy to install and remove. With a round or square body, simple magnetic mounting, 1W and 4W versions, a diameter of 25mm, available in 2700K, 3000K, 4000K, Hole is perfect to light any space with ambient, visually comfortable, natural light and a totally hidden lighting fixture. Hole can create a sky of stars ceiling effect in both general or accent lighting settings. www.aldabra.it

Lamptub 60 Lamp As part of a new range of fixtures designed to ‘make the office a place to feel at home’ without sacrificing the technical requirements of good architectural lighting, Lamptub 60 is a renewed version of a classic from Lamp that adapts to the needs of demanding spaces that are constantly evolving. Thanks to its lighting versatility and its mutiple installations options, the lighting system is particularly flexible and adaptable, especially in its track installation version. www.lamp.es

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new products

While trade shows and exhibitions continue to be postponed or cancelled, lighting manufacturers are still working hard to bring you their latest products and innovations. Here we take a look at some of the newest products to hit the market.

I-LèD Industrial Linea Light Group Prolamp is the latest generation industrial projector. Made in die-cast ENAB-44300 aluminium, powder coated and UV ray stabilised, with further open-pore anodising pre-treatment that guarantees outstanding corrosion resistance. Characterised by an iridescence-free optics system in polished aluminium, it is available in two versions, for wall and suspension installation, with a wide range of powers (six variants, from 40W AC up to 180W AC), colour temperatures (3000K, 4000K, 5000K) and optics, to be chosen from medium flood, flood, wide flood and asymmetrical. www.linealight.com

ISO Targetti Designed by Gensler, ISO is a luminaire that can be suspended or ceiling-installed.

Available with direct or direct/indirect emission, ISO offers two effect variants: diffused light and controlled light (UGR <19). The controlled UGR <19 emission offers maximum visual comfort, reducing shadows and reflections, making it ideal for workspaces. In the direct/indirect emission version, ISO emits a line of light from the upper part to give a soft and homogenous effect also on the ceiling. www.targetti.com

Tracker Intra Lighting Tracker is made to track fluid architecture.

Designed to go beyond the horizontal, Tracker can endlessly move through space with uncompromising agility. High precision installation work is simple due to standard construction elements. Combining it with standard modules, it can perfectly fit your design. A flexible PCB chain and an endless diffusor offer superb light quality with no light gaps. Because it is low, it doesn’t weaken the ceiling’s load capacity. Tracker is a light with high visual impact. www.intra-lighting.com

Duet Orluna Duet is a new double straight-edged wallwasher, powered by Orluna’s proprietary Origin Engine, which offers real colour rendering with CRI 98 and R9 99. With colours seen as intended, this innovative wallwasher is designed to create a beautiful lit effect on both walls of a corridor simultaneously. A selection of colour temperatures are available for specification.

Offering 943lm at 11.4W, this 80mm fitting is an ideal addition to the professional designer’s toolkit. www.orluna.com

FLC210 We-ef Winner at the Design Plus powered by Light+Building 2020 competition, the FLC210 profile projector is part of We-ef’s FLC200 series. Measuring just 298x172x197mm, the projector is extremely compact, but its power ratings of 18W and 26W and two different colour temperatures make it an ideal choice. The FLC210 profile projector can be used to subtly project interesting motifs onto buildings and surfaces in towns and cities, or convey advertising messages. www.we-ef.com

SunLike Seoul Semiconductor SunLike fundamentally transforms LED lighting technology by removing the blue LED light source and replacing it with a purple light LED chip. An ordinary LED spectrum is very different to sunlight, whereas SunLike’s spectrum is almost the same. Objects lit by SunLike appear as they would in real sunlight. Humans, animals and plants have been under sunlight for millions of years, with SunLike, Seoul Semiconductor are bringing it back. www.seoulsemicon.com

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Background Illumination When illuminating the newly restored Cathedral of Santa Maria Assunta in Volterra, Italy, architect Massimo Iarussi used fixtures from Targetti to create a scheme that showcases the exquisite architecture and artistic details.

T

he Cathedral of Santa Maria Assunta in

provide a soft and diffused light and a perfect

examples of Pisan Romanesque in

Cathedral concealing the projectors intended for

Volterra, Italy, is among the greatest the world. Consecrated in 1120, the

Cathedral is home to antique and modern works

of art and in 2016, to mark the 900th anniversary of its consecration and diocese in Volterra,

restoration work on the entire church began,

including a modernisation of its lighting system.

Recently re-opened, the lighting project, led by

architect Massimo Iarussi, is based on the concept of ‘light that remains in the background’ – an

organic presence in the space around it that allows visitors to appreciate the architectural and artistic details in the Cathedral and not just the lighting.

“The best lighting project is one that remains in

the background,” said Iarussi. With this in mind, the architect designed suspension light fixtures

made of alabaster: luminous lanterns positioned below the arches that divide the naves. They

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balance of luminance in the various areas of the the coffered ceiling lighting.

The alabaster suspension fixtures add a new

element to the Cathedral, an expression of artistic and artisan tradition from the third millennium.

The lanterns are a tribute to the city itself, the European capital for processing this precious

material. These particular elements represent the

masterful work of different artisans; the artist who worked on the alabaster, the blacksmith who made the metal structure and Targetti, which designed

the technological heart of the lighting fixture. The lanterns contribute to the general lighting of the

Cathedral, while the luminaires inside illuminate the ceiling and create spectacular accents of light on the floor.

The R&D department at Targetti created a metal tray to house the fixtures for different lighting

case study

scenes. A ring made up of LED strips surrounds the

their medieval character and are lit with low

fixture. Two custom projectors inspired by the

The new lighting system of the Cathedral of

coffered ceiling, while in the lower part there is a

BUS protocol, which makes it possible to create

48V range - which illuminates the floor.

religious needs.

enhanced by linear projectors positioned on

church also performs various religious functions,

designer has sought, identifying the right powers

the sculptural and architectural elements are

extremely soft without any particular accents or

one of the scenes, the historic high altar is left

projectors - three on each side - are also attached

which faces towards the faithful. In the scenarios

with fine frescoes.

sculptural apparatus of the historic altar while the

projectors, again inspired by the Zeno range, fitted

A similar criteria is also applied to the paintings

vertical planes: the face of the celebrant and the

visits and in the absence of celebrations, the

The organ behind the altar is lit by reflected light

contrary those with predominantly artistic value

dim light and focusing attention on the elements

scenes can be recalled using a push-button panel

Particular attention was paid to the front chapels

that it is easily accessible to all those involved in

works of art in the cathedral, such as the beautiful

www.targetti.com

metal tray, providing a backlight for the alabaster

luminance levels and warmer tones.

Zeno range have an adjustable bracket to light the

Volterra is entirely managed using the DALI

small recessed projector - derived from the Label

different scenes according to the museum and

The side naves are lit indirectly; the vaults

As a destination for tourists visiting Volterra, the

the existing chains. The effect that the lighting

as such Iarussi created eight light scenes where

and the correct distances from the walls, is

treated differently by the dimming of light. In

smudges. Black 48V tracks to feed Label mini-

in shadow so as not to override the modern altar,

to the chains for lighting the side chapels adorned

for tourist visits or concerts, the focus is on the

Lighting at the altar area is provided by custom

contemporary altar is left in the shadow.

with a wall-mounting bracket, which light various

and other architectural elements: during tourist

altar itself.

liturgical elements are only lit lightly; on the

coming from the apse vault, leaving it almost in

are in the shadows during the celebrations. All the

of greater religious significance.

located in the sacristy of the church, which means

of the transept, which are home to the main

managing the Cathedral.

wooden deposition of Christ. They have preserved

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115

Paradigm Shift When illuminating the new, flagship location for LA’s Paradigm Talent Agency, eSquared Lighting Design called on Specialty Lighting to bring a museum quality to the creative office space.

O

ne of the USA’s premier talent

this flagship office. Paradigm’s expansive art

space were provided with a panel trim collar,

Agency, represents a diverse

records alongside portraits and other works

but implemented here to allow for the

content creators from across all mediums;

a creative environment for clients.

the fabric.

and digital content.

layer of light throughout the project was

downlight trims allowed for field painting

agencies, Paradigm Talent

and dynamic array of artists and

from television, music and film to literature Spread across three offices in the Los

Angeles area, the ownership decided to

collection, which includes skateboards and

of art, adorns the walls, helping to facilitate Roberts continued: “The predominant

dedicated to illuminating artwork. Special

consideration was taken to provide flexible

traditionally reserved for wood ceilings,

integration of the lighting instruments into Elsewhere, the flexibility of the Graffiti

to match the ceiling finish in the hospitality area, creating a fully uniform ceiling visual

co-locate, to create a collaborative new

lighting solutions throughout these spaces

effect.

spectrums that the agency represents. An

while also providing code-compliant

moving, and this translated to this project

Beverly Hills, which has stood vacant for

To achieve the design goals, Specialty

challenging budgets. Roberts recalled: “We

environment across the full range of artistic iconic 1980s building on Wilshire Boulevard,

for potential rotating artwork programmes, illumination levels.”

The talent and entertainment world is fast as well, with compact time schedules and

the last seven years, was selected as its new

Lighting was asked to provide a custom-

had construction trades installing on top of

California-based eSquared Lighting Design

pocket-mounted adjustable fixture.

was gutted too late in the schedule to turn

flagship location.

played an integral part in the design team, led by Lauren Rottet’s Interior Design Hall

designed track head to work as a surface or With the intersection of art and talent, high CRI and high R9 sources were deployed,

each other to finish in time, and the budget back.

“It was our collaboration with the Value

of Fame LA office. Principals Richard Riviere

providing superior colour rendering that

Engineering team and Specialty Lighting that

“conversation between the architecture and

the contrast between light and shadow in

quality fixtures on the projects.”

and Harout Dedeyan sought to create a

the lighting throughout the three-storey, 82,000sqft office space, intending to ask

the viewer ‘what if’, inspire the occupant to be innovative, to be creative, and to think outside the box,” said Landon Roberts of eSquared Lighting.

Art is a central design element and feature of

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protects the subtle interplay of colours and each unique piece of art. The source and

precision optics meant that artwork was rendered appropriately, and that people looked natural.

The theme extends into the screening

room, where a fabric ceiling was deployed

for acoustic purity. The downlights in this

enabled us to keep the project’s museum Specialty’s Graffiti line of adjustable

downlights, track heads and surface-

mounted fittings were deployed throughout the space to accent the artwork and create the consistent integrated scheme that Paradigm desired.

www.specialtylightingindustries.com

case study

Pics: Roland Halbe © Erco

Shedding New Light Inside and out, Erco fixtures provide diversity and flexibility for the award-winning new Kasmin Gallery in New York’s Chelsea.

T

he award-winning Kasmin Gallery, the fourth art space

studioMDA designed a grid lighting system using Erco’s two-circuit

promotes contemporary artists and represents some

precision optics. The grid of the ceiling forms the framework for the

opened by Paul Kasmin in New York’s Chelsea, both

track and highly adaptable Light Board range with adjustable,

of the most influential artists of the 20th century,

recessed, dimmable linear LED light strip. This provides the general

including Constantin Brancusi, Max Ernst and Robert Motherwell.

lighting, while the track system has an optimal mix of Light Board

gallery needed to reflect the diversity of changing exhibits and artists

ceiling geometry.

from daylight through to wallwashing and highlighting.

process. A cove in the cast-in-place concrete ceiling was designed

houses private viewing rooms and offices. The main exhibition area,

integration of the lighting. “It was imperative that the lighting was

with 23ft walls and a polished concrete floor. The ceiling comprises

Markus Dochantschi. “As with any gallery, it is critical to blend the

skylight that provides diffused natural daylight, augmented by the

to grant precedence to the artwork.”

not only creates an architectural rhythm, but also allows maximum

as the angle and the beam spread, so it can be tailored to the artwork

Sitting on the skylight grid is a lush roof garden, designed by Future

ceiling in the gallery, studioMDA worked with Erco’s team to ensure

It also creates a further 5,000sqft of exhibition space; an elevated

It was also vital that changing configurations of the exhibition walls

visitors. At night, the space, which has a changing programme of

different spatial experiences are guaranteed for the audience visiting

Gecko fixtures with 12W LED, complemented by interior light from

“The specified lighting equipment provided an atmosphere to the

Inside, the natural light during the day is diffused using film on the

Light Boards were chosen to provide an even wash of light along the

This even wash is augmented by the artificial lighting, which also

lenses makes this fixture ideal for gallery applications as it allows the

demanded by changing exhibits. To offer maximum flexibility,

www.erco.com

Designed by studioMDA and with lighting by Erco, the purpose-built

spotlights and wallwashers, their rectangular design echoing the

in the approach to lighting the space, providing a variety of qualities

Crucially, the lighting was considered very early on in the design

In addition to an expansive exhibition space, the new gallery also

specifically for the fixtures to sit within, allowing a seamless

designed for large-scale artworks, is a column-free, 3,000sqft space

embedded within the grid of the ceiling,” said studioMDA founder

28 trapezoidal board-formed concrete coffers, each housing a large

lighting with the architecture, allowing both to fall to the background

large glass store front. The super waffle structure of the ceiling grid

The track system allows the number of fixtures to be adjusted, as well

flexibility to subdivide the space in a variety of ways.

exhibited. Each luminaire is individually dimmable. Due to the high

Green, which extends the visual plane of the adjacent High Line.

that the walls were precisely lit both in terms of height and width.

sculpture garden visible to the promenade’s six million annual

remained perfectly illuminated whatever their position. “As a result,

artworks, is illuminated by Erco’s powerful, glare-free and discreet

each exhibition,” added Dochantschi.

the skylights.

space that was imperative for Kasmin Gallery,” he continued. “The

skylights, creating an ambient backdrop without harsh shadows.

walls, regardless of the height of the walls. Their interchangeable

had to accommodate the wide spectrum of lighting requirements

space to adapt to any form of artwork being shown.”

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117

Shining Beacon A dramatic lighting scheme, with fixtures from Linea Light Group, transforms the new Oman Telecommunications Company headquarters into a shining landmark after dark.

O

man Telecommunications Company is

In order to even out the perimeter of the

in the country. Its new headquarters,

a bollard with minimalistic appearance and in

the primary internet services provider located in the Madinat Irfan Business

Park, was developed with the Omani tourism board OMRAN and stands out for its wavy, overlapping lines, which draw their inspiration from the traditional local headgear.

The outdoor lighting design curated by Visual

Energy, implemented products and technologies from Linea Light Group and set out to light the

external architecture in a functional way in order to give it a unique and unforgettable visual impact.

The structure of the building is crossed by a Linea

Light Group custom Rubber 3D Bend, which is DMX managed, thereby providing the ability to calibrate the intensity and colour of the light as desired – based on the different needs.

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structure, Linea Light Group’s Ryo was selected, single and double emission versions. Used to

provide the correct support for directing guests

and users, Ryo guarantees complete freedom of movement after sunset.

Last, but not least, to illuminate and emphasise the vertical aspect of the building, Linea Light Group’s Suelo uplights with flood optics were chosen,

whereas for the fountain adjacent to the entrance, the submerged uplight Admiral was selected,

specific for pools and underwater environments, characterised by AquaStop technology, an antiintake system for the power cables, which are thereby protected from water and humidity. www.linealight.com

case study

A Greener Future Intra Lighting’s green solutions light up the new Johnson & Johnson biopharma facilities in Limerick City, Ireland.

M

atching the research and development

Private areas are then also visually defined by

undertaken by Johnson & Johnson,

plan takes the design influences of the Random

goals for improved eyesight

Van Dijk Architects and Kananaghs

Lighting have developed a thoughtful and

innovative lighting scheme for the company’s biopharma facilities in Limerick City, Ireland.

Utilising modular solutions from Intra Lighting, the lighting scheme reflects the end user’s

ambitions for the building, while enhancing its overall design and finished look.

The design team aimed to use lighting as a visual

way to define various areas. For example, in setting the open plan workstations, profile lighting

products in the form of the Kalis and the Wave Round guide people through the area.

The complete lighting shows the functionality and possibilities of Intra Lighting’s products, from

design concepts to practical use, and goes beyond using the acoustic luminaire Acousto. It not only offers excellent general illumination, but its

MOSSwall panels set up private areas within large open space by absorbing sounds.

Bibas, while the industrial open office floor luminaire, setting up unique profile and illumination throughout the building.

Fun and playful design references lead to an

uplifting work environment. Here, lighting has all the power to create it. Breakout rooms, common

spaces, the tea room, and meeting rooms all follow the same design aesthetic, each with their own

twist, and some with a more minimalistic finish.

They create eye-catching elements that work both

individually, but all the more powerfully as a whole

concept, enhancing the wellbeing of those working on the premises.

Environmental and sustainable choices are at the forefront of all designs from Intra, and so it is

again here. More than 90% of the materials used on the project derive from recycled materials; in conjunction with the use of the most advanced

LED technology on the market, it is part of Intra Lighting’s push for a greener future. www.intra-lighting.com

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119

Pics: Piotr Krajewski

Lines of Light L&L Luce&Light fixtures add a sharp, angular play of light at the entrance to Warsaw’s Złota 44 residential skyscraper.

D

aniel Libeskind is the architect

At sunset, Rio 1 linear profiles, 12W/m 24Vdc

skyscraper, added to the Polish city’s

into the pavement in front of the entrance to the

behind Warsaw’s Złota 44 residential skyline a few years ago; featuring

angular surfaces and distinctive curved glass walls reminiscent of wind-filled sails.

Standing at 192-metres high, the building is an

icon in the capital’s urban landscape. It houses 251 luxury apartments spread over 54 floors together with areas dedicated exclusively to residents’

leisure time. The structure offers amenities to

satisfy every need, creating a genuine community feel: from the 25-metre steel swimming pool and the children’s play area to the gym, cinema, and spa with a Turkish bath.

The sun’s trajectory was an important source of

inspiration for the design concept, which makes the most of the available daylight at every level.

The curtain wall, made up of glass and aluminium

modules arranged in irregular patterns and inspired by the wings of the white eagle on Poland’s coat of

arms, gives movement to the surfaces, reaching its apex in a single multi-storey penthouse.

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RGB, from L&L Luce&Light, are activated. Set

building they use the appropriate outer casing,

where they create connections of light between

the structure’s indoor and outdoor spaces through their longitudinal positioning and use of diffuse lighting. The Rio family is particularly suitable

for use in public spaces because of its IK10 impact resistance, guaranteeing maximum resistance

to impacts, and its Intelligent Protection System

(IPS), which protects the lighting fixtures against

water infiltration, polarity reversal, hot plugging, ESD and power surges.

The fixtures, chosen by Polish lighting designers Paweł Skulimowski and Grzegorz Wróbel, were installed so that they draw continuous lines at

different angles to mirror the façade design, which

features backlit metal panels fixed to the building’s glass surfaces. The dramatic light blades created in this way define and enrich the access area. www.lucelight.it

case study

Pics: Gavriil Papadiotis

Grand Getaway When illuminating The Newt, a newly-renovated country estate in Somerset, Illumination Works called on fixtures from Lucifer Lighting to help create a unified aesthetic across the property.

T

he Newt in Somerset, UK – named

from USA-based Lucifer Lighting Company, whose

estate – is an all-encompassing oasis

including: the spa, barn, hotel, guest rooms and

after the amphibians that live on the featuring expansive gardens, a hotel

spa and restaurants.

Karen Roos, a former Editor-in-Chief at Elle Décor South Africa, revived the 1689 British estate with

her husband, with the estate officially re-opening to the public in 2019.

The restored Georgian-style county estate

celebrates design traditions of the past, while being infused with modern amenities and comforts. Chad Rains, Founder and Creative Director of Londonbased Illumination Works, was the only lighting

designer on the project, and was tasked with the

challenge of cohesively intertwining spaces created by five different architects.

Over a four-year period, Rains worked with several manufacturers, but predominantly used fixtures

luminaires are featured throughout the grounds, Green House.

Using Lucifer Lighting’s minimalist fittings helped to unify the aesthetic across the property, working

with the different architects’ creations. Rains cited the “detailing, continuity and fixture scale” as key

reasons that he was attracted to Lucifer’s products.

The estate dates back to the 17th century, and features man vaulted ceilings. Rains said:

“Whenever there was a vaulted ceiling, we used

Lucifer Lighting, because it carried the light down.”

He added that the metal finish on the Lucifer

Lighting Cylinders captured the aura of brown

wood, without the need to add a colour finish on the lighting fixture itself.

www.luciferlighting.com

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SENIOR LIGHTING DESIGNER We are looking for a Senior Lighting Designer to join our small team based in High Wycombe. You will have had at least three years professional experience in a lighting design role, and either be ready to step from a junior to more senior role or to consolidate your experience in a significant career move.

Light Perceptions is an independent lighting design consultancy primarily working in prestigious historic buildings, museums and visitor attractions. Our current clients include St Georgeâ&#x20AC;&#x2122;s Chapel Windsor, ten UK Cathedrals, Blenheim Palace, Kensington Palace and The Tower of London as well as Livery Halls, many churches, and some exciting private commissions.

Our projects are fascinating and varied, and in some of the most architecturally and historically significant spaces in the UK. We are a close and friendly team, well supported in an informal working environment. We have great clients and work with outstanding architects and other professionals.

You will be passionate and creative with an enthusiasm for new design challenges as well as a good technical background. You would be working on a number of projects concurrently, managing multiple deadlines and need to be highly motivated, well organised and focused.

You will be able to communicate effectively with colleagues, clients, manufacturers and contractors.

You will be confident in using PhotoShop, AutoCAD 2D & 3D, Dialux /Relux as well as MS Office. Hand sketching and illustration would also be an advantage but is not essential.

Candidates must be able to work legally in the UK and must be willing to travel Please send your CV and portfolio to jobs@lightperceptions.co.uk Personal applications only and strictly no agencies please.

ADVERTISERS INDEX Alto.................................................

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115 arc TV. ......................................... 127

Future ........................................... 65 Future............................................

Madrix .......................................... 71 Madrix...........................................

Archiproducts ............................ 125 113 Archiproducts.............................

Lighting ................................ 29 GVA Lighting.................................

Nicolaudie .................................... 13 Nicolaudie.....................................

Bega ...............................................

Bega. ............................................. 15

IALD .................................................8 IALD..................................................8

Orluna .......................................... 23 Orluna...........................................

Lighting................................

Clear Lighting. .............................. 71

Physics .....................

Illumination Physics. ................... 11

Proled ........................................... 27 Proled............................................

Climar ........................................... 61 Climar............................................

Lighting ............................... 17 Intra Lighting................................

Lighting . 123 111 Radiant Architectural Lighting.

CLS-LED ...........................................6 CLS-LED............................................6

KKDC ..............................................

KKDC. ............................................ 21

Semiconductor ................. 47 Seoul Semiconductor..................

Colors ..............................................7 Colors...............................................7

Linear ...................................

116 LED Linear. ................................. 128

Industries ......

Speciality Lighting Industries. .... 53

awards.............................. [d]arc awards. ............................ 4, 5

LightGraphix ................................122 67 Light Perceptions.......................

Unilamp ............................................9 ..........................................9 Unilamp.

Erco ...................................................2 Erco. .................................................2

Light Perceptions ...................... 110 LightGraphix.................................

67

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Feelux ........................................... 79 Feelux............................................

Lighting ................................3 Lucifer Lighting. ..............................3

ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK

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Radiant is operating normally now with most of the production team back in Highgate. We are delivering orders but lead times are longer than usual due to supply chain delays. Let us know if you need any information or samples and we will respond as quickly as possible. Stay safe.

Amara Hotel, Limassol, Cyprus Lighting design by Damien McKay, Light 360 The F-Grazer System provides a graze of light down the external facade

www.radiantlights.co.uk

arc ad june-july 2020.indd 1

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+44 ( 0 ) 208 348 9003

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F-Grazer System LED linear lighting system with high-power LEDs and elliptical beam lenses Up to 2,000 Lumens per Mtr

david@radiantlights.co.uk

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All products designed by

27/05/2020 14:25:52

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 to note for your diary in the months ahead INTERLUMI 25-27 July Panama City, Panama

LIGHT + BUILDING 27 September - 2 October Frankfurt, Germany

BIENNALE INTERIEUR 22-26 October Kortrijk, Belgium

www.inter-lumi.com

www.light-building.messefrankfurt.com

www.interieur.be

POSTPONED - New dates TBC

CANCELLED - New dates 13-18 March 2022

CANCELLED - New dates 21-25 October 2021

LEDUCATION 18-19 August New York, USA

GILE 30 September - 3 October Guangzhou, China

HONG KONG INT’L LIGHTING FAIR 27-30 October Hong Kong, China

www.leducation.org

www.guangzhou-international-lightingexhibition.hk.messefrankfurt.com

www.hktdc.com

PLASA 6-8 September London, UK

LED EXPO THAILAND 7-9 October Bangkok, Thailand

LEDFORUM.20 5-6 November São Paulo, Brazil

www.plasashow.com

www.ledexpothailand.com

www.ledforum.com.br

INTERLIGHT MOSCOW 14-17 September Moscow, Russia

LIGHT SYMPOSIUM WISMAR 14-16 October Wismar, Germany

IALD ENLIGHTEN EUROPE 18-20 November Oslo, Norway

www.interlight-moscow.ru.messefrankfurt.com

www.lightsymposium.de

www.iald.org

CANCELLED - New dates 16-17 March 2021

CANCELLED - New dates November 2022

LANDSCAPE 22-23 September London, UK

IALD ENLIGHTEN AMERICAS 22-24 October Palm Springs, USA

[D]ARC AWARDS 3 December London, UK

www.landscapeshow.co.uk

www.iald.org

www.darcawards.com

CANCELLED - New dates 21-23 October 2021

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#16 Auricle Studio / Karen Owens “Sometimes it’s just about the light on people’s faces, the shadows they walk with and wondering what their stories are.”

Karen Owens

Curated by

What: Just to be in a city with friends, drinking coffee and watching the world walk by.

Where: London. A city full of diversity, energy and invention.

How: Walk slowly and with curiosity. Wander and experience the heart and soul of London and its vibrant people.

When: As soon as we can move freely to meet each other again. Any month but always bring an umbrella.

Why: As we journey together through a global pandemic I reflect on what it is to be human. Our whole wellbeing depends on our connection with others, creating memories through laughter and conversation.

We all feel a huge shadow of uncertainty hanging over us as our cities lie silent in solidarity. However, I am reassured that creative people, in both the sciences and the arts, will find a path to lead us through the storm. In time hope always wins and culture endures.

Photo: Brick Lane, London (Abbey Road style) by Sasha Freemind on Unsplash

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