arc October/November Issue 118

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118 OCT/NOV 2020

Out Of This World Danilof light + visual perception studio creates stunning façade lighting for Orbit Urban Office campus EDUCATION FOCUS • KTH LIGHTING DESIGN DIVISION 20TH ANNIVERSARY • [D]ARC ROOM LIVESTREAM REVIEW ASST. PROF. DR. KAROLINA ZIELINSKA-DABKOWSKA • ORLUNA ORIGIN NATURAL REVIEWED

E Eclipse The art of illuminating art

Magical Darklight lens for highest visual comfort

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6 light spectra and tunable white and RGBW

Wireless Connectivity via Casambi Bluetooth and Zigbee as well as DALI

11 interchangeable light distributions Combinable photometric accessories

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BEGA performance floodlights ensure highly efficient light outputs with very compact design. They are equipped with the BEGA Vortex Optics ® light deflection system for maximum illumination and visual comfort, along with durable LED modules and long-lasting power supply units. They are also available with different light distributions. The RGB W version allows you to enjoy a wide range of coloured light atmospheres. BEGA Lighting UK Ltd · Suite 9 · Milton Heath House · Westcott Road Dorking · Surrey · RH4 3NB · UK · Tel. No. +44 (0) 1306 882 098 ·

Das gute Licht. For fascinating staging.

Lighting for education and parks SITECO are specialists in lighting solutions for education, parks, street, industry, sports and retail. We are a leading supplier of professional and technical lighting within indoor and outdoor applications. SITECO stands for innovative lighting technology and industrial expertise – from large projects to customer-specific and tailored project solutions. To achieve quality lighting that provides both the right light, increased safety and better visibility, we recommend you choose a lighting partner who knows what requirements you must meet for optimal lighting. Ask us, we will help you choose the right solution.

SITECO UK Ltd Tel.: +44 3300 555 209 E-Mail:


Lighting Designer Partners

Supported by

Trophies created by

Organised by

In collaboration with





Bamboo Pavilion, Taiwan

Chineh, Iran

International Presbyterian Church, UK

Under, Norway





The Musicon Path, Denmark

Aurora Experience, Finland

Kaamos Aurinko, Sweden

Where The Rainbow Ends, France





Biophilic Light, Netherlands

Winter Lights, UK

Pipien - Stoane Lighting

Eyeconic Range - Phos

STRUCTURES: Best Exterior Lighting Scheme Low Budget

SPACES: Best Landscape Lighting Scheme Low Budget

ART: Best Light Art Scheme Bespoke

STRUCTURES: Best Exterior Lighting Scheme High Budget

SPACES: Best Landscape Lighting Scheme High Budget

EVENT: Best Creative Lighting Event

PLACES: Best Interior Lighting Scheme Low Budget

ART: Best Light Art Scheme Low Budget

KIT: Best Lighting Products Exterior

PLACES: Best Interior Lighting Scheme High Budget

ART: Best Light Art Scheme High Budget

KIT: Best Lighting Products Interior


KIT: Best Lighting Products Decorative

Entries are open for [d]arc awards 2020! Enter projects and products online at 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.

Noctambule - Flos

Did you know there were over four thousand industry votes cast at last years [d]arc awards? If you’ve been part of a great lighting project or have a great new product, then entering the awards is the perfect way to showcase it to the design community. So what are you waiting for? You may just be a winner...

Entry deadline extended: 17th January 2021

Focus Micro The art of lighting

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064 KTH Lighting Design Division We look back at the history of the Lighting Design Division of Stockholm’s KTH Royal Institute of Technology. Pic: Rodrigo Muro


OCT/NOV 2020 014 016 018 020 026 036 038 054 102 108 110 120 122


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

040 Women in Lighting T-Shirt Competition After receiving more than 200 entries, Women in Lighting and its panel of judges reveal the winners of its T-shirt competition.

056 Asst. Prof. Dr. Karolina Zielinska-Dabkowska The Women in Lighting Ambassador for Poland, Asst. Prof. Dr. Karolina Zielinska-Dabkowska reflects on her lighting career, as a designer, researcher, educator and mentor.

098 [d]arc room livestream We take a look back at the success that was the first online edition of [d]arc room, while also showcasing the latest products from our sponsors.

104 Hoare Lea: LightSIM Dominic Meyrick, Partner at Hoare Lea, explains how the lighting design studio’s web-based controls app - LightSIM - helped to rejuvenate the lighting for LTS Architects’ new office space.

106 Lightified Rupert Tait, Founder of Smith Tait Lighting Consultants, tells us more about his newest creation: Lightified - an online tool aimed at streamlining the specification process.

072 University of Michigan Biological Sciences Building, USA SmithGroup complemented vast, daylit atria with a seamless lighting design that puts the University’s research and artefacts at the forefront. Pic: Bruce Damontet


OCT/NOV 2020

044 The Orbit Urban Office Campus, Greece With bold façade illumination from Danilof light + visual perception studio, the newly-opened Orbit Urban Office Campus is the latest marvel in modern workspace design.

080 Stapaskóli School, Iceland The newly opened Stapaskóli School marks the first phase of a wider project to create a central “heart” for Iceland’s Reykjanesbær.

086 Charles Library, Temple University, USA The latest addition to architectural firm Snøhetta’s portfolio is the beautiful Charles Library at Philadelphia’s Temple University. Tillotson Design Associates created a complementary lighting design to accentuate the architecture.

092 Education Case Studies A selection of manufacturers showcase the latest educational projects to use their range of products.



Live and kicking... [d]arc room livestream was a huge success, all thanks to you... Front cover: The Orbit Urban Office Campus, Athens, Greece (Pic: Pygmalion Karatzas)

There’s only one place to start with this issue, and that is to say a


Managing Editor Helen Ankers Editor Matt Waring Assistant Editor Sarah Cullen


Managing Director Paul James Head of Business Development Jason Pennington Media Sales Manager Andrew Bousfield Subscriptions / Marketing Manager Moses Naeem


Design Manager David Bell Production Mel Robinson


Chairman Damian Walsh Finance Director Amanda Giles Credit Control Lynette Levi [d]arc media Strawberry Studios, Watson Square Stockport SK1 3AZ, United Kingdom T: +44 (0)161 476 8350

huge, earnest, heartfelt thank you to each and every one of you that

tuned into [d]arc room livestream last month. The event surpassed all of our expectations and was, if we may say so ourselves, a huge success! You may have seen us talk about it at length elsewhere,

but over the course of the three-day conference, more than 1,000

of you registered, attended talks and got involved in the interactive platform, and for that we are eternally grateful. The continuous

love and support that permeates throughout lighting industry never ceases to amaze me.

Of course we couldn’t have done it ourselves, and a big thanks

must also go to Light Collective for helping us pull it all together,

Streeam for their behind the scenes wizardry, all of our sponsors, and speakers, for making the event truly memorable, and a bright spot in what has otherwise been a fairly dark year.

Don’t forget that all the talks are still available to view on the

event platform if you would like to catch up on any you missed, and registration is still open, in case you missed the whole thing. Just head to the [d]arc room website for more info.

Moving on to this edition of arc magazine, where we go back to

school with a special Education focus. I was delighted to speak with

the wonderful Asst. Prof. Dr. Karolina Zielinska-Dabkowska as part of our ongoing Women in Lighting coverage (which you can find on page 56), and we also take a closer look at some great educational

projects from SmithGroup, Verkis and Tillotson Design Associates.

Elsewhere, the Lighting Design Division at Swedish institue KTH this year celebrates its 20th anniversary, and as part of the build up to its

big celebration, I caught up with course leaders Rodrigo Muro, Foteini Kyriakidou and Federico Favero to find out more about how the

programme has grown over the past 20 years (read the full feature on page 64). I was also bowled over by the number of alumni that

got in touch wanting to share their experiences as well. It’s a real

testament to the school and its faculty that so many of you wanted to share your stories and memories - I can only apologise that I couldn’t fit you all in! Enjoy the issue!

Printed by Buxton Press To subscribe visit 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



Headlines Let There Be Light Challenge takes over social media (Worldwide) – Social media photo challenge receives more than 3,000 posts. For the past few months, what started as a simple idea for the lighting community to share images of light has grown into a worldwide phenomenon that has taken over LinkedIn. The Let There Be Light Challenge has inspired hundreds of people from across the lighting community to look back through their photo libraries and share inspiring images of light, with results ranging from light art installations, to beautiful natural sunsets, to stunning pieces of architecture. The challenge was initiated by Melissa Mak, Lighting Designer at Arup, who hoped to “activate people’s engagement, and encourage positivity during a year full of unprecedented challenges”. “It began with my turn to do a presentation at Arup’s weekly Design Share session,” she explained. “I thought instead of showing my design project that I have recently worked on, I wanted to share something about myself to my colleagues, i.e. my personal experience of light. “During the lockdown period, while working from home, I have noticed some amazing lighting phenomena, which has excited and surprised me. During some recent renovations on my house, I captured some pictures of light on the construction site with my phone, so I thought that it was a golden opportunity for me to share with my colleagues some pictures from my personal collection. However, I did not want to stop there, I wanted to extend this

sharing experience to everyone and encourage others to do the same as everyone, whether they are within the lighting industry or not, has experienced light and its many hidden moments.” Since Mak started the challenge, which calls for the participant to share seven photos of their experience with light over seven days before nominating others to take part, more than 3,000 photos have been shared under the #LetThereBeLightChallenge hashtag, and Mak said she’s surprised at how popular it has become. “I think after just one week there were around 100+ posts shared,” she said. “I was amazed that after four weeks it had reached more than 2,000, not including those posts not using the hashtag. “I am thrilled and amazed by the popularity, and by everyone’s contribution. I feel very satisfied to have curated something that has got so many people connected, and it’s beautiful to see the lighting community full of energy and passion, sharing without boundary. “On my Day 1 post, I started off by nominating three of my Arup colleagues, Arfon Davies, Aliki Vaina and Dima Zogheib, and I wanted to thank them for their help in spreading the challenge.” When asked why she thought that the challenge has become so popular across the lighting community, Mak said that it taps into peoples’ desire to connect. “It is the cascading effect of connection and the network that

A selection of the images shared by Melissa Mak for the #LetThereBeLightChallenge.

each person has,” she said. “Communication through visual images is a powerful medium for drawing attention – a picture paints a thousand words. Each post shared is unique on its own, as each contains its own story and memory, as well as the thought and idea behind it. “For this, it is a collective activity that sets an encouragement for one another to engage through nomination and participation. It’s not just about the inspiration of light, but it’s about connection; connection to people, connection to emotions, connection to memories and stories.” To see the range of posts, search #LetThereBeLightChallenge on LinkedIn.

Light Reach launches Light for Lebanon (Lebanon) – Light for Lebanon is a new partnership between Light Reach and Manale Kahale. On 4 August, the largest non-nuclear explosion in history tore through Beirut, destroying homes, businesses and entire neighbourhoods in the Lebanese capital city – once dubbed the Paris of the Middle East. The blast killed more than 180 people, injured 6,000 and left more than 500,000 residents in immediate need of basic support. It damaged 80% of the residential buildings and infrastructure within a 1-2-mile radius, including 50,000 residential units, and tipped an already unstable electrical infrastructure into partial collapse, plunging much of the city into darkness after sunset. In the aftermath of the explosion, Light Reach and Lebanese lighting designer and activist Manale Kahale have partnered to launch Light


for Lebanon – a new programme that will aim to immediately support communities in Beirut with solar lighting solutions for both indoor and outdoor use, helping to bring some light back to the city. Kahale contacted Light Reach to assist her in her drive to bring solar-powered lighting to the damaged areas. Led by Nathalie Rozot of PhoScope, the global charity initiative Light Reach uses a proven replicable and expandable project model to support global communities affected by light poverty with stationary and portable solar lighting products. “Our existing replicable and scalable model is readily adaptable to quickly bring some illumination to the darkened streets,

without having to wait for grid restoration or construction,” said Rozot. Light for Lebanon is seeking donations to help in its efforts.

PwC, Commercial Bay, Auckland, New Zealand KKDC NZ custom ceiling system using LiNi Glow XL LED light source Photography: Jason Mann Photography

LiNi Glow XL

KKDC products now packed using sustainable & recyclable materials

Thermally Speaking Toronto, Canada Revealing our body heat in a three-dimensional space through experiential illumination, Thermally Speaking is a responsive installation that uses thermography and infrared measuring instruments to uncover the fields of energy of which we’re all a part. The responsive installation transformed Toronto’s Fort York Visitor Centre for Nuit Blanche 2019, providing a glimpse into a future of body temperature readings, creative data visualisation and surveillance fields. To experience the installation, audiences were invited to move through, over and around the ramp of the Visitor Centre both as observers and subjects of observation, participants in dialogue with the phenomena around them. Thermal imaging cameras relayed and translated the heat energy of visitors into a shifting curtain of light, animating the channel glass facades of the existing building. Designed by LeuWebb Projects and produced in collaboration with Mulvey & Banani Lighting as part of its CITYLights Toronto initiative, which seeks to educate Toronto students and young professionals in the fields of lighting design, architecture and interior design by creating site-specific installations that illuminate

Pic: Doublespace Photography, Simon Tanenbaum


features, public art and buildings. During the process of developing the concept, Mulvey & Banani Lighting and LeuWebb Projects held several workshops to investigate the material and site, while several mock-ups occurred with all of the equipment to make sure that there was compatibility with all the light sources, projectors and cameras through a DMX console and programme session. Using LEDs from ETC and ELAR, alongside Vivitek Projectors, the team installed 5,000ft of cabling and more than 100 lights, illuminating roughly 800ft of channel glass wall. The installation used two thermal cameras that controlled multiple video projectors and 893 DMX channels to get the desired effect. Speaking of the design concept, Mulvey & Banani Lighting’s Vice President Stephen Kaye, said: “Human bodies are vessels of energy, containers of both fire and water. They’re constantly undergoing renewal and death at a cellular level. Thermally Speaking translated the radiant energy of human bodies as they move around Fort York.”



Drawing Board

Pics: Tengbom

Competition for Malmö City Centre Sweden As the Swedish city of Malmö continues to grow, the city centre will be used more frequently, around the clock, by both local residents and visitors. As such, Malmö Citysamverkan sought to develop a joint lighting plan for the city, opening up a design competition for lighting where local businesses would also be taken into account. Malmö Citysamverkan invited four companies to the competition – AFRY, Sweco, Tengbom and White Arkitekter – with a vision that the city, through identity-creating lighting, would become a place where light shows the way, light is based on need, light is where it is beautiful, but where darkness is also effectively utilised. The desire was, through this new lighting masterplan, to create a place that becomes more attractive for visitors and residents alike. The competition consisted of producing a design proposal that clarifies the values:


Welcoming, Innovative, Sustainable, Wayfinding. The proposals would take into account existing and general lighting, special lighting, shop window and façade lighting, and would also show how visitors “find their way” from the outer border of the area and into the city centre, with a clear idea of how the city should be experienced over 24 hours. It was also desirable that the grant contained contributing measures by various parties in Malmö Citysamverkan, such as property owners, retail, restaurants, hotels and other business activities, as well as the city of Malmö. The jury worked hard to take a position on all four proposals, and assessed them on the basis of function, developability, innovation, social sustainability and how different parties can contribute to the whole. The process included two jury meetings and input from experts, and in the end, the entry from Tengbom was selected as the winner.

“We at Tengbom are extremely happy and proud that our contribution – inspired by the Pär Lagerkvists poem, Det är Vackrast när det Skymmer (It’s Most Beautiful When It Gets Dark) – won,” said Chiara Carucci, lighting designer at Tengbom. “We share Malmö Citysamverkan’s values, especially with regards to cooperation. Lighting design affects and is affected by many aspects of urban planning and human behaviour – collaboration is crucial here. “Our proposal is inspired by what characterises Malmö, geographically, culturally and socially. I myself fell in love with Malmö one summer evening when the sunset coloured the roofs and people enjoyed the public space. We want to give the same warm and welcoming feeling back to the city, around the clock and through the seasons.” Pia Sandin, CEO of Malmö Citysamverkan, added: “It feels really inspiring to be able to, together with our owners, take further steps in the development of the urban environment in Malmö city through this competition. What the jury noted in Tengbom’s winning contribution was that it is an ambitious but still subtle proposal with a thorough structure. “The proposal is adaptable and based on collaboration. We will now send this to Malmö City’s Real Estate and Street Office as an input to take into account in their continued work with a lighting plan for Malmö.”


drawing board

World Memorial to the Pandemic Uruguay As a global symbol of hope and unity in an uncertain time, architecture firm Gómez Platero is creating the first large-scale monument to the worldwide victims of the Covid-19 pandemic. Named the World Memorial to the Pandemic, the monument is intended to symbolise a deep love for humanity, and the architecture firm hope it will “stand as an emblem of the shared struggle and loss each one of us has endured in this frightful time”. “Utilising the lasting power of architecture, the monument unites all the people of the world, designating a safe, picturesque space for mourning and reflection that also allows its visitors to partake in the joy of knowing they are not alone,” the studio said of the monument. The massive circular structure will serve as an affecting sensory experience that Platero hopes will bridge the gap between the urban and natural worlds, creating an ideal environment for introspection. The monument will sit on the edge of an untamed section of the urban waterfront located in Uruguay, accessible only by a long pedestrian walkway that will draw the visitor gradually away from the sounds and sights of urban life, until they are fully immersed in the presence of nature. At the


centre of the platform, an open void to the ocean below will allow people to observe nature in its most majestic, purest state – a design Platero hopes will remind us of our own fragility. At 40-metres in diameter, with an open centre that is 10-metres in diameter, the memorial can welcome up to 300 visitors at a time (while obeying current social distancing guidelines), allowing for moments of shared grief and solidarity in addition to solitude. Lead architect and firm director Martín Gómez Platero hopes that visiting the memorial will provide a renewing emotional experience for those impacted by the pandemic in deeply personal ways. “Architecture is a powerful tool to transform the world,” he said. “It is, above all, a collective and historical reality, made of small fragments that survive over time and become culture. It is a way to show who we are on this planet. “Monuments too, mark our shared cultural and emotional milestones. By creating a memorial capable of activating senses and memories in this way, we can remind our visitors – as the pandemic has – that we as human beings are subordinate to nature, and not the other way around.”

2017 Innovation Award











drawing board

Wormhole Library China The world renowned MAD Architects has unveiled the design of the Wormhole Library. To be situated on the coast in Haikou, Hainan Province in China, the sensuously curved pavilion has been designed to appear as a “wormhole that transcends time and space”. Serving as a multi-functional building, the library will allow visitors to read, enjoy views of the sea and attend open-air performances, temporarily removing themselves from the hustle and bustle of everyday life. The Wormhole Library will be the first of a series of pavilions by both Chinese and international architects to be completed as part of the Haikou Bay rejuvenation plan – a move by the local government introduced in 2019 that aims to enhance the use of the public space along the Haikou coastline. Facing the South China Sea, the Wormhole Library is located in Century Park, along the Haikou Bay coastline. The intimately scaled structure will be cast in white concrete as a unit; its curved concrete walls will not only serve as an organic architectural structure, but also connect the ceiling, the ground and the walls together. Holes of varying sizes will allow


the architecture to breathe, while allowing natural light to flood the interior. Grey spaces on the exterior corridors will provide shady spots for passers-by to stop and rest. The interior will be comprised of two parts: a 690sqm reading space that can store approximately 10,000 books, a café and a terrace; and a 300sqm public rest area that will be equipped with a bicycle parking system, public bathrooms and shower areas. To ensure accuracy and seamlessness across the curved surfaces, the building is being cast using a CNC and 3D printed model. All MEP has been designed to be hidden within the concrete cavity to minimise its appearance and create a visual consistency. Curved sliding doors and retractable glass curtain walls will provide views of the sea, while also enhancing overall airflow and ventilation. In response to local weather conditions, the roof on the sunny side is cantilevered to achieve comfortable temperatures, realising a sustainable and energy-saving building. The Wormhole Library is currently under construction, and is scheduled to be completed in 2021.

Spotlight Harrods Men’s Shoes UK Working together with interior designers David Collins Studio and architects Woods Hardwick, Lighting Design International (LDI) have brought a touch of class and distinction to the Men’s Shoes department of London’s Harrods. High-quality lighting integration, dramatic productfocused lighting and excellent colour rendering were prerequisites to the schematic design of Harrods Men’s shoes, and as such, LDI used precise light sources, carefully paired with intricate detailing and carefully coordinated finishes, to give the impression that the joinery, and the shoes themselves, magically emanate light as if they were the luminaires themselves, drawing the shopper in. The project consists of three rooms, each with its own distinctive brands and products, which are complemented by subtle changes to finishes, joinery and lighting to suit the footwear typical to each room. Graham Rollins, Associate at LDI, explained more about the design brief. “We have been working on various projects with Harrods for around six years now. As always, we are brought onto the projects as early as possible to help shape the brief and scope of the lighting through discussion with the client and interior designer. “For David Collins, this followed previous projects in the Menswear department, so the lighting for the Men’s Shoes department had to be complementary to the


masterplan, but unique to the products and joinery in this area.” As such, Rollins and the LDI team wanted to “ensure that the luminaires were so well detailed and constructed that they were invisibly painting the finishes with light and providing highly focused, high quality illumination, without being noticed, to products”. “All product-focused luminaires are 3000K, >90CRI, with highly focused lensing, for high contrast on the product and glare baffles/detailing to conceal fittings from direct view. Each product display has multiple layers of light and multiple details to create the overall effect,” Rollins added. Entering off the central escalator towards room two, visitors are greeted by a transitional ‘pop up’ space that can be rented by brands, complete with dynamic video wall showcase niches. Custom video content can be played over the 24 individual niche backs, which give branding opportunity behind the shoes. Room two, in the centre of the department, has perimeter shelving units, where products are lit from high colour rendering concealed narrow beam spotlighting profiles, tucked inside black chamfered joinery detailing. The chainmail rear of the shelving units is lit by deep recessed diffused concealed linear LED, to provide ambient light to shelving and space. While room one, displaying formal shoes has the same


lighting treatment, alongside its own dynamic video wall and private shopper room, room three features zigzag, dual-layer shelving units with concealed focused fittings, adjusted in two rows to focus the light effect precisely to the footwear. These units also have chainmail backlighting, lit with diffused lighting behind the zigzag, to tie the ambient effect to the other two rooms. While the three rooms each house different brands and products, Rollins believes that it is the interior design, rather than the product, that sets each space apart, while LDI used lighting as a means of differentiating the spaces and giving them their own character. “The lighting was in response to the joinery as much as the product, and the zigzag wall in the trainer room commanded a development of the lighting that we had used for the horizontal shelving in the other rooms,” he said. “The chainmail finish at the rear of each room’s shelving joinery is also varied in tone slightly in each room, and this surface is directly washed with light to highlight the subtle difference.” Room three also has displays with bespoke designed plinth top luminaires that provide both ambient and focused light on the shoes at the edge of the walkway. This allows minimal numbers of downlights so that the ceiling in circulation spaces appear clean and lit from diffused coffer lighting. Lower levels of ambient light, with highly focussed

well-integrated joinery lighting, make the shoes the real focus, while high colour rendering and clever use of colour temperature add an extra sense of drama. While each room displays many high-end, designer brands, Rollins feels that the lighting design didn’t need to be adapted to take into account such prestigious names. “I feel that good quality lighting should suit any brand or any shoe, so I don’t feel like we adapted our design process to suit the particular high-end brands,” he said. “In the future, there is likely to be a degree of rotation, so the lighting had to be universal. Having said this, some of the shoes have crystal detailing, or bright colours that really help to show off how punchy and high quality the lighting is.” Using a range of fixtures from Precision Lighting, Applelec, Hacel, DAL, Viabizzuno and XAL, Rollins added that all luminaires were selected for their performance characteristics. “Colour rendering was first on the list, but then it came down to how we could integrate them, and what mounting options, lenses and diffusers they had available to put the light exactly where we wanted it,” he said. The end result, Rollins believes, is a lighting scheme that “marries together seamlessly” with the interior design, creating a space that feels harmonious, where the products become the focus.



Pics: Hufton + Crow

Maggie’s Leeds UK Maggie’s is a charitable initiative, co-founded in 1995 by Scottish writer, artist and garden designer Maggie Jencks, alongside her husband, architecture critic Charles. The couple’s vision was to create a cancer care centre that provides a safe and warm space, where people could access emotional and psychological support, surrounded by good architecture and uplifting landscape. The cause has seen an influx of established architects design centres around the UK, with the latest, Maggie’s Leeds, designed by Heatherwick Studios, recently unveiled. The 26th Maggie’s centre in the UK, Maggie’s Leeds is located within the campus of St. James’ University Hospital, and marks the first completed healthcare project designed by the architecture studio. Built on a sloped site, Maggie’s Leeds is designed as a group of three large-scale planters that each enclose a counselling room. These surround the ‘heart’ of the centre – the kitchen – as well as more social spaces for group activities, including a library and exercise room. In her book A View From The Front Line, Jencks talked about the need for “thoughtful lighting, a view out to trees, birds and sky”, and a design


that goes beyond corridors with “overhead neon lighting, interior spaces with no views out and miserable seating”. Following these principles, and Heatherwick Studio’s guidance, lighting designers Light Bureau sought to create kinder spaces for the user, with a lighting scheme that works in harmony with the architecture, plants, art and materials. As such, Light Bureau’s approach was to emphasise the tranquil atmosphere through the placement of warm lighting in niches that hold plants, pictures, books and other household items – making them, rather than the lighting, the priority. Elsewhere, simple uplights illuminate the soffits. Light Bureau called on a variety of fixtures from Stoane Lighting, LED Linear, XAL, LightGraphix, acdc and LED Flex to create this warm, inviting, and yet simple lighting scheme. In line with the lighting designers’ core philosophy, every luminaire justifies its presence by serving multiple purposes. Simple but good quality column-mounted spotlights provide indirect lighting to the high soffits and serve as emergency luminaires; anti-glare cowls avoid reflections on the glazing; shelf lighting accentuates objects and art, introduces vertical luminance and elevates the roof eaves.

This approach means that Light Bureau was able to reduce quantities, but maintain a good specification, instead of diluting the scheme with more, but lower quality fixtures. Throughout the project, Light Bureau worked closely with the architects on the lighting integration strategy. For the team, avoiding fussy, over-integrated lighting details was essential in creating the much-desired homely feeling. Nighttime transforms the building’s appearance, making the branched pots perfectly legible against the higher hospital buildings around the site. With a fully glazed perimeter, ensuring a seamless transition from the inside out was key. From the inside, the main objective was to avoid specular reflections, maintain clear views out and an appreciation of the garden for the viewer. Façade lighting was also consciously avoided – instead, externally lighting was kept gardenscale. With custom bollards fitted with luminaires from Stoane Lighting, it is designed to appear unstructured, much like the planting, however this carefully planned lighting gently illuminates the soft landscape, and gives extra benefit to the building.



Pic: Danijel Bartolic

Pic: Danijel Bartolic

Pic: Marko Mihaljevic

Pic: Marko Mihaljevic

GTC Matrix Croatia The GTC Group, founded in 1994, is a major European retail real estate investor. The Group’s operations focus on building sustainable constructions that comply with the highest standards of green building, as safeguarding the environment and human health are essential elements of the Group’s mission. One of the Group’s most recent projects, the Matrix Office Park, is located in Zagreb’s business district, at the crossroads of two of the most important roads in the city, and about 10 minutes from the airport and the city centre. For this twin-building complex with a LEED-Gold rating, the GTC Group wanted a unique, low consumption outdoor lighting system. It therefore invited Skira Architectural Lighting to present a concept that would be easy to install, had a minimum number of accessories, and power supply and control components that could all be concealed. An RGB version of the IP66-rated, 360° Trick projector from iGuzzini, designed by Dean Skira, was identified as the ideal solution to illuminate the


building façades, with the idea of positioning the luminaire on the sunscreens, which would act as a secondary reflector. Bespoke fixtures were designed with a new base that contains the built-in DMX-RDM electronic driver, complete with an in-out connector for plug-and-play connection. The lighting on each building is connected via a fibre optic cable, to enable controlled scenes simultaneously. Random patterns of light were programmed to create dynamic, vibrant and colourful scenes, to accentuate horizontal linear architectural details. The project also uses a control application to manage large virtual LED-based mounting on building walls. Unique scenes can be programmed for festivals or national holidays – the preset content is automatically activated via an online calendar, or manually. After sunset, the twin buildings at Matrix Office Park delicately brighten the area, contributing to the wider urban nightscape.

GVA, MondoARC Ad, PIXEL-TW, V02.indd 1

2020-10-02 17:12:37


Pics: Stefano Ferrando, Studio Vetroblu

Pinacoteca Nazionale di Cagliari Italy When developing the new lighting scheme for a museum or gallery space, a great deal of consideration has to be taken towards the artefacts on display, ensuring that they are effectively illuminated while preventing damage – particularly on items dating back more than 500 years. These are considerations that studio essequadro | p had to factor in when creating the new lighting scheme for the Pinacoteca Nazionale di Cagliari (National Art Gallery of Cagliari). Such considerations led to several months of study for the Sardinian studio, as during the relighting of the retables and tables exhibited within the gallery, there were several problems to overcome: the large size of the retables (in some instances more than 4-metres high and 3-metres wide); the reduced space for the insertion of lighting fixtures; the colouring of the walls in contrast to the works on display. The planning intervention, referring not only to the works, but also to the context in which they are displayed, was therefore complex and detailed. The old lighting, albeit with LED sources, presented numerous critical points. The goal for essequadro | p was to improve the perception of the artefacts through a uniformity of lighting, a new colouring of the walls and the backdrops of the retables, up to the use of customised devices and screens that led to a perceptive restoration of the works. Particular importance was also given to the DALI management system (absent before the renovation of the gallery), operating wirelessly through a Bluetooth system. The lighting design project was divided into two areas within the gallery – located on the existing structure of the Royal Arsenal. Before the lighting design intervention, the gallery had a lighting system that consisted of projectors placed on tracks installed both on the ground and on the


ceiling. The system had a colour temperature ranging from 4000K up to 5000K in some cases, with a low colour rendering index and a lack of homogeneity that completely altered the perception of the artworks. The new lighting was therefore conceived and designed to be as homogenous as possible, rendering the retables in a more natural light, while showcasing the three-dimensionality of the works. The new lighting fixtures – custom iGuzzini fixtures fitted with Laser Blade Mini wall washers – vary in size according to the size of the works themselves. All the retables, with the exception of the altarpiece of Sant’Eligio (the largest in the collection), are illuminated with wall washer optics, while special custom luminaires were used on the Sant’Eligio, which allow for the correct levels of illumination on the entire surface of the work. The luminaires work radially in some points, allowing the flow not to be concentrated on the work, and therefore making the light appear softer and more delicate. For the new lighting of the Spanish Walls, present inside the gallery, a system of nine outdoor projectors with TCC equal to 3000K and with two different optics has been introduced in order to highlight certain areas of the walls, creating a contrast of light and shadows that was previously lacking, as the whole area was previously illuminated homogenously with two 12,000lm projectors, making them appear flat. The goal was to give a three-dimensionality to the walls, highlighting their character and adding a sense of drama to the exhibit. Thanks to a careful study of the pointing and positioning of the lighting fixtures, which are not visible to visitors, it was possible to reach this goal.


Pics: Jack Wates

Colour Curve UK Colour Curve is a large-scale art installation, in which 150 streetlights were appropriated to transform a six kilometre stretch of the Bournemouth coast into a spectrum of coloured light. The project was conceived by artists Jack Wates and Alex Mead for the Bournemouth Arts by the Sea Festival, held in late 2019. Designed to celebrate one of Bournemouth’s strongest assets – the beachfront – the project encouraged people to experience this territory as a coloured frontier between land and sea. The installation was designed to draw the public through a sequence of coloured beach scenes, continually changing their perception of the landscape as they go. The project makes use of 150 streetlights by wrapping


each one in a specific colour filter gel. A plaque with the filter gel’s spectral distribution information was then mounted to each lamppost to allow an experiential appreciation of light to be bridged with an understanding of its material nature. By appropriating an existing streetlighting infrastructure, the installation achieved a scale and uniformity at a minimum cost, while keeping its environmental impact to a minimum. The project was commissioned by Arts by the Sea, supported by Bournemouth Council and sponsored by Lee Filters.

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30/09/2020 14:36

VBK LIGHTING Specialising in high-end residential properties, VBK Lighting offers a ‘full cycle’ Design and Management service, from concept design through to commissioning. Working across contemporary and traditional projects, we look at some recent highlights from its portfolio. Private Residence London, UK A contemporary renovation and extension of a detached residence in Highgate has been illuminated by a series of bespoke elements, among them a feature staircase rising six floors and a battery of skylights with integrated DMX LED nodes within a twin skin curved Barrisol membrane. The staircase has uninterrupted linear LEDs concealed within the thickness of the timber treads and risers, which illuminate the stringer wall throughout the entire height of the house. A mirrored surface applied to the structural steel both top and bottom, which separates the timbers from the walls, creates an impression of a fully independent suspended structure unsupported by any means. The Garden Room looking out on to the lawns is illuminated principally by a network of skylights within which a matrix of concealed DMX-controlled LED RGBW nodes supplement daylight and provide ‘artificial’ light during the hours of darkness. Wallwashers focus on artwork and fibre optics run through the house detailing millwork and providing accent light to sculpture.

Private Residence Hawaii, USA A large, front-line new build estate on Oahu, Hawaii for which the architects have imagined an open format oversized beach house; the entire soffit of both levels are formed of a series of coffers, timber to the roof structure and concrete to the lower floor. These are shaped as a visual nod to the local flora on the island, their form reflecting leaves and seed pods. Working on the project since 2016, VBK has developed the lighting concept to integrate and conceal all hardware using these structures as indirect light sources to illuminate the entire space. All luminaires are custom designed and extensive site mock-ups were carried out to determine exact performance. The concrete coffers have point source LED pucks embedded in to the High Performance Concrete moulds, with light emitting across the recesses from the corners. The timber coffers have a more conventional linear system set in to the cross members, uplighting the soffit, providing a rich, warm indirect light to the entire site. These also have a bird-deterrent current running through them to prevent nesting, roosting and soiling of the interior. All the windows have electrochromic glass filtering daylight, which will be coordinated with the artificial lighting as part of the programming.



Private Residence Albany Club, Bahamas The lighting performance for this project was rather particular as the client has acute PVL resulting in conflicting performance criteria – the need to use lighting as a guidance and location tool had to be weighed against minimising disabling glare. To complicate matters, that was also while taking in to account the need to illuminate the collection of original art, while protecting it from the ravages of the Caribbean daylight. Identifying the perfect luminous intensity was paramount so a series of light tests were conducted to determine the optimum height and configuration of lighting delivery. Illuminated skirting boards were developed to provide a continuous light strip guiding the homeowner throughout the house, and even out to the gardens with linear lighting integrated to the pavement edging. The majority of the ambient lighting was through indirect light concealed within transoms, millwork and stonemasonry. Sunlight is controlled through electrochromic variable transmission glass and all fenestration openings have Lutron shades, with both blackout and diffusion scrims programmed in synchronicity with solar tracking.

VBK Lighting

Private Residence Ontario, Canada A family home with a low-impact environmental footprint being constructed on a privatelyowned 70-acre island in the north of Canada, this fully off-grid 5,000sqft home has a huge emphasis on consumption. All lighting, as well as small power, is linked to a series of motion sensors and photocells controlled by an extensive Lutron ‘Homeworks’ system. Programming limits lighting status based on

daylight conditions with the sensors triggering lights on or off, as well as raising or lowering lighting levels as necessary depending on occupancy and task. Lighting levels automatically raise and lower in sync with the available daylight. Decorative lighting will form signature pieces from Ingo Maurer and custom-made luminaires still being developed.

Established in 1996, VBK has become known for its strenuous focus on concealment and integration of lighting, sacrificing its identity for architectural representation. Max von Barnholt (Project Director) is currently working out of the Toronto Studio, travelling the world working on high-end residences of some of the world’s most private clients. “Our clients don’t want public exposure so as a result we don’t get much public exposure. It sometimes feels like we operate under the radar. There are even some projects, like one ongoing in Russia at the moment, where we don’t get to meet the end client, dealing through representatives,” said von Barnholt. ”The opportunities for bespoke luminaires and integration in commercial projects are limited compared to our residential work; we are very fortunate to have a client base prepared to commit to the required levels of exhaustive coordination and detailing. We always carry out light tests and build prototypes for mock ups of our designs. Basic initial lumen method calcs and room indices on a napkin and then it’s all about the mock-ups. Sure, it all costs but that doesn’t preclude us taking on small projects — while working on a £350m private home in London, we were also working on a very special £150k 1-bed apartment in Paris.”



Paula Rainha & Joana Mendo After several years of collaboration, Paula Rainha and Joana Mendo have joined forces to form new lighting design studio, Filamento. arc speaks to the duo about their aspirations for the new studio. How did you both get into lighting? Paula Rainha (PR): I wanted to be a dancer at some point in my life, but I ended up training as an architect. When I finished my degree, I felt that dance was missing from my life, and I started my quest on how to combine dance and architecture as a career. I found stage lighting design as a way to define space in the dance world and I applied for a MSc in Lighting in London. Cutting the story short, I never did stage lighting design but I completely embraced the architectural lighting design profession. Joana Mendo (JM): After working some years as architect, I realised that light had always been my favourite subject and the priority in all my conceptual approaches. At the time I wasn’t quite sure if I could make it my profession, but my interest was growing bigger and bigger. I think also due to the adaptation from sunny Lisbon, where I grew up, to a northern European city, where light and sun are treasured, as they only come in small doses in winter. This was in 2008, when I got accepted for an internship at Lichtvision in Berlin, where I learned a lot and started understanding what it is to design light. I never wanted to do anything else after that. Can you describe your lighting career so far? PR: I started my lighting career in London with Gary Campbell at Campbell Design in 2005. Then I moved to BDP Lighting where I stayed for another two years before moving back to Lisbon in 2009, where the profession was almost unknown. After a difficult start in Lisbon, during the credit crunch, in 2011 I had the chance of winning a competition that made me travel the world in search of lighting installations. This also gave me the opportunity of meeting architects and raise awareness within the local industry. 10 years later I’m proud to say that I’ve established my own company, Synapse, and I started working with some of the largest and most recognised architectural practices in Lisbon. JM: I’ve worked for different companies in Berlin and London, which were extraordinary experiences, both professional and personal. In larger companies like Lichtvision and Arup I learned about the latitude of our profession, that you can do so many things within lighting and you can reach so many people with your work. While working with Marci Song at Seam Design and living in London, I was reassured of the importance of design and our contribution to people’s lives, when we create a certain environment or atmosphere with lighting. My career is an important part of life, moving around, experiencing, keeping my eyes open and trying to respond the best that I can to the opportunities that cross my path. How did the two of you meet and begin working together? PR: We met in London, in a “Configuring Light” workshop in 2014, after knowing of each other and exchanging some emails (there were not many Portuguese lighting designers back then). Through many great conversations and sharing of professional experiences, we understood that we agreed on lots of subjects and had very compatible design backgrounds. It was a connection that got stronger very naturally. In 2019, when Joana moved back to Portugal, Synapse had a lot of work going on, as the country was booming with tourism and new investments, and I asked Joana to jump in and help out.


When was the decision taken to officially merge Synapse into a new company? JM: After working for nearly a year together in outstanding projects such as Convento do Beato and a number of high-end hotels, it made sense to officially join forces and we decided to merge our companies. Why did you decide to create a brand new practice? PR: When we merged our companies, the issue was raised on whether to keep the name Synapse or start a new brand. We thought it made sense to open a new chapter for both of us - Joana for leaving Germany and her sole trader company and me for starting a new venture, with a larger structure and a business partner. What would you say is the design philosophy for Filamento? JM: Filamento is an independent lighting design practice – in some countries this is still not very common, particularly in Portugal. In our projects we are interested in providing the best design, technical and sustainable solution to our client, and we believe the only way to achieve this is to stay independent and work closely with the design team. Due to our architectural background, we are mindful of how light can reveal and uphold the built environment, its conceptual form and support its function. We believe each project is unique and that lighting can have a great impact within architecture and the people that use these spaces. Do you have a particular area of specialism? PR: Actually no, even though, due to the current market, we have been working a lot in hospitality and corporate office projects. Due to our past experiences, we have a strong interest in cities, the public realm and exterior lighting projects as well. What are your aspirations for Filamento? What do you hope to bring to the lighting world? PR: We would like Filamento to be recognised by the quality of our designs and continue to be involved in landmark projects, with extraordinary design teams that keep challenging us to come up with innovative solutions. Our wish is that the practice provides opportunities for us and the team to learn and grow as designers, in the long term. We also hope to play a role in developing a lighting design culture in Portugal, by bringing our international experience here and raising awareness on the impact of light in the built environment. What do you think the future holds for the lighting industry? JM: The lighting design community has been showing an extraordinary capability to connect in the digital world. Especially during this pandemic, we all realised that remote work and interaction within our profession can be very successful. We see this as an opportunity for smaller practices to work internationally and for some smaller communities to open up to the global market. For quite a long time, lighting design in Europe was centred mostly in Germany and the UK - we believe this is starting to change, which can enrich the lighting industry long term.



Designer Clothing After receiving more than 200 submissions, Women in Lighting and its panel of judges has selected the five winning entries for its T-shirt design competition. Sharon Stammers tells us more.


here has been a massive rise in

messages, and to achieve this we launched a

Lumenarch in New York. We also - shock

Whether its #LetThereBeLight,

originally designed to be a basic

lighting designer and cofounder of Lighting

inspirational light images, or our very own

world’s most ubiquitous fashion item has

Luxemozione in Italy.

1000 people gathered to share knowledge,

are a great barometer of social change. They

is fundamentally about equality and working

online collaborative activities. flooding Linkedin with

[d]arc room livestream, where more than

there is no doubt that the fact that we can no longer physically come together means we

T-shirt design competition. The T-shirt was undergarment. But over the years, the

become a powerful political weapon. T-shirts can shock, outrage, unite and challenge the

status quo. They can also help to disseminate

horror - asked a man: Giacomo Rossi,

Design Team and light blogger/founder of

We asked a man because Women in Lighting side by side, and to this end are delighted to see many entries in the competition from

are looking for ways to participate in virtual

messages around the world.

male WiL supporters.

wider community.

their creativity and create a special WiL

the judges are seen here. They are from

community, light uplifts us, light inspires us

community. Using the themes of equality,

Damon, Alex Bourganou, Hannah Moore and

initiatives and to feel like we belong to a

We can see through these initiatives that as a

We asked the WiL community to express T-shirt that shared the values of our

The five winning designs selected by

designers Rolands Popenkovs, Michela

and light can bring us together.

empowerment, inspiration and light, we

Giorgia Rossi.

series of mini-interviews on the WiL website

competition. More than 200 of you did and

T-shirts and housed on our very own WiL

After the success of the WiL in Lockdown

- which helped WiL and WiL supporters feel a sense of solidarity with others around the

invited people to submit a design for this

all entries can be seen on the website - there is a truly international spread with designs

These designs will be made into actual

T-shirt shop. Alongside these winners is a ‘wildcard’ winner chosen via social media

world, we launched a new idea. This one was

from 37 countries and a mixture of hand

that will join them on the website after

seen a lot. Be it Covid scariness, positive


choose from in total.

based upon messaging - of which 2020 has

neighbourly encouragement or serious Black

Lives Matter messaging, it’s incredible to see the power of a phrase or single image and how it can enable global solidarity.

Women in Lighting wanted to join in this

global phenomena by sharing our positive


and digitally drawn images and graphic

We selected three judges to help us narrow it down to a winning five. We asked world

renowned light artist and queen of colour Liz

West from the UK, Yishan Zhuang, upcoming lighting designer and visual artist -

originally from Beijing but now based at

voting finishes so there will be six designs to Giacomo Rossi said of the competition: “The WiL T-shirt design competition represents an outstanding opportunity to share and disseminate the concept of equality and

emancipation, the basis of the Women in Lighting project. We received numerous

women in lighting




submissions: a sign of great interest in this

possibility of benefitting someone through

which were able to best highlight both the

“Sharon, Martin and Katia always put such

in Lighting.”

and authenticity, while delivering layers of

looking at all the (many) entries for the

T-shirts and wearing them with pride.”

topic. I positively evaluated the designs

competition goals and the values of Women Liz West added: “I thoroughly enjoyed

Women In Lighting T-shirt competition. The ones that made me laugh out loud

one of the Light Reach projects.

thought into the project’s communication inspiration. I look forward to ordering my Yishan Zhuang concluded: “An everyday

object as simple as just a T-shirt could help

or made me wish I’d thought of were of

convey your deepest principles, and pass the

conveying your creativity, intelligence and

Any profits from the sale of these T-shirts

look forward to seeing the winner.”

Light Reach is a solar lighting initiative by

particular merit. Thank you to everyone for wit. Congratulations to those selected. I shall

light to people around you.”

will go to the US-based charity Light Reach.

Sharon Maghnagi of formalighting

lighting think-tank PhoScope, designed

competition, and the calibre of entries.

and play, and to boost the wellbeing

was delighted with the interest in the

She said: “The community’s engagement and participation in this competition

to leapfrog over utility grids to light work and economic growth of underserved

communities worldwide. Light Reach is also

shows WiL’s resilience and passion for

working with the emergency project: Light

inspiration has had its limits and quality of

Please help us support this initiative by

creativity, especially during a time where

life significantly altered. This competition offered the WiL network a design

opportunity, a connection to three talented judges from different countries (who

The winning T-shirt designs: 1. Light Each Other Up, by Alex Bourganou 2. WiL Ripples by Rolands Popenkovs 3. Be The Light by Giorgia Rossi 4. Different Bulbs. Different Lights. Different Women by Michela Damon 5. Full Spectrum by Hannah Poore

for Lebanon.

buying a T-shirt.

generously gave their time to consider how each design serves the movement) and the


A Beautiful Friendship This summer, arc hosted a [d]arc thoughts panel to discuss the new partnership between Lite and Meteor Lighting.


arlier this year, Lite’s Architectural Lighting

division entered into a partnership agreement with Meteor Lighting in a move that will see

Lite bring the US manufacturer’s products to the UK market.

Formed in 2001, Lite became a value-added

partner with Signify (formerly Philips Lighting)

in 2008, and has traditionally been more focused towards exterior architectural lighting. However, in recent years, its architectural

offering has grown, with an increased focus on interior architectural

solutions, and as part of this expansion the “LED Solutions Provider” has partnered with a number of lighting manufacturers such as Pharos, Color Kinetics and Lam32 to provide complete turnkey solutions for the architectural lighting design market.

The latest addition to this offering, Meteor Lighting, was founded

in California in 2008 with an approach centred around what it calls “Advanced High Ceilings”, providing high-end architectural and decorative fixtures to the lighting market.

To mark the new partnership, arc magazine’s Matt Waring hosted a

[d]arc thoughts panel discussion with Andrew Milestone, Director of

Architectural Lighting at Lite, and Arjan Stevens, Senior Regional Sales Manager at Meteor, alongside Lauren Blow, Senior Lighting Designer

at Arup, in which the panel discussed the new agreement, and some of the landmark projects that the two brands have worked on.

Speaking on the panel, Milestone explained what drew the

company towards Meteor: “As the architectural side of Lite has

grown, we’re looking to work with new partners with products that are differentiated in the market. With the Meteor brand, we saw

something that fitted very much into what we can offer in terms of application and support to the lighting design community.”

The move comes as Meteor, which has primarily been built around

US-based projects, looks to expand its offering into the international market. Stevens explained: “Lately, we’ve noticed a lot more people coming to us with international projects, and as a result of that, we were seeking some partners that could help us expand.”

“We’re always trying to work in areas where we can bring some added value to projects, not just with products, but also in installation and

controls, working with designers to bring the whole thing together,” The full panel discussion is available to view on arc tv at


Milestone continued. “And that’s where Meteor is a very exciting company for us to be working with, in the way that they view and






1. Meteor Lighting selected its Tetriss fixtures to illuminate the 62ft living wall of the Amazon Spheres in Seattle, USA. 2. Arup worked closely with Lite’s Architectural Lighting division to illuminate the façade of Liverpool’s iconic Royal Liver Building. 3. Lite developed special cable routes for Arup to effectively illuminate the large windows of the Liver Building’s ground floor, keeping all cabling hidden from view. 4. As the lighting for the living wall of the Amazon Spheres needed to be very uniform, Meteor made a custom bracket for its fixtures, enabling a higher degree of rotation to create a more evenly lit finish. (Royal Liver Building Pics: Courtesy of Arup / Amazon Spheres Pics: Courtesy of Meteor Lighting)

design products for high end projects.”

“We used a Meteor fixture in that structure to light up more than

Liver Building in Liverpool. Here, Lite worked alongside lighting

something that we’re still really proud of,” he said.

building on the city’s waterfront.

the Amazon team to fully understand the project’s needs, and from

with Lite: “We were appointed by the CBRE back in February 2019,

fixture at 26,000 lumens. These were installed at various levels, but

One such high end project recently completed by Lite is the Royal designers at Arup on the new façade lighting for the landmark

Blow explained more about the project and the process of working and their vision was to highlight all of the historical features of the building and enliven the surrounding area. There was a lot

25,000 plants in a 62ft living wall. This was a really fun project and “We worked together with the architects, NBBJ, a local agency, and those talks and some calculations, we selected our modular Tetriss

we needed to get the lighting to be very uniform, so they needed to

have a higher degree of rotation. We made a custom bracket for this

of pressure to get it right and do the building and the people of

project, to get uniform light everywhere we wanted it.

“We had a six-month turnaround from us being appointed to do

was finished. It was just buzzing with employees, and we were able to

solution. Lite offered the products that gave us the quality of lighting

think differently. Working with our local partners, the architects,

Liverpool justice.

the concepts to the big switch on, so we really wanted a full turnkey

“Last year, I was actually fortunate enough to visit the site when it

help bring that botanical feeling to them, helping them to work and

that we really wanted. There was a tender process and a selection

the Amazon team and the plant team, we were able to be part of this

all of the mock-up processes and going above and beyond what they

Although the partnership is still in its early days, both Milestone

process, but Lite met all of the criteria and they were really helpful in had to do in terms of helping us get the right lit effect.”

“It was good fun to look back on, but it was pressurised,” Milestone

great project.”

and Stevens are looking forward to working together on new projects across the UK.

added. “You’ve got a very iconic building in the middle of social media,

“There’s plenty of projects out there, so we’re really looking to get

But working on a project like this is a team effort. You’ve got to come

time,” Milestone said, while Stevens added: “From our side, we’re

in an area where everybody goes – it’s a real heartland in the city.

together, because of the time, the budgets and practicalities of being

able to work in a working building. But it all came together really well – we’re really pleased and we’re glad that Lauren is as well.”

While the Liver Building is a landmark project for the architectural division of Lite, Stevens was keen to share an iconic project from Meteor’s portfolio – the Amazon Spheres in Seattle.

out into the market as much as we can at the moment. It’s a busy

very excited to bring our brand there and show what we have to offer to the UK market as a US brand to come in and hopefully excite a lot of people with what we can offer.”


PROJECT DETAILS The Orbit Urban Office Campus, Athens, Greece Client/Project Manager: Noval Property Lighting Design: Danilof light + visual perception studio, Greece Architect: Lianou Chalvatzis Architects, Greece; Vikelas Architects, Greece Landscape Design: Ecoscapes, Greece Photography: Pygmalion Karatzas



Celestial Orbit With bold façade illumination from Danilof light + visual perception studio, the newly-opened Orbit Urban Office Campus is the latest marvel in modern workspace design.


pened in August of this year, the Orbit Urban Office Campus in

Athens, Greece, exemplifies modern workspace design. With its glowing, undulating façade drawing you in, the clean, organic

design is complemented by a crisp, homogenous lighting scheme

that acts as a celebration of the architectural form.

Commissioned by Noval Property, project managers and directors for the

project, and designed by Lianou Chalvatzis Architects and Vikelas Architects, the low-rise building stands nine storeys tall, with six additional basement

levels. Local lighting designer Thanos Danilof, Studio Director of Danilof light + visual perception studio, was tasked with illuminating the new building. Danilof explained further how his studio was selected for this particular

project: “As an Athens-based lighting design consultancy, we have worked with the same client in other smaller projects at various stages in the past.

“Since this project was aiming for a unique nocturnal image, and at the same time for a LEED certificate, the developers decided early on that they have to

appoint a dedicated lighting designer that will work creatively and technically with all management, design and construction teams. We were involved from

the concept design stage, all the way through to technical design, tender stage and construction support.”

Once brought on board, Danilof was given a clear brief from the clients to create “a nocturnal city landmark that at the same time achieves LEED

certification and will be completed within a reasonable lighting budget for a project of this scale”.



“A continuous band of cool white light picks out the distinctive shapes of the building, wraps around it and dissolves into darkness and ambient luminance.” Thanos Danilof, Danilof light + visual perception studio

“The architects were concerned on how the characteristic shape of the façade they designed, the continuity of its form, the sharpness

and the curvilinearity are going to be perceptible at night,” Danilof added.

As such, he and his design studio decided that its lighting design concept would be to make the façade appear “self-luminous:

homogenous and clear”, with a pure white illumination that would

allow the structural form of the building to “shimmer” over the dark, reflective glazing. “A continuous band of cool white light picks out

the distinctive shape of the building, wraps around it and dissolves into darkness and ambient luminance,” Danilof explained.

As the concept grew and evolved, Danilof decided that the interior lift lobby areas – the visible “spine” of the building – would be revealed in a welcoming, warmer tone. “At ground level, warm light would

delineate the sculptural qualities of the landscape, while cool white light would accentuate the olive trees,” he continued.

“A subtle note would also be introduced by the delicate shadows cast by façade plants on each level, that would move gently as they get caught in the night breeze.”

Danilof decided very early on to specify lighting at 4000K MacAdam step 2 for the façade illumination, for a strict, pure white

consistency, while all interior areas were kept at 3000K or less in

order to have a colour contrast at all times. Further to this, interior

office lighting has been set to automatically switch off after business hours, and the dark reflective glazing contributes to an even higher

contrast while allowing for visually interesting reflections. Because of these measures, with CCT contrast, the lighting designers didn’t

need to use higher lighting levels in order to bring out the form of the façade and visually separate the interior volume and the glazing.

However, as the studio approached the detailed design stage, it faced Each stratum of the façade contains a continuous planter for flowers and other organics that are partly illuminated, casting complex shadows onto the soffit above.


some challenges, as Danilof explained: “Ideally, as a design

principle, in order to have an even, homogenous wash on the façade, we wanted to keep the same projection geometry throughout the





building. Obviously this was not feasible

Greek partner Luce Ataliotis, who engineered and

bespoke luminaire housing structure of detailed

these specifications.

illuminate the first white cladding at the same

Physics, explained further how the manufacturer

areas necessitated custom long throw, short throw

the quality of the white light was of paramount

result of the standard projection.

“The horizontal strata were to be illuminated from

We started with detailed photometric calculations

4000K. This created a set of critical parameters

bricolage. We built a 1:1 section detail out of

white is the most sensitive colour temperature to

projection geometry optics with various luminaire

temperature or hue is obvious, and illuminating a

collaborate with the sustainability consultants in


criteria, and the electrical engineers to conclude on

curved façade, Illumination Physics developed a

By harmonising aesthetics, functionality and

six-LED, 300mm version of its Linear Graze Mono,

Danilof Studio aimed to seamlessly integrate

“The linear light fixtures that would be used were

building, while creating an environment with high

reasons. They could not be continuous due to the

and light pollution. Towards that end, the studio

be perfectly overlaid to produce a homogenous

lighting design specifications for bespoke

The manufacturers developed numerous

chromaticity characteristics.

conducted simulating the precise distances and

Studio worked with Illumination Physics and its

on-site. They then took these prototypes on-site

everywhere, therefore at level 0 we asked for a

delivered the bespoke lighting systems to meet

dimensions attached to the glazing. This would

Peter Kemp, Co-Founding Partner of Illumination

projection distance as at all other levels. Other

developed these bespoke systems: “Consistency of

or in-ground fixtures that would match the visual

importance to Danilof.

“At this point, we did a lot of testing at the studio.

below: curved white surfaces lit in neutral white at

and 3D models, and then we decided to do a bit of

requiring extreme level of care in binning. Neutral

cardboard and double-checked the standard

work with, because the slightest variation in colour

samples. At the same time, we had to constantly

perfectly white surface is a sure way to reveal any

order to keep everything in check with LEED

In order to create an even illumination around the

feasible wiring solutions.”

new family of linear light fixtures, based on a

sustainability into one coherent lighting solution,

DC, CV and DMX.

lighting within the architectural fabric of the

to be as physically small as possible for aesthetic

levels of visual comfort that prevents light spill

curves, and therefore the overlapping beams must

developed architectural lighting details and

result,” Kemp explained.

luminaires with special optics, housing and light

prototypes for factory mock-ups, while tests were

In doing so, during the construction stage, Danilof

projection surfaces that would be encountered



1. The inclusion of warm white linear lines of light, courtesy of LED Linear’s VarioLED fixtures, delineates the sculptural qualities of the landscape, while cool white light accentuates the olive trees. 2. Further fixtures from Flos and L&L Luce&Light create additional moments of intrigue in the landscaped garden areas. 3. Danilof Studio worked with Illumination Physics on the striking façade lighting, with the manufacturers developing custom linear fixtures to provide a crisp, even wash of light. 4. In order to get the perfect finish, Danilof Studio developed detailed photometric calculations in 3D models, and carried out extensive lighting mock-ups, all the way through from design concept to construction.





L&L_Arc_10 2020.indd 1




30/09/20 11:15





1. To achieve the maximum visual comfort in the interior lift lobby areas, all luminaires specified were either concealed or had dark light optics. 2. Danilof Studio carried out very detailed calculations examining optics, placing and dimming levels, resulting in tight luminaire specifications in the tender documents, to ensure that there was no unwanted light spill or light pollution emanating from the façade lighting.



for final testing, after which three custom

Studio’s work with Illumination Physics, is

different lengths and wattages – were

to the eventual success of the project.

These custom-developed fixtures cast an even

small, business or otherwise. It is how we

combined with the attention to detail of

“We were lucky in this project to collaborate

calculations in 3D models, and a consistent

diverse teams during both the design and

design to construction, create a crisp,

Continuing this collaboration, Danilof added

curving façade.

looking to help with the maintenance of the

were numerous other considerations for the

fade with time. “We are preparing a lighting

illuminating the abundant plant life.

meetings with the company that won the

continuous planter for flowers and other

this is one of the most challenging parts of the

complex shadows on the soffit above. This

Going the extra mile in this way is a testament

softening the hard, modern lines of the

lighting design for the Orbit – a design in


organically to the unique shape and context of

include discreetly the plant life into the

Orbit’s flowing exterior, in which the lighting

“This required careful coordination during the

further enhances this new landmark, and what

the landscape architects and designers.”

modern workspace design.

variants of the new fixtures – each with

something that Danilof believes was integral

specified, alongside an in-ground version.

“Collaboration is key in all projects, big or

wash of light on the façade, which, when

evolve individually and collectively,” he said.

Danilof Studio that saw detailed photometric

on a daily basis with so many disciplines and

use of mock-ups all the way from concept

construction stage.”

homogenous illumination along the Orbit’s

that, on completion of the project, he is

Alongside the striking façade lighting, there

building, to ensure that the lighting doesn’t

lighting designers – notably in carefully

maintenance manual, and we will be having

Each stratum of the façade contains a

maintenance contract of the building. In a way

organics that are partly illuminated, casting


inclusion of plant life was seen as a means of

to how pleased Danilof is with the final

architecture – a fusion of organic and

which the lighting responds perfectly and

“It was a part of our lighting concept to

the design. The sharp, even illumination to the

nocturnal image of the façade,” Danilof said.

is seamlessly integrated into the architecture,

technical design and construction stage with

will no doubt become a new monument to

This collaboration with the landscape

architects and designers, as well as Danilof


lighting specified Bega 88262 DALI ETC Response Mk2 ETC Union Mosaic MSC4 Controller Flos A-Round 240 Flos Light Shadow iGuzzini E882 iGuzzini Laser Blade In Out iGuzzini Laser Blade XL iGuzzini Laser Blade XS Illumination Physics IP linear series Illumination Physics Custom inground fixtures L&L Luce&Light Ginko 1.0 L&L Luce&Light Ginko 2.0 LED Linear VarioLED Flex Hydra LED Linear VarioLED Flex Phobos



Dark Source Stories created by Kerem Asfuroglu


Lighting The Way WiL Ambassador for Poland, Asst. Prof. Dr. Karolina Zielinska-Dabkowska IALD, IES, CIE, MSLL, RIBA, reflects on her lighting career, as a designer, researcher, educator and mentor.


lthough Asst. Prof. Dr. Karolina Zielinska-

Dabkowska is now recognised as one of the primary educators and trend setters in the

lighting design world, her career in lighting design almost didn’t happen.

“I never planned a career in lighting design,

it just evolved on its own,” she said. “I always

wanted to be an architect, and graduated with two degrees in

Architecture. Until 2000, I was unaware that lighting design existed as a profession.”

Zielinska-Dabkowska first ‘discovered’ lighting design while studying architecture in Germany, where she noticed that in

Hildesheim, at the HAWK University of Applied Sciences and Art,

you could study architectural lighting design – the first such lighting programme in Europe.

Although she has some memories of playing with candlelight

as a little girl growing up in Poland, it wasn’t until 2002, while

participating in a lighting design workshop in Alingsås, Sweden

with Jonathan Speirs and Mark Major, that Zielinska-Dabkowska

realised lighting design was the career she wanted to pursue. “I was immediately hooked, as I always felt my architectural design was

incomplete, that something important was missing. That special something turned out to be light.”

Zielinska-Dabkowska followed this interest in light and began

working for L-Plan Lighting in Berlin in 2002. It was here where she began to understand the true potential of lighting design.

“While working in Berlin on the illumination of the new Munich

airport terminal, I realised for the first time, as a building architect for many years, that I could only work on one large project at a

time. Whereas, a lighting designer is fortunate enough to work on

many projects concurrently because these projects are at different

stages of development and sometimes they are located in different places around the world,” she said. “It could be an urban lighting

masterplan, the illumination of an exterior façade, the interior of



women in lighting

1. Site sensitive Heritage Crane illumination, as part of the Porto Montenegro lighting masterplan, designed to support the UNESCO Heritage Kotor Bay environment with lighting scene setting and minimal illumination after midnight (Pic: Paul Traynor) 2. In 2015, Zielinska-Dabkowska was awarded the international Professional Lighting Design Recognition Award in the category “Research” for her work and scientific research about the non-visual effects of light on humans, flora and fauna. (Pic: Via Verlag/PLDC 2015)



the building, or elements of landscape architecture, there are many

under visionary individuals. Also, each company has a specific design

Upon graduating in Architectural Engineering at HAWK in

highly useful.”


Hildesheim in 2004, she left for New York City to work for Fisher Marantz Stone.

“My departure to New York to gain experience in one of the oldest lighting design practices in the world, and to work with a great

international team on many world-famous projects, convinced me

that this was the professional path to follow,” she explained. “Light gives the opportunity to change architecture, to visually modify its form, material, etc.”

She relocated again in 2005, moving back to Europe to start a new

role as Senior Lighting Designer at Speirs + Major’s London office, where she worked on numerous projects centred around external illumination. “This is also where my knowledge about urban

lighting masterplans (ULM) developed, and thanks to this valuable

experience, enabled me to contribute a chapter titled “Urban Lighting

Masterplan – origins, definitions, methodologies and collaborations”, for a RIBA book called Urban Lighting for People: Evidence-Based

Lighting Design for the Built Environment,” she explained.

Then, after a chance encounter during a flight in 2007, ZielinskaDabkowska was offered an interesting job opportunity at Light

Bureau by its founder, Paul Traynor. “The company was redesigning the previous lighting proposal for the new Main NATO HQ in

Brussels, and I was going to be fully responsible for this, and other exciting projects.”

Six years later, due to family reasons, she relocated to Switzerland in 2013, where she started working for Reflexion, and after obtaining

her PhD degree in Technical Sciences with honours from the Faculty of Architecture at Gdansk University of Technology (GUT), Poland, she founded designs4people [d4p].

With a CV that has seen her work for three of the largest, most wellknown lighting design practices in the world, Zielinska-Dabkowska believes she learned a great deal before setting up her own studio.

“I decided to join these companies to know what makes them stand out and discover why they’re so unique and different,” she said. “I soon realised that the creative designers of these companies work


approach and process in place, so combining these experiences was Zielinska-Dabkowska elaborated on how these experiences led to a shift of ambition in her lighting design career: “At first, I was only interested in creating beautiful spaces with the help of lighting

and the expression of my creativity, but it didn’t take long before I understood there was much more to realise,” she said.

“My vision for the future soon became focused on redefining what it

meant to design healthy lighting for humans and built environments, via education, research and policy making. I believe we are just at

the beginning of a long and winding road. In today’s world, I think

individuality equates to a designer’s ego, which is not my aim, rather, as things become more complex in terms of knowledge inputs,

the solution involves the creation of intradisciplinary teams and teamwork.”

With this in mind, Zielinska-Dabkowska explained in more detail

the design philosophy for her consultancy, designs4people: “We no longer solely design illumination just to create memorable, highly aesthetic spaces during the night. Our approach is unique and it’s centred on the user and his/her habitable environment.

“This involves basing our designs on the newest research knowledge in the fields of astronomy, biology, medicine, ecology, etc, whilst also applying practical experience. “Essentially, I am a problem

solver. My love for integrated lighting design involves a hands-on

process, lighting mock-ups and tests onsite in order to find the best possible lighting answers. A professional lighting designer with my perspective and background, has a responsibility and moral

obligation to use lighting with far more care, caution and restraint.

More recently, there’s been an increasing number of municipalities seeking my advice on how to create healthy, environmentally

conscious nighttime built environments that exist in harmony with architecture, urban planning and the natural landscape. There’s

growing awareness now, of the value and importance of providing a safer environment for humans, flora and fauna by significantly improving the way artificial lighting is applied both in urban and rural areas, and particularly, in places recognised as ecologically


significant, or where there are vulnerable species.”

for the Polytechnic University of Catalonia (UPC) in Barcelona,

Dabkowska believes she has been privileged to work on a number

University of Applied Sciences: Technology, Business and Design in

Alongside the aforementioned NATO HQ in Brussels, Zielinskaof high-profile, well known projects. Some examples cited by

Zielinska-Dabkowska include the Burj Khalifa in Dubai and the Tribute in Light Memorial art installation in New York while at

Fisher Marantz Stone, the lighting vision for King’s Cross Lighting masterplan, the external illumination of the Granary Building and Granary Square in London and the external lighting for the new

astronomical observatory cone at the Royal Observatory Greenwich

while at Speirs & Major, and the urban lighting masterplan for Porto

Montenegro, which includes the illumination of an historic crane, for Light Bureau. “One thing worth mentioning, is that these projects always involved teamwork,” she added.

While she has worked for some of the major lighting design studios across her career, Zielinska-Dabkowska cited Lesley Wheel as her

lighting hero, one of the founders, and the only female founder of the IALD. She also has a strong admiration for her friend Anne Bureau.

“Anne has not only established herself as a female lighting designer over the last 25 years, but she’s also capable of handling large scale

projects almost on her own, and on top of that, she has a family with two children, enjoys what she does and is an authentic person. I do not know how she does it all!”

Throughout her lighting design career, education has also played a

key role for Zielinska-Dabkowska, both in her own studies, but also through her work as a mentor and teacher. This is something she feels came naturally to her when she was young. “I seem to have

teaching in my blood,” she said. “Very early on, I mentored people in the lighting design offices I worked for. Often, we had students who would intern with the company and would stay during their

Master’s thesis semester, and I would mentor and supervise their Master’s thesis.

“This developed gradually over the years while I was a guest lecturer


and also during my time as a senior lecturer at Hochschule Wismar Germany for three years, I oversaw Master’s and PhD students.”

More recently, in 2018, Zielinska-Dabkowska was offered a part-time Assistant Professor position at GUT, where she founded the research lighting laboratory, GUT LightLab, which conducts research on various aspects of light and lighting in the built environment. Now, she is currently involved in the new Erasmus+Strategic

Partnership project called Light4Health – Health Research-Based Innovative Open Educational Resources and Tools for Lighting Design Students and Professionals. “The team is developing a

novel educational course to teach health research methods and

findings to lighting designers at the graduate level,” she explained. “I am especially excited as Prof. Dr. George Brainard and his lab are involved in this work.”

Over the last 15 years, since her early days in the profession,

Zielinska-Dabkowska has noticed a marked improvement in the level of education on offer for prospective lighting designers.

“Today, it’s much easier to deepen your knowledge about lighting design than when I began,” she said. “Quality education is now

offered in countries such as the UK, US, Germany, Sweden, Denmark and Spain. Interestingly, each of the programmes have a slightly

different focus point, which I think is necessary. I love the variety.” “While I was working for Hochschule Wismar as a senior lecturer, I often had requests from my colleagues, who were principals of top

international lighting design consultancies, wanting recommended

students for internships. After finishing their obligatory internship, many of my students were given a great job position before they even graduated.”

She continued that this increased level of educational opportunity only helps to boost the profile of lighting design as a profession –

something she feels could still be enhanced. “Good quality education

women in lighting


“My vision for the future is to redefine what it means to design healthy lighting for humans and built environments.” Asst. Prof. Dr. Karolina Zielinska-Dabkowska


is one of the important pillars of professional

risk, so there may be a tendency to avoid employing

engineers are subject to legal restrictions and

Although she has achieved a great deal throughout

recognition. For example, architects and civil

requirements. As such, they can only be carried out by holders of specific qualifications. Yet,

with lighting design, such credentials remain

unrecognised worldwide. I hope one day soon this will change for the better.”

However, while Zielinska-Dabkowska does believe

there is more recognition of lighting design, thanks

to the greater availability of higher education on the subject, she feels there is still some way to go for it

to be considered an essential service. She explained: “When there is an economic crisis, the first

professionals who are mistakenly, often seen as just ‘nice to have’ and ‘unnecessary’ on a project, and

therefore, easy to get rid of, are lighting designers and landscape architects.

“Today, I do see a trend of some of the large

engineering companies such as Arup, WSP, AFRY

and Buro Happold, offering lighting design in their services. With the rise in complexity, budgets, and also the scale of the latest architectural projects,

clients increasingly prefer to deal with one company, i.e. a multidisciplinary consultancy that can provide all the required services under one roof. This way of

appointing the design team is perceived as creating a better flow of communication between the different disciplines, which can facilitate faster solutions to problems. Moreover, responsibility is focused on

one entity. The disadvantage with this approach,

is that it can at times, prevent the introduction of

innovative solutions to the project in order to avert

smaller or less known new outlets.”

her lighting design career, Zielinska-Dabkowska

revealed it was a struggle for her to be to where she is in now. In her early days as a young woman she “had to fight to get to my current position. I wish I had a mentor back then but I did not,” she said.

“Most often, I was the only female and the youngest person on the project team. Many times, I also had

1. The Main Council Chamber of the NATO HQ building in Brussels. The custom-made colour changing chandelier was created when LEDs were not commonly used by lighting designers (Pic: NATO/Marc Detiffe) 2. Zielinska-Dabkowska was a member of the Scientific and Organising Committees of Light Symposium Wismar 2016 (Pic: HSW/G. Hundt) 3. Subtle illumination to the Granary Square, with its Grade II listed Granary Building, shows its distinct identity at night in the heart of London’s King’s Cross development (Pic: Argent/John Sturrock)

the impression I was denied the same entry level

on a project as my colleagues simply because I was

a woman, and that I had to first prove my skills and competence. This has changed now as I have more

grey hair [she laughs], or perhaps there has been a slow shift in attitudes of investors or architects?!”

While the situation is improving for her personally,

Zielinska-Dabkowska still has some frank concerns regarding inequality within the lighting design field, both in terms of pay, and opportunities

for career progression. “I remember once in the

past, discovering my work colleague was earning 10% more than I was, even though we shared the

same position and I was dealing with international projects, which involved a lot of travel,” she said.

“When I questioned my boss about this discrepancy

the answer was “you don’t have kids.” That seemed grossly unfair.

“From discussions with many of my colleagues,

who are male owners of lighting practices, there

appears to be some hesitation in hiring a woman of reproductive age. What’s preferred, are graduates

who still want to have a career, who can work hard


women in lighting

1. The lighting design workshop in Alingsås, Sweden in 2002 where, working with Jonathan Speirs and Mark Major, Zielinska-Dabkowska realised that lighting design was the career that she wanted to pursue. (Pic: Patrick Gunnar Helin/Alingsås Kommun) 2. In her role as an educator and researcher, Zielinska-Dabkowska has spoken at a number of lighting design conferences around the world, including IALD Enlighten Europe in 2014 (pictured). (Pic: IALD)



and believe it’s too early to settle down and have a family. Sadly, for

design”. It’s unfeasible to compete with this.”

their contracts are terminated. This is unjust in our society and

increased impetus on the importance of cross-disciplinary

those who do decide to have children, after maternity leave, often

should change in our field as well. A real-life example, is of a good

friend who was senior lighting designer in a large company. When

her maternity leave ended, she was asked to depart after ten years of employment with that business.”

“This situation has impacted me personally as well. Throughout my career, due to the demands of my profession and the many ever-

present expectations, the timing was never right to settle down and have a family of my own. If you were to ask me if I regret anything

about my career, my answer is a resounding yes. I would have loved to have had children, but it’s impossible to turn back the clock.”

While her story is heartbreaking, it’s both striking and refreshing

to see Zielinska-Dabkowska talk so candidly about what can be an

uncomfortable topic, but such inequality is one of the core reasons

that Women in Lighting (WiL) was established. Zielinska-Dabkowska has been involved with the initiative, acting as the Women in Lighting Ambassador for Poland, both to raise the profile for

women in lighting design, and also to establish the lighting design profession in Poland.

“It is very hard to work here – I am the only IALD professional

member in the country so far. It’s also challenging being a woman lighting designer. Most of my competitors here provide lighting

design services for free by selling lighting equipment to cover their costs,” she explained.

“We will be unable to establish an independent lighting design

profession in Poland if such procedures remain in place. Often,

projects are lost as my fee proposal is considered too expensive.

The general attitude of architects also needs to change. They expect between 10-25% of the lighting equipment budget price to be paid

to them by lighting suppliers who also provide so-called “lighting


Looking forward, Zielinska-Dabkowska would like to see an research – something she feels would both improve the stature and recognition of lighting design as a profession, while also leading to an improvement in the health and wellbeing of both humans and

wildlife. “The only way to establish lighting design as a recognised profession is to ensure a transdisciplinary, design-led research

approach is established, in order to generate strategies that support

both the health and life quality of humans and wildlife,” she asserted. “We need to become experts in our own right and be paid for this

complex knowledge as well as the proper methods to apply it. For us

as practitioners, it’s crucial to gain new knowledge and an appropriate integration of skills, methods, data, and perspectives from different scientific fields connected to health, wellbeing and biology.”

Since 2014, Zielinska-Dabkowska’s has been active on the Scientific and Organising Committees of the Light Symposium Wismar,

Germany, which is a platform to connect research and practice. She’s also been involved in public policy making connected to lighting and light pollution and is on the Technical Committees of the CIE, IES

and IDA, which all work on the development and establishment of lighting standards and/or guidelines.

This means that Zielinska-Dabkowska’s role as an educator within the lighting profession shows no sign of slowing down, and she concluded that her role as a mentor and teacher is one of her

main sources of inspiration. “I love to mentor my Master’s and

PhD students on light and lighting,” she said. “My students and

colleagues who have developed their skills under my tutorage and are recognised in the lighting design field, provide endless inspiration and are my ultimate lighting design qualifications.”


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Division of Distinction As the Lighting Design Division of the KTH Royal Institute of Technology in Stockholm Sweden celebrates its 20th anniversary, arc looks back on the history of the Division. 064


Rodrigo Muro

Federico Favero

Foteini Kyriakidou


idely considered to be one of the leading

Muro’s own Master’s thesis was centred on the need to develop

design in the world, the Lighting Design

profession, so it was a natural move for him to return to KTH in

Technology in Stockholm, Sweden, this

becoming the Programme Director last year. He explained further

Founded by Jan and Agneta Ejhed in 2000,

is diverse; besides being the Programme Director, I am course

higher education facilities for lighting

new theory, with education being at the core of the lighting design

Division of KTH Royal Institute of

an educational role, first as a teacher, then a course leader, before

year celebrates itsw 20th anniversary.

what this role entails: “My role at the Lighting Design Division

the division, formerly known as the KTH

responsible, an examiner, lecturer, tutor and I also do some research.

Lighting Laboratory and still colloquially referred to as the Lighting

So it is difficult to separate one activity from the other,” he said.

level education in lighting design in their native Sweden. The

planning to face-to-face tutoring of students’ projects; evaluating

surrounding lighting design in a more advanced, deeper level, and in

course; evaluating each course to see how it works and how we can

The origin of this educational offering was a series of independent

programme into KTH’s vision; coordinating teachers; coordinating

compiled into an overall Master’s programme – the Architectural

everyday responsibilities. And very importantly, evaluating our

in Swedish, the number of international students expressing interest

every edition.”

Since then, it has become one of the most recognised Master’s

programme comprises five courses, which students go through

around the world to enrol in the course.

criteria of building up knowledge, course after course, with the

Design Division at KTH. He explained further the original vision for

complemented with theory. “So the students test a lot, they see

important to all of us who had the fortune to learn from him,”

“One of the main principles that we have is that students should

knowledge and discussion on the subject, and move from a technical

how light works from experience, and then the theory comes into

the motto of the Lighting Design Division.”

can give you. And when the theory does come, they then understand

completed his own Master’s at the school in 2006, he believes

giving out facts and numbers and theory, it can be difficult to grasp if

become a beacon of the course’s appeal. “That is the signature

The curriculum of the programme addresses different ways of

people from around the world who, later on, will spread the gained

process of the students follows a mix of processes where explicit,

Lab by students and alumni, was created due to a lack of Master’s

“Activities range from the macro to the micro: from programme

Ejheds wanted to change this and engage people in the discussion

the prospects for each admission period; defining content for each

order to do this, an education was needed.

improve it; coordinating with the administration and aligning the

courses with different specialised topics. In 2006, these were later

activities with students, amongst other tasks, are part of the

Lighting Design course. While the independent courses started out

own performance to be able to evolve and improve the course in

meant that the Master’s programme was offered in English.

In its current formation, the Architectural Lighting Design Master’s

offerings in the world, with students continuing to travel from

in one academic year. The education is structured under the

Rodrigo Muro is the current Programme Director of the Lighting

principle to learn by means of first-hand experience, which is then

the programme and how it has grown: “Jan’s figure is extremely

light, they work with light, they feel light,” Muro explained.

he said. “His legacy is to promote a deeper engagement in the

start working with hands-on projects so that they really understand

approach towards a ‘Human Centred Philosophy’. This has become

place afterwards, so that they’re free of the constrictions that theory

Muro has been on the faculty at KTH since 2011, and having

why things happen. We have noticed that sometimes when we start

that the international scope of its students and alumni has

they don’t experience it first. That’s why we have this approach.”

of our education; an international education that brings together

learning under a structured, pedagogical system, and the learning

knowledge and philosophy of the Lighting Lab worldwide.”

implicit and tacit knowledge is attained. Content is distributed under




1. The Architecture School within the KTH main campus, where the Lighting Design Division is currently based (Pic: Rodrigo Muro). 2. KTH Lighting Design Division founder Jan Ejhed leads a lecture (Pic: Rodrigo Muro) 3. Rodrigo Muro and Federico Favero welcome new students on the first day of the Architectural Lighting Design course in 2016. (Pic courtesy of Katia Kolovea) 4. Student Naufal Akariou testing fixtures at the Cloud - one of the principal locations for the Lighting Design Division (Pic courtesy of Katia Kolovea).



four main topics – Light and Humans, Light and Space – Outdoor,

We are very much concerned with understanding light and the effect

course, a degree project, where students combine the theory and

that idea we discuss what and how to design lighting. Lighting design

While the programme has naturally expanded across its 20 year

with the complexity of the architectural process and the dynamic

remain in place, as former Programme Director Federico Favero,

“The role of experience is also vital for us. We cannot conceptualise

and structured,” he said. “But the basic philosophy and goals are the

reconceptualise it, and then observe again what happened. It’s an

technically why they’re lighting a space.

similar to life, which is a continuous process of learning and doing.

architectural space and the interaction between light, people and

and wrong - this approach helps the students to feel safe, which is

understanding of this interaction, which is ever more important for

we are called ‘the lighting family’, we create an atmosphere where it

Favero has been involved with KTH since 2005, when he “came to

“In this frame, at KTH we inspire the students to collaborate more

first full-time employee recruited by Jan and Agneta Ejhed to the

of good teamwork, of process development and not just the final

position of Programme Director, before stepping down to focus solely

and respect for others, and also a reflective approach that shapes

enriching,” he said. “It was my first job in an academic setting, and

Muro added: “Considering that lighting design is a broad profession

of students who were my age or older, with more experience than

their own route, we at KTH have the philosophy to create thinkers

couldn’t have asked for more in that period.”

mean? We promote in the students independence and a self-learning

Division, emphasising the experiential focus discussed by Muro. “Jan

work in a team; with the spirit, skills and will that this requires.

Light and Space – Indoor, and Light and Science, alongside the final

of lighting on people and architecture, only when we have shaped

skills learnt throughout the course in a specific situation.

is a reflective practice that needs to learn continuously to dialogue

history, the core principles instilled by Jan and Agneta Ejhed still

transformation of technology.

explained: “The programme is so immensely more dense, intense

light, we need to experience it, observe it, play with it, recreate it,

same: give the students the tools to understand conceptually and

amazing, never-ending process of discovery that is motivating and

“We provide a methodology to approach the complexity of the

“We provide an open platform for discussion. We don’t talk of right

the environment. I believe we are advancing continuously in the

important to create a sense of trust. This is perhaps one reason why

health and the sustainability of the planet.”

is possible to speak and develop freely.

Sweden to attend a four-month course and never left”, and was the

than compete with each other. We really focus on the importance

Lighting Design Division. In the following years, he progressed to the

product. Hopefully this approach teaches the students humbleness

on his PhD in 2019. “It was wonderful, exciting and overwhelmingly

their design thinking positively.”

at 27 years old I found myself being an assistant teacher of a class

with many different angles and at the end, each student will decide

me and an incredibly varied background from all over the world. I

that can solve and create lighting related solutions. What does this

Favero also expanded on the “philosophy” of the Lighting Design

attitude. This comes hand in hand with cooperation and the ability to

Ejhed’s approach to design education is at the core of our philosophy.

“The whole point is to provide a constructive learning environment,



Paula Bez Cardoso Freelance

KTH Student: 2019-2020 “I think there is no better place to study lighting design than Sweden. The dark winters and almost 24-hour days in summer had a great impact on how I think about light. “The culturally diverse character of my classmates was almost as important as the course itself. I can recall of at least 21 different nationalities in my class. To be in contact with so many ways to see light and the world made this experience much richer.”

Rodrigo Roveratti La Luz Lighting Design

KTH Student: 2005-2006 “I chose KTH due to the lighting culture in Sweden and the high standards and infrastructure of the KTH university. At KTH they teach students to think about lighting as a material, different than at other universities. “I had such a great experience at KTH, with an amazing integration among all the students and professors. It taught me how to think about lighting to enhance architecture. I have an immense gratitude to Jan Ejhed.”

Alexia Gkika Buro Happold

KTH Student: 2012-2014 “KTH has a mentality of freedom that can only be appreciated when one becomes part of its community. I felt creative, challenged, inspired, and above all surrounded by people who wanted to share knowledge and experiences. “The mentality of KTH has influenced the way I perform in my job and my interrelation to others to a great degree. KTH changed the course of my career, enabled me to be where I am today, and for that I feel both blessed and proud.”

in which the goal is to foster creative, critical and inquisitive

thinking. We ask them not to accept blindly what we teach, so fruitful

discussion is what is most important to promote during the sessions.” While the Lighting Design Division began life as part of KTH’s School of Technology and Health, it has since become a division within the KTH Architecture School – a move that has opened up more

collaboration and cooperation between architecture and lighting

design students, while architects are also now able to take part in a

Ognyana Zhelezova Lichtkompetenz

KTH Student: 2011-2013 “I’ve always been fascinated by Scandinavian design, and a curiosity to learn more about lighting and do a Master’s degree abroad made me apply to KTH. KTH opened my mind for a lot of things professionally and culturally. I got to know the depth of lighting, which is still not even a profession in my home country of Bulgaria, and what a person can do with lighting is beyond borders. The people I met were amazing, so diverse, and I have friends all over the world now!”

Mahdis Aliasgari Lighting Design Collective

KTH Student: 2010-2012 “Those two years were an unforgettable journey for me! From the international vibe to the school’s practical approach and variety of subjects, I learnt a lot from my teachers and classmates. “KTH connected us to the international world of lighting. Thanks to the programme, we gained confidence to aim high not only for the practical sides, but also to be involved in the theoretical and academic side of lighting.”

Farahbee Rahman Freelance

KTH Student: 2019-2020 “My experience at KTH was deep and intense. It was one year of rigorous learning and exploring a new track. The Lighting Laboratory allowed us to indulge into both artistic and philosophical approaches, as well as hands-on, technical, playful experiments. It was stressful, but not in a negative way. Rather, KTH prepared us for facing harder challenges ahead in our upcoming careers. The experience has been triggering, boosting confidence in our chosen path.”

Basar Erdener LED Linear

KTH Student: 2006-2008 “What appealed to me the most was the approach and attitude to lighting. It was deep, intellectual and holistic. I quickly realised that there is much to learn from your peers on top of school work. Jan and Agneta Ejhed deserve so much credit for putting us all together and running the programme. “My entire career took shape during and after my time at KTH. All that I learnt from KTH professors, alumni and fellows are still a big part of what I do and how I work.”

one-year course on architecture and daylight. This is something that Muro feels will be beneficial in the long run, as it will increase the

chances of architects bringing in lighting designers for projects and involving them in the design process, as they’ll have a more solid understanding on the importance of lighting.

Alongside the educational offerings, Muro added that research has always been an important factor for the Lighting Design Division. This has recently been expanded with the introduction of Ute

Besenecker, who last year was appointed as Associate Professor in

Lighting Design. “Ute is leading and strengthening the Division with multiple research projects, collaboration with other universities,

Katia Kolovea Archifos

KTH Student: 2016-2017 “With a very diverse and international student background, highly experienced professors and many recommendations from people in the field, I was sure that the KTH Master’s programme would be a fantastic way to begin my career. “My overall experience at KTH, the interaction with my worldwide classmates, and the participation in global conferences, lighting festivals and other events during my studies has shaped my path as a lighting professional.”

and setting up a platform for a strong PhD programme within the Division,” he said.

Another new recruit to the faculty at the KTH Lighting Design Division is Foteini Kyriakidou, who joined as a lecturer at the

same time as Besenecker. Another former student of KTH, having

completed the Master’s programme in 2007, Kyriakidou teaches on

both the Architectural Lighting Design Master’s course and also the Daylight Architecture Studio.

She agreed that the core principles of the school have remained

the same in the time between her graduation and her return in an educational role. “What I find different is that the course is even

Gayathri Unnikrishnan International WELL Building Institute

KTH Student: 2012-2014 “My experience at KTH was life-changing. The whole year was filled with lighting experiences in different shapes and forms. It was such a rich, layered experience with a stellar faculty, challenging projects and lifelong friendships, all in the setting of Swedish culture. Working with a multicultural student body sharpened my collaboration skills and cultural sensitivity, and the ethos of the Lighting Lab of putting people at the centre of design has become the North Star of my career.”






1. A large part of the school’s philosophy has consistently been to nurture the feeling of family and community, with food being at the centre of this. Here, students and staff enjoy a welcome lunch (Pic courtesy of Rodrigo Muro). 2. The KTH Architectural Lighting Design class of 2007 enjoying some down time (Pic courtesy of Alp Durmus). 3. The KTH Architectural Lighting Design class of 2020 (Pic courtesy of Paula Bez Cardoso). 4. A lecture in full flow in the Lecture Hall of KTH’s Architecture School (Pic: Rodrigo Muro).


more structured than before,” she added. “I believe this is due to the

enriches our experience to learn from other fields. We support the

within the KTH academic environment concerning light and the

Alongside the technological advancements, there are a number

to work with different types of lamps (fluorescent, halogen, metal

developed for the better, which will also impact on how KTH

This vast advancement in lighting technology over the past few years

“Today’s debatable commercial approach of so-called Human

forefront, so that what it teaches its students is always up to date.

old approach to lighting; a Human Centred Philosophy. This is

the basics in terms of terminology, approach and technique. With

impact on health and a concern for taking care of the environment

development to show us the way. But we always have to keep in mind

saving, and social aspects with active proposals like the Social Light

enjoyable environment. It is a key difference with educations that

much we have evolved.

future we need more collaborations to help us develop, for instance,

agrees more and more in the important general questions. Of course

humans through software, controls and AI.”

debate and help to push forward important themes. There are still

professional should: courses, training, conferences, reading papers,

the right path.”

way is keeping in close contact with different actors within the

20th anniversary this year, the ongoing Covid-19 crisis has made

educators. I am personally also a part of Light Bureau, so this keeps

difficulty comes opportunity, and Muro feels that the pandemic has

“But it is not just a matter of lighting skills or knowledge. We all

“It started as a difficult situation and then became a challenge, but

education. This means we get pedagogical tools and philosophy

run everything face to face, but going digital has provided space for

successful way. Collaborating with other departments at KTH also

into the education. We’ve been able to invite people who previously

experience of my colleagues, the development of scientific knowledge

interdisciplinary approach.”

general evolution of technology – when I was a student, we used

of other ways in which Muro believes the lighting industry has

halide, etc), rather than LED lamps that are widely used today.”

approaches each academic year.

means that the Lighting Design Division needs to remain at the

Centric Lighting might have been influenced partly by our 20-year-

Favero explained how it achieves this: “We teach the students

now at the core of the industry and the design profession. Light’s

that in mind, we invite guests who are at the forefront of tech

through initiatives such as the preservation of the Dark Sky, energy

that technology is a tool to achieve a goal, which is a sustainable and

Movement and Women in Lighting are all great examples of how

have photometric knowledge as the goal of their education. In the

“At the end of every light related event, I perceive a profession that

a better understanding of the interaction between technology and

there are different positions, but those different opinions create

Muro added: “We update ourselves as any other lighting design

issues to resolve. Maybe I am just too optimistic, but I think we are on

spreading information internally at the Division. A very efficient

While the KTH Lighting Design Division was hoping to celebrate its

profession; researchers, designers, manufacturers and other

2020 an incredibly difficult year for the school. However, out of

me updated at the praxis level.

actually led to some interesting new teaching developments.

in the Division undergo thorough training in teaching in higher

later on it actually offered more opportunities,” he said. “We used to

to approach teaching and student learning in a more efficient and

new guests from around the world, who have given a different input


1 1. Students on a study visit to James Turrell’s Skyspace (Pic: Foteini Kyriakidou). 2. In 2016, KTH students created the installation Tunnel to the Future for Eskilstuna Natljus Festival (Pic courtesy of Katia Kolovea). 3. Rodrigo Muro talks students through a demonstration in the visual laboratory (Pic: Foteini Kyriakidou).



Bojana Nikolić BDP

KTH Student: 2012-2014 “When I enrolled, there were very few courses in Europe in English, and the KTH curriculum covered a little bit of everything - interior and exterior lighting, luminaire design, impact of lighting on health and environment, daylight. It was the perfect chance to get a firm knowledge base, and find out what I really liked. The fact that the course was based in Stockholm, with long sumer days and short winter days, just made a perfect setting for the whole experience.”

wouldn’t have had the time or wouldn’t have been able to come from another part of the world.

“This will certainly change our education for the future. Not

changing into a digital format forever, but whenever it is possible,

why not have digital lectures where you could talk with people that otherwise you wouldn’t meet?

“It’s a matter of resistance. If you would have told me a year ago that I had to do lectures online, I wouldn’t have liked that approach, but

now that we’re forced to do it, it works. We basically update ourselves. “From a project side, we had to re-evaluate the methods that we

were following to make sure it works, if not completely then some

Selen Çelik Güngör Ramboll

KTH Student: 2017-2018 “I was interested in the Nordic countries in general and their approach to designing light. The lack of daylight during winter, and how they deal with it is fascinating for me. The curriculum at KTH was very diverse in scale and detail. Besides its super intense programme that focuses on architectural spaces, our teachers’ vision taught us to study and understand light with its many aspects. I highly recommend it to anyone who wants to dive into the lighting world.”

parts of it being digital. We’re still having meetings where it is

absolutely necessary to meet – when we’re looking at luminaires,

lumen observations, etc. But having a smaller class this year helps a

lot for us to be in the same room together and still be able to run it.” Muro also revealed how the Lighting Design Division plans to

celebrate its 20th anniversary in the new Covid climate: “We will have digital sessions, organised in different locations around

the world with former students. The idea is to gather different

generations from the past 20 years and start the lighting discussion around food.

Isabel Villar White Arkitekter

KTH Student: 2006-2007 “I have no words to explain the positive memories I have from my time at KTH. When I started the course I wasn’t sure I wanted to specialise in lighting design, but it didn’t take too long until I found that this was exactly the field of specialisation I was looking for. I’ll always be grateful to Jan and Agneta, who fought so hard to make this education possible. I never would have discovered the passion I have for lighting design if it wasn’t for KTH. It changed my life.”

“Food has been something that has unified the Lighting Family;

Agneta Ejhed has welcomed us throughout the years at their place and shared with us on a more personal level their heart next to

a plate of food. As a result of that, we have continued organising

dinners where we all, students and staff, share dishes from each of our different backgrounds.

“At the 20-year celebration, we will discuss lighting through the

first task that as students they all had - “My Favourite Light” - and what that would be today in 2020. All this is the frame around



Paola Jose SOMBRA

the acknowledgement of the importance of our founders, Jan and Agneta Ejhed.”

Over the last 20 years, the KTH Lighting Design Division has produced an enviable list of alumni that have gone on to achieve great things in lighting design, whether joining renowned practices, setting up their

KTH Student: 2012-2014 “My experience at KTH was truly fulfilling. I learned so many new things, I created a beautiful family and I always felt safe and comfortable. What I loved most about KTH was that the teachers were always there to listen and discuss about our projects or ideas. My time at KTH was crucial in opening the doors to the beautiful world of light. It was the foundation for what I do now and I am extremely thankful to all of my teachers and classmates.”

own studios or furthering the profession in other means.

As Programme Director for the Division, Muro explained that it is a source of pride to see what becomes of his students post-

graduation. “I am proud to be able to call them colleagues,” he said. “I try to invite practicing KTH alumni as guest lecturers as much as

possible to give the students inspiration, so that they can see where they can go. Being contacted by prestigious lighting offices around the world asking for graduates and praising KTH students is also certainly an honour.”

“The moment of catharsis when the students get confidence with

the topic as long as they go through the programme is an immense

Dane Amilawangi Freelance

KTH Student: 2019-2020 “KTH’s focus on a human-centred approach, and how light quality impacts humans, is for me the most fundamental basis to create a responsible design as a lighting designer. “I had fantastic classmates from different backgrounds. At first I was nervous because some of my classmates were more experienced, but we were all excited to learn something new together, and our different backgrounds made us complement each other and collaborate better in projects.”

source of joy,” Favero added. “That sparkle in the eye that is a sign

that someone became confident and has grown is an epiphany and it motivates all the effort that you might have to make.

“We are proud to have given many students the basis to be able to speak with architects and engineers, therefore they are spread in

a varied constellation of offices and institutions. They are not only

professionals, but educated in the topic, who can push the boundaries of knowledge further in policy making, institutions and research.”

Another key factor in the success of the KTH Lighting Design Division is what has been dubbed the “Lighting Family” – a concept first

nurtured by Agneta Ejhed that encourages a sense of community and

Beatrice Bertolini giaEquation

KTH Student: 2016-2017 “I was lucky enough to be advised to study architectural lighting design at KTH. I must say that everything I was told about this course truly excited me: a very hands-on programme where I could exchange knowledge and experience both between peers and teachers. My expectations have never been disappointed. “The year I spent at KTH helped shape my knowledge and skills, and strengthen my passion for lighting design.”

camaraderie among students and alumni. “It’s all about taking care

of each other, providing this sense that you are welcome and a part of something,” Muro explained. “You’re not just in school, you’re part of a group of people that are freaks in lighting, but are also sensible about the human aspect.”

It is through this Lighting Family that Favero met his wife, Isabel

Villar, and Kyriakidou was struck by the sense of community within the school. “What I find remarkable is that the sense of belonging,

which Jan and Agneta Ejhed initiated, is still alive among the alumni, no matter the year of graduation. I feel emotional when I think

of how many friends I have around the world due to this Master’s

Martina Frattura A Beautiful Light

KTH Student: 2013-2015 “Back in 2011, I attended the Light on Focus conference held during Euroluce in Milan. I listened to each talk and afterwards asked everyone “where do I study to be one of you?” They all answered the same: “Sweden!” “When I was there, I felt I was in the right place, surrounded by friendly people full of passion like me. My KTH stay taught me many things about lighting and the impact that it has on a daily basis.”

Course, how much knowledge we exchange, and how much we feel part of this family.”

Finally, what advice is given to new students as they arrive each year? For Kyriakidou, she breaks it down into three steps: “It is evident

that KTH principles have a strong impact on my personal ones since I was a student here. However, trying to summarise and distil them through my personal view, I encourage the students to work with

light as an immaterial materials following three steps: Observe; Test; and Be Coherent and Consistent.”

Favero was more philosophical, with his advice being: “When the

students arrive, I tell them to enjoy every minute of their education.

Alp Durmus Penn State University

KTH Student: 2007-2009 “During my time at KTH, I had the chance to meet a lot of great people, who I’m happy to call friends now. It is always great to see a familiar face at a lighting convention, conference or a fair. “KTH has a great reputation as an institution. Beyond the obvious networking advantage, earning a Master’s degree from KTH added prestige to my resume. I’m sure it played a role in securing a lighting design job early in my career.”

It is a luxurious experience in this complicated world to be able to

focus on one thing in the present moment. Have serious fun, which for me means to keep on being curious, motivated and focused.”

While Muro concluded with some more basic, but important advice: “We at the Lighting Design Division repeat this every year to all

students: test, test, test. Test your ideas, test your proposals, test the luminaires, until you get there.”

As the Lighting Design Division celebrates its 20th anniversary, with such a vast, talented group of alumni, it’s clear that this advice is worth taking.

Viola Deti Sweco Architects

KTH Student: 2016-2017 “My experience at KTH was very important in helping me build a new perspective regarding the importance of light and lighting design in an architectural project. “In my opinion, a deep understanding of lighting and how it can either improve or ruin a project still lacks in many architectural educations. The Master’s programme at KTH helped me to see this as a fundamental architectural element, crucial in spatial design and planning.”


PROJECT DETAILS University of Michigan Biological Sciences Building, Ann Arbor, Michigan, USA Client: University of Michigan Lighting Design: SmithGroup, USA Architect of Record: SmithGroup, USA Design Architect: Ennead Architects, USA


education focus

Cabinet of Curiosities The new Biological Sciences Building at the University of Michigan features vast, daylit atria that put the school’s research and artefacts at the forefront. These daylit spaces are complemented by a seamless lighting design from SmithGroup.





ombining state-of-the-art science

Rodrigo Manriquez, Principal at SmithGroup,

interactive natural history museum,

project was an effort to open up the otherwise very

education with research spaces and an

explained this design concept further: “This

the Biological Sciences Building (BSB)

conventional, closed towers typical to lab

at the University of Michigan is a first-of-its-kind

buildings, opening them up into the campus

revolutionise life science research, discovery and

“In an effort to divide the three towers, we have

Designed by SmithGroup and Ennead Architects

solid and void. For us, it was really essential to

Ann Arbor, Michigan, the 312,000sqft facility is

an input in terms of light and dark, and orchestrate

and brings together five biological sciences

guided our thinking.”

merges these departments with the newly re-

out detailed parametric daylighting analysis, which

larger community access to the research coming

glazing choices, ensuring that plenty of natural

The building form was influenced by close

creating any unwanted glare.

and Ennead, utilising network mapping tools

SmithGroup and Ennead was to “put science on

groups. The resultant form is that of three closely

Ennead, explained further: “Our team worked with

pavilions, broken open on the south side and

many scales. Breaking the machine-like qualities

into the facility and bringing natural daylight deep

multiple towers both drove daylight deep into the

also serve to showcase the institution’s mission to

exterior into the research laboratories and

large-scale exhibits.

curiosities’, the museum’s towers fold open to

facility, designed to engage the public and

environment and the campus fabric.


two atria conditions that create a relationship of

and located on the university’s main campus in

understand this architecturally, to be able to have

characterised by a transparent, open-lab concept,

the solution accordingly. The concept of portals

departments from across the campus. The site also

As such, SmithGroup, alongside Ennead, carried

envisioned Museum of Natural History, giving the

then informed both the façade design and the

out of these programmes.

light penetrated deep into the building without

collaboration between the University, SmithGroup

One of the core facets of the brief given to

intended to enhance interaction between disparate

display”. Jarrett Pelletier, Associate Principal at

spaced, terracotta-clad, five-storey laboratory

the University to elevate this ideal and to echo it at

connected by two vast glass atria, creating views

of a traditional research building apart into

into the laboratories and public spaces. These atria

working spaces, but also allowed views from the

educate the public, acting as giant display cases for

collections. Like a contemporary ‘cabinet of

education focus




reveal the innerworkings of the scientific process.”

allowing the typical trick of diluting the glazing

on how lighting design fit into this design brief:

moments. It plays at different scale, and that

lighting solutions should evolve. Rather, we

in – understanding that the building is experienced

university’s brief to create a cohesive lighting

scientific portals was always the guiding

and function. It wasn’t a separate thing, it was one

The fluidity between the architecture and the

“I think that’s what worked really well in the

typologies within the building, as students and

of developing the architecture and the lighting

spaces, and museum exhibits under one roof.

“We pushed to integrate the lighting into the

smaller, self-contained projects, SmithGroup

lighting as architecture,” added Pelletier. “It was a

lighting design to connect each space.

vision and SmithGroup came back with different

spaces, you might feel that the lab spaces for

together to find the right answer.”

rest, but the reality is that we’re putting these

developed the idea of creating “scientific portals”

we connect to this notion of scientific portals,

exhibit portals to unify the building by

atrium looking in, you have the ability to see the

programme, users and visitors.

“We talked about the different space types, where

interface of a human scale, an articulation that

museum exhibit, to a working research lab –

inside,” Manriquez said. “Lighting is actually

critical that we have a common language to solve

Matt Alleman, Principal at SmithGroup, elaborated

into the environment and capturing critical

“We weren’t given specific direction as to how the

connection is something the team really took pride

worked in concert with the designers and the

at different rhythms, but that connection of

concept that further elevated the building’s form


and the same.

lighting design extends to the contrasting

synergy between SmithGroup and Ennead in terms

visitors experience working laboratories, study

systems that accompany it.”

While this project could have felt like a number of

architecture wherever possible, and to use the

ensured that there was a commonality in its

highly collaborative framework where we set a

“By our description of how you experience the

ways to address that vision, and we worked

example, could become very segregated from the

As part of this synergistic approach, SmithGroup

spaces on display,” Manriquez said. “That’s how

– a concept that uses day, night, research and

whether you’re on the inside, or you’re in the

strengthening visual connections between the

artist on display, if you will.”

“The building has great touch points for the

you can move from an exterior walking path, to a

brings out the activity of nearby spaces on the

they’re all very different environments, but it was

1. The prominent corner of the building engages the campus community with a striking Triceratops exhibit. The adjacent dome was gently uplit with Ecosense accent lights, bringing a delicate, artistic touch to the exterior. (Pic: Bruce Damonte) 2. The entirely internal laboratories feel daylit, thanks to windows facing into the vast atria, which are filled with natural light. (Pic: Aislinn Weidele) 3. SmithGroup carried out extensive, detailed daylight analysis alongside the architects to ensure that there was sufficient daylight reaching the internal laboratories through the glazing of the vast atria. (Pics: Rodrigo Manriquez) 4. Each atrium is illuminated with crisp ambient light through a series of floodlights, concealed within wall pockets on the third floor, to highlight the billowed ceiling form. (Pic: Jason Robinson)


education focus


1. SmithGroup carried out photometric analysis of the space to ascertain the best position to illuminate the ceiling. Owing to the curve of the ceiling, it couldn’t be lit from the edges, leading to a system that blended the ceiling lighting with exhibit lighting to become one element. (Pic: Rodrigo Manriquez) 2. Bright display cases complement active lab spaces to display exhibits, allowing visitors the chance to experience an intimate connection to the fossil preservation strategies implemented by researchers within the building. Internal illumination within each display cabinet is set to eliminate veiling reflection, while echoing the lighting strategy of the atrium itself. (Pic: Jason Robinson)



them, because the idea of this project was that they

within wall pockets at the third floor level to

used common approaches that worked well

reaching this decision took a degree of trial and

environments, such that the visual connection

explained: “The form bows in two directions, and if

disparate number of different types of space

looks like a flat ceiling, which completely

visual connection.”

“Where we started with the lighting for the ceiling

is the illumination for the two atria. These vast,

through options that there was no way that we

the building, fill the inner reaches of the BSB with

flattened it out every time, and found that we

external windows. Complementing this abundance

We worked with Ennead to integrate that into

artificial lighting approach, starting with a crisp,

created a tectonic that made sense and really

artefacts on display, before illuminating the

space to become one element,” Alleman elaborated.

LED Linear and downlights from Lucifer, and then

dimmed to create an intentional gradient of light

“If you look at the atrium as the macro, and then

indirect illumination from the five-storey volume

cases, the layers and approach to lighting that


those,” said Patrick MacBride, Lighting Designer at

important for SmithGroup not to over light the

have strategically located point sources to

fossils that hang in the void. Alleman explained

those were two of the guiding principles that we

became a balancing act between “embracing the

“In the display case, we added a luminous ceiling

weren’t losing detail”.

had integrated adjustable accent fixtures from

being transitioned from an existing museum space

on the shelf, so it was always very intentional, even

understand the materiality. This was critical

To create the luminous ceiling of the atrium, 42

get the luminance right, and we don’t get the

can be visually connected,” Alleman added. “So we

illuminate the curved, billowing form. However,

together in solving these very different

error by the lighting designers, as MacBride

would make sense, and that it wasn’t a whole

you don’t light it correctly, it flattens out and it

coming together, because there was intentionally a

undercuts all the coolness of this ceiling system.”

A primary factor in creating this visual connection

was to light it from the edges, but we found looking

fully glazed spaces, spanning the five storeys of

could truly articulate the form from those edges; we

natural light – even reaching into labs that have no

needed to change the location of the light sources.

of natural light, SmithGroup opted for a layered

something that was palatable within the space, and

ambient light to the canopy ceilings, then the

blended with some of the exhibit lighting in that

staircases through recessed, linear fixtures from

Each floodlight is carefully aimed, lensed and

the smaller display cases and labs.

emanating from the centre of the ceiling. This

the lab volumes and even the individual display

provides functional illumination for the ground

we’re using are consistent throughout all of

With this stretching, uplit ceiling canopy, it was

SmithGroup. “We created a luminous top, and

space with further illumination to the suspended

highlight the artefact within that volume, and

that instead of highlighting them through light, it

utilised in every one of those areas.

notion of silhouette, but making sure that we

to the case, courtesy of Cooledge Lighting, and we

“One benefit was that because these pieces were

Bruck Lighting to specifically highlight the pieces

to this new space, we were able to go in and really

down to the display case integration of light.”

because if we don’t get the material right, we don’t

theatrical floodlights from ETC are concealed


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education focus

The push for a hierarchy of light extended to the

highlighted by the dynamic lighting, to the

daytime and at night. This meant that while the

fixtures in the exhibit halls, the lighting design

day, more light was put on the ceiling during


“The reason for that rolls back to the hierarchy

inspiring and that are uplifting places to work

make sure the brightness of the ceiling was

to inspire future generations to become

brightness of the exterior surround.

designed to support science on many levels. The

the day you would dim that space because there

makes such a difference in the quality of the

least for the ceiling element, that it becomes

Manriquez was equally pleased with the

dim somewhat at night too.”

the decisions that we make, but eventually the

consideration for the lighting designers

ecstatic about the opportunity to come together

to ensure there was a consistency of materiality

“The concept is one thing, the actual perception

consistency in the overall project. “Every place

the project does that, and functionally it is

conditions, there’s a perimeter brightness at

really know or care who behind the scenes

and it has a wall wash layer to it,” Alleman

comfortable and functional space. I think we

shows up, there’s a consistency, which again

“It’s a great addition to the campus, and the

everything feels tied together.”

wonderful testimony – it has been used by the

seamlessly integrated into the architecture,

attraction for new talent and retention of

sciences and the work of the university.

destination, which is fantastic.”

different light levels within the atrium during

details of the common display cases and flexible

atrium is flooded with natural light during the

works in tandem with the architecture,” said

the day than after dark. Alleman explained:

“It is important to us to make spaces that feel

of luminance required in a daytime scenario, to

and visit. The design of this building was meant

aligning with and complementing the

scientists. It’s a very human-centred building,

“So, whereas some would assume that during

distribution of daylight across the building

is abundant daylight, it was really important, at

experience for the occupants.”

brighter during the day, and then it was able to

outcome. He concluded: “The concept guides

Understanding the materiality was another key

assessment is done by the user. Everybody is

throughout the project, as SmithGroup worked

and collaborate under one roof.

in every location – tying in with the push for

of the space needs to be intuitive, and I think

you see a wood wall, it’s being treated in similar

doing what we set out to do. The user doesn’t

the top, so it feels as if it’s projecting through,

created their space, they just need it to be a

explained. “So, every place that materiality

provided that.

helps to layer onto the overall project feel –

feedback that we’ve had from the client is a

The end result is a space in which the lighting is

university as a great recruiting tool, as an

becoming one entity that celebrates biological

faculty. It has become an institutional

“From the larger architectural features


When illuminating the suspended fossils, SmithGroup had to make sure that they had the right luminance to stand out, while embracing the notion of silhouette. (Pic: Jason Robinson)

lighting specified Alight D4 Accolate Architectural Lighting Works Five Bow Birchwood Lighting Jake LED 225 Boca Flasher LED Task Bruck Lighting Enzis Bruck Lighting Ledra II Cole Lighting Lux Rail Cooledge Lighting TILE Interior Ecosense Trov50 Asymmetric Ecosense Trov50 Graze ETC D60 Studio Desire Series Focal Point Covert Focal Point ID+ Focal Point Seem 4 LED Focal Point Seem 6 LED Gotham Incito Cylinder LED Linear Hydra LD10 The Lighting Quotient S223 Lite Lab Flowbus Lite Lab PAR38 Lucifer Lighting CY2-AD LED USAI BeveLED 2.0 USAI BeveLED Mini



2-in-1 Tunable LED

Connected Learning The newly opened Stapaskóli School marks first phase of a wider project to create a new central “heart” for Iceland’s Reykjanesbær. Verkis created the lighting design, accentuating the architecture of the school.


education focus

PROJECT DETAILS Stapaskóli School, Reykjanesbær, Iceland Client: Reykjanesbær Lighting Design: Verkis, Iceland Architect: Arkis, Iceland Photography: Darío Gustavo Nunez Salazar


education focus

Previous Page The baseline of the design concept was to create a heart that connects everything - the main entrance of the school leads into a central hub, while all open spaces can morph and merge, opening up for larger events, or allowing for smaller, more intimate spaces for quiet study sessions. This Page Owing to Iceland’s long stretches of darkness over winter, each classroom features a daylight element, while artificial lighting had to effectively mimic daylight. Classrooms on the ground floor feature backlit ceilings to create a daylight effect.



he newly completed Stapaskóli School

This concept was extended to all open spaces,

create a new central heart in the

flexibility to open up for larger school events, or

is latest part of a planning strategy to

which can morph and merge, allowing the

suburb of Innri Njarðvík, in

create smaller, more intimate spaces for quiet

Reykjanesbær, Iceland.

study sessions.

active urban facility that will play a key role within

comparable in size, and again offer a high degree

school, kindergarten, music school, sports hall,

arrangements. The architects took great care to

The school will house 500 students and 60 staff,

of each ‘pair’ of classrooms, there is an

additional technical rooms below and above. The

core that provides daylight to both levels. The

elementary school, leisure centre and social centre,

network that informs the school’s sense of

33,000sqm. Phase two will introduce the sports

This creative use of daylight was complemented by

see the addition of the kindergarten, which will

engineers Verkis. Involved from the tender process

Speaking of the design concept behind the school,

the engineering design for the first stage of the

Kjartansdottir of Arkis said: “The baseline of the

As such, Tinna Kristín Þórðardóttir, lighting

everything. All of the molecules, the strings, the

architects on the lighting design concept. By

On entering the school, the main entrance leads

she was able to react to any changes to the design

consisting of centralised, multi-use spaces.

explained that the principles of the lighting

their own roles but can also open up to create

“We made minor adjustments during the design

The project, designed by Arkis architects, is an

The classrooms are formed in pairs – all are

the neighbourhood, providing an elementary

for flexibility depending on the teaching

library and swimming pool.

ensure ample daylight was provided; in the centre

with classrooms spaced out over two floors, with

architecturally defined central sphere, with a light

first phase of the project, which encompasses the

teaching spaces all connect to the heart, creating a

spans across 7,700sqm, on a plot of around


hall and swimming pool, while the final phase will

lighting design from Icelandic consulting

cater for 120 children.

alongside Arkis, the bid included that Verkis did all

architects Rebekka Petursdottir and Lisa


design language is to create a heart that connects

designer at Verkis, worked closely with the

activities, everything is connected.”

working closely with the architects throughout,

students straight into the heart of the site,

brief as and when they came in, however, she

Hallways intertwine in a way that they take on

concept were always maintained.

larger spaces.

and construction processes, but we always referred

arc_118_climarlighting_AF.indd 1

22/09/2020 08:40:20


1. Intra Lighting’s Lona RV fixtures were used throughout the classroom areas. All luminaires are ‘randomly’ placed in the ceiling, to create more of a fun, lively look, while easily fitting around other ceiling systems. 2. Ciruclar “light tunnels” on the ground floor create the feeling of natural light in areas where daylight may be lacking within the school. 3. The architects sought to stimulate the connection between the school and its surrounding environment through the recurring use of birchwood, coupled with concrete. 4. There is a flexibility in the design of the school, with a transparency in all teaching spaces, regardless of size. Each classroom offers a high degree of flexibility, depending on the teaching arrangements.


to the lighting concept,” she said. “And the

mimic daylight, as well as placing floodlights in the

changes, so we could find solutions based on the

daylight while it is dark outside.”

“We had a very good working relationship with the

daylight was part of a wider move by the design

Bjorg Jonsdottir, during the design phase. I was

enough for the students to effectively work under.

important input from the architects as well. I find

ensuring that the project was designed according

important during the design phase, and it will

Icelandic and international. These included the

As the school has been fully optimised to make the

publication Licht.wissen 02 – Good Lighting for a

important for Þórðardóttir and Verkis to design an

“The design was also based on a Danish study

abundant natural light. However, as Iceland

Fagerhult, the City of Aarhus, the University of

winter, the artificial lighting elements had to

Environment, which investigated whether focus

available. Þórðardóttir explained further: “The

concentration, and thus also improve the acoustics

opinion, especially with regards to daylight. In

Schools of this size are intended to become a

so we cherish every bit of daylight we can get. For

community. This has been translated into the

classroom. There are large ceiling windows that let

Whether looking at the smaller or larger units, the

on the ground floor.

with the possibility for multi-disciplinary

architects were always quick to inform us of any

ceiling structure on the second floor, to mimic


This blending of artificial lighting with natural

interior architects, Lisa Kjartansdottir and Edda

team to ensure that conditions were comfortable

given the freedom to do my work, but also got

A key facet of this, Þórðardóttir explained, was

that working closely with the architects is really

to the latest standards and recommendations, both

show in the end product.”

Icelandic standard IST EN 12464-1: 2011, and the

most of daylight, while it is available, it was

better learning environment.

artificial lighting scheme that complemented the

conducted by Henning Larsen Architects, DTU,

experiences long stretches of darkness through

Aarhus and the Danish Centre for Educational

effectively simulate daylight when it was not

lighting or task lighting would encourage students’

school is a very well-designed building, in my

of the building,” she continued.

Iceland, it gets really dark during the winter time,

community of their own within the wider

example, there is a daylight element in every

design, in the form of parallels found in each unit.

daylight into the second floor, and “light tunnels”

design offers a transparency in all teaching spaces,

“We made a backlit ceiling on the ground floor to

approaches and the opportunity for understanding

education focus

“I find that working closely with the architects is really important during the design phase, and it will show in the end product.” Tinna Kristín Þórðardóttir, Verkis




between disciplines to become more open.

complemented by Exenia’s colourful Willy

extend the facility into the environment from

selection policy for the project: “We looked for

sought to stimulate the connection between

the quality and the price is good for our client. I

increased understanding of sustainability and a

calculation software such as Dialux, and therefore I

with the recurring use of birchwood, coupled with

calculate. Not all companies offer that option, but

of playful colour, which are intended to provide

Þórðardóttir’s attention to detail in this regard,


design team throughout the construction process,

there is also a consistency and cohesiveness in the

surroundings, becoming an integral part of the

elementary school or the more social areas,

environment. The lighting is a key facet of this,

“uniform, cohesive design”.

Þórðardóttir is equally pleased with the end result.

do not have a strict symmetrical design,” she

said. “During the construction phase, we visited

placed in the ceiling to give it a fun, lively look.

coming along, consulting with contractors and

the luminaires if there were any collisions with

“Seeing the final product is such a good feeling,

nozzles and such.”

was to emphasise the architecture, it was really

Lighting, iGuzzini, Fagerhult and Rovasi, alongside

Furthermore, the design of the school seeks to

pendants. Þórðardóttir explained further the

which it originates. As such, the design team

luminaires that we know we can count on, where

teaching and the external environment with an

also find it important to calculate all rooms in a

greater awareness of nature. This was achieved

also look for products that I can easily use to

concrete, inside. Such materials are offset by pops

as a lighting designer, I find that very important.”

each teaching space with their own individual

and the close communication across the entire

To complement the architectural design principles,

has led to a school that proudly sits within its

school’s lighting design. Whether in the

local community while honouring it’s

Þórðardóttir believes that there is an overall

complementing Arkis’ architectural designs.

“The overall design is, in a way, ‘fluid’, in that we

“We are very happy with the final outcome,” she

continued. “All the luminaires are ‘randomly’

the site many times to see how the project was

This meant that it was easy to adjust the location of

solving issues along the way.

other systems, for example sprinklers, ventilation

seeing everything coming together, and as our goal

Verkis opted for a number of fixtures from Intra

pleasing to see that we achieved this.”

LED panels from Modus and Osram, which are

lighting specified Edison Klaus PLCC Lightbar Edison Klaus Stellar Exenia Willy LED Fagerhult Monitor iGuzzini Laser iGuzzini Laser Blade iGuzzini Reflex iGuzzini Palco iGuzzini iRound Intra Lighting Lona RV Modus FIT3000A Modus FIT4000C Modus PL3500L1N Neko Lighting Takeo Osram BackLED M Plus Rovasi Tekno Rovasi Super


PROJECT DETAILS Charles Library, Temple University, Philadelphia, USA Client: Temple University, USA Lighting Design: Tillotson Design Associates, USA Photography: John Muggenborg


education focus

Pages of Light The latest addition to architectural firm Snøhetta’s portfolio is the Charles Library at Temple University, Philadelphia, with lighting design by Tillotson Desgin Associates.


his time last year marked the opening of the new

Charles Library at Temple University in Philadelphia,

Pennsylvania, ready for the beginning of the Autumn

semester. arc sat down with Suzan Tillotson, Founder of

Tillotson Design Associates, to find out more about how she and the team became involved with creating the lighting scheme for the striking Snøhetta creation.

Located at the intersection of two major pedestrian pathways, one

block away from the connecting artery of the city, and connected to

Temple’s Main Campus, the Charles Library anchors a new social and academic nucleus for the university’s student population of more than 39,000.

First impressions of the building are dominated by a soaring high

cedar wood archway that envelopes the entrance way, inviting visitors into the 40ft-high cedar wood ceiling lobby. The solid foundations are

clad in vertical sections of split-faced granite as a nod to the materials of the surrounding campus context, with its unusual geometric expression providing the building with a distinct identity.

Snøhetta’s design, developed in collaboration with Stantec, is

deemed a reinterpretation of the traditional typology of the research library, with a strong theme of integration and unity taking lead in the firm’s design. Incorporating a diversity of collaborative and

social learning spaces along with an automated storage and retrieval system for the library’s collection, affectionately termed the

BookBot, has allowed the original 1960s floor plan to more than

double. The 220,000sqft library anticipates welcoming more than five million annual visitors to its larger space.

Moving inside the building, architectural elements are continued throughout, creating a seamless transition between spaces and a cohesive design aesthetic. The vast wooden arches continue


education focus

Tillotson: “On the fourth-floor, visitors are invited to stroll through the serene sun-filled, glass enclosed collection stacks where we mounted linear lighting to the tops of the stacks to provide ample lighting for the collections, with supplemental pendants to uplight the wooden ceiling.”

“The architectural design intent was to promote interactivity and unification, so one of the key architectural lighting design considerations was to ensure that the lighting was consistent on all architectural elements, vertical surfaces and ceiling.” Suzan Tillotson, Founder Tillotson Design Associtates

internally, forming a dramatic three-storey domed atrium lobby where a central 24/7 working zone is located, which

includes a computing work zone for residents of Philadelphia.

Offering views to every corner of the library, the atrium serves as a wayfinding anchor for users at the centre of the space. An

oculus carved into the expansive cedar-clad dome lets daylight pour into the lobby from the floors above, creating a connecting void of light to each level.

Beginning its journey with Snøhetta, Tillotson explained that

the team was contacted by the architectural firm in 2012 to join its team for a “Request for Qualifications”. “We went through

an evaluation and negotiation process that lasted through April 2014 when our team was formally awarded the project,” she said.

“Their design emphasised transparency and openness as key themes and included the glass curtain wall wrapped around the upper floors, allowing light to fill the space. The

undulating wood surfaces and indoor/outdoor connections

were very important to them. The main lobby, with its curved 40ft-high cedar wood ceiling is the heart of the library with

connections to all floors of the building vertically through the oculus.”

It was also vital that this wooden structure was to be kept clear of any fixtures causing blemishes on the natural finish, so

Tillotson ensured the fixture placements were kept away: “One





. Available in 1 and 4 Foot Models


. Available in 1 and 4 Foot Models



of our design goals was to keep the beautiful curving wood ceiling

levels in a cohesive manner with the daylight that would then

mounted LED downlights mounted to the top of the columns are used

bright with vertical illumination to balance with daylight and attract

clear of fixtures, so systems were organised at the columns and track

for general downlighting. Adjustable LED downlights were integrated into the top of the curtain wall to provide task lighting for the desks

below. The three intersecting direct/indirect circular LED statement pendants draw students deeper into the building while also adding ambient lighting to the space and illuminating the wood ceiling.”

Working towards emphasising the colour of the cedar wood was also prevalent in the design approach for both Tillotson and Snøhetta.

“The high CRI lighting system and warm 3000K LED lighting brought out the richness of the material,” commented Tillotson.

Further warmth was brought to the space via the clever use of

outdoor, in-grade LED uplights with louvers and shields to reduce glare, to render the warmth of the cedar ceiling and create an “elevating yet intimate space in the evening”.

“An array of indirect/direct linear uplights at the fourth-floor

wooden ceiling (which spans the length of the building) help to unify the library from the exterior,” she explained.

During the daytime, the library is typically flooded with natural light through the vertical void cutting through to the lobby. Tillotson

explained how the architectural lighting was used to elevate the light


transition into the evening hours: “During the day, study spaces are students and staff to these pleasant areas to work in. But the library also needed to be available to students on a 24/7 basis, requiring a

safe and inviting experience for studying late in the evening when the rest of the building was closed.

“Multiple open study spaces throughout offer varying levels of

brightness to create intimate spaces, with 20fc to facilitate laptop use and brighter spaces at 30-50fc for reading and writing tasks,” she added.

“On the fourth-floor, visitors are invited to stroll through the serene sun-filled, glass enclosed collection stacks where we

mounted linear lighting to the tops of the stacks to provide ample

lighting for the collections, with supplemental pendants to uplight the wooden ceiling.”

She continued: “The architectural design intent was to promote

interactivity and unification, so one of the key architectural lighting

design considerations was to ensure that the lighting was consistent on all architectural elements, vertical surfaces and ceilings. In the study areas, we used linear T5 fluorescent fixtures with a custom

reflector above a one-inch cell egg crate ceiling system to create a

education focus

Sweeping cedar wood arches envelope the entrance to the Charles Library and continue inside into the library’s atrium. Tillotson’s lighting design ensures the warmth and texture of the wood was dramatically highlighted as a welcoming destination to Philadelpiha residents and university students alike. Decorative pendants in the centre create a visual impact, and provide general lighting to the space while acting as a visual wayfinding beacon.

visually appealing pixel image effect. This concept repeats throughout the building to create a feeling of unity and consistency.”

In addition to being an architectural icon for the city of Philadelphia, the construction and design teams on the project were also mindful to make

the library an environmentally conscious addition to the city. The fourth

floor boasts glazed glass walls on all four sides, giving views out onto the lushly planted green roof. Covering more than 70% of the building’s

roof surface, the 47,300sqft garden is one of the largest in Pennsylvania and also plays a key role in the site’s stormwater management system. The meadow-like landscape is filled with ornamental grasses and

flowers, providing a rich habitat for pollinators and a calming visual to those both inside and outside the library.

In addition to the garden and water management system, the University also had a target for LEED Gold certification for the library, which

required Tillotson’s lighting scheme to adhere to a Lighting Power Density level to be 40% under ASHRAE 90.1.2010.

Overall, Tillotson reflects on the project being “a rewarding and

collaborative process. We presented our solutions to Snøhetta and they co-operated to help make their vision for the building’s image at night a reality”.

lighting specified Acclaim Lighting Linear LED Aculux Downlights Amerlux Linear indirect LED pendants Bartco Linear fluorescent Bartco LED Stack lighting BK Lighting lngrade LED uplights Cole Lighting Handrail lighting LSI Lighting Column lights Lucifer Downlights Lutron Controls Sattler Ring pendants Selux Exterior poles Selux Linear LEDs


education focus

Royal Grounds A new motion-controlled outdoor lighting system, featuring luminaires from Siteco, has brought a sense of safety and security to the grounds of Royal Holloway, University of London.


oyal Holloway is a college of the University of London

The two adjacent luminaires are also automatically faded up. If no new

like site and surrounded by lush greenery, and has been

the predefined minimum level after a hold time of 30 seconds.

in Egham. The college is situated on a beautiful, park-

movement is detected, the light output of these luminaires return to

complemented by a new, innovative motion-controlled

The City-Light family takes the form of classic lantern-shaped

outdoor campus lighting system.

outdoor luminaires for street and park lighting but with a new,

Tvilight CitySense Plus sensors to provide a greater sense of safety,

install, has an elegant transparent appearance, features efficient LED

is entirely wireless with no complex and costly data cabling between

into the surroundings of the architecture and nature without taking

Students, lecturers and faculty at Royal Holloway are often on

Luminaire control using data cables to be laid at the campus would

tree-lined paths that connect its lecture halls, canteen and student

was therefore the ideal solution, particularly when renovating old

reliable outdoor lighting is needed to ensure optimum illumination of

network thanks to the Tvilight control system, which means that all

Equipping the City-Light Plus LED luminaires from Siteco with the

other, notifying the neighbouring luminaires whenever they detect

to provide an efficient, demand-led lighting control solution. The

other luminaires in the wireless network.

in off-peak times with a positive effect of lower light levels and a

than is the case with other wireless systems in which communication

Siteco’s City-Light Plus LED mast lights have been installed in

The entire lighting system is configurated and managed via Tvilight

CitySense Plus sensors were in the park, along the road and along

of the luminaires and the way in which individual luminaires

gateway controls up to 200 light points. The light control is set so

can adjust all the settings via the web application, and maintain an

output. When movement and presence are detected, the lighting is

The system utilises City-Light Plus LED streetlights from Siteco and

contemporary look. The result is a modular luminaire that is easy to

security and optimum energy efficiency – the new lighting system

technology and in this version with its customised colour, blends

the individual lights.

any attention.

campus late into the evening and while the natural surroundings and

have been extremely complex and costly. Wireless lighting control

accommodation are one of the college’s defining features, bright and

installations. Further to this, all new luminaires are linked in a mesh

these paths and therefore the necessary levels of safety and security.

the light points communicate not only with the gateway but also each

Tvilight CitySense Plus motion sensors was a quick and simple way

movement. The motion sensor can therefore immediately switch on

motion sensors help the college reduce its energy requirements

This system architecture enables the lights to be activated much faster

reduction in light pollution – beneficial for the surrounding nature.

among the light points must always go through a gateway.

almost all areas of the campus. The first luminaires to be fitted with

CityManager software. The motion sensors, the dimming profiles

the footpaths in front of the main buildings. The central Tvilight

respond to the motion sensors are all defined in the software. Users

that the LED luminaires are switched on at twilight at 10% light

overview on smartphone, tablet or PC.

faded up to between 50 and 100%, depending on the location.


education focus

Modern Highlights Kingfisher illuminates the new Jedburgh Grammar school campus with a variety of fixtures that compliment the modern architecture while also providing a safe atmosphere for the students and staff members.


edburgh Grammar Campus is a

The bollards were chosen alongside a bespoke

Scotland, accommodating


£32 million facility in Jedburgh, nursery, primary and secondary

entrances, perimeters and pathways creating

and a range of science, technology labs and

teachers and visitors alike. Nadir offers

work rooms. The facility is also home to a

range of community led projects, services the

a safe environment for both students’

excellent performance with an elegant square design.

wider area.

The Ray 180 recessed luminaire provided

modern industrial aesthetic of the building.

around the site including building perimeters

glass panels helped add to the overall appeal

perfect choice for this project as it enhanced

The site’s open plan layout adds to the

Using materials such as steel, wood and large

downward facing light to a range of areas

and entrance ways. The luminaire was the

of the building. Its economic steel frame

the building’s exterior, while offering

lights and other features to be added.

The Italo was selected to illuminate

allowed a saving in weight which allowed roof Kingfisher’s lighting design team

meticulously chose its amenity luminaires

valuable illumination around the site. roadways due to their sleek design and highperformance functionality. Designed using

suitable for public areas. They achieved an

reflector technology, this luminaire provides

aesthetic as well as creating an energy

The scheme was designed with the site’s

elegant scheme matching the building’s

efficient LED scheme with low uniformity. The outcome resulted in using bespoke

solutions to illuminate the pathways, building entrances, perimeters and car parks.

Across the site, they selected the Soul

180 Urban bollard for its unique design,

contributing to the site’s overall aesthetic.

The Nadir fittings surrounded building

school children. Its amenities include a wide variety of sports facilities, rural skills areas


spill shield to illuminate pathways and car

an enhanced output with lower glare.

aesthetic in mind. The team created a

high-performance lighting scheme using

sleek luminaires and advanced technology, enhancing the look and appeal of the site.


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07.10.20 09:28

education focus

The Art of Architecture The LED Lightline and LED Spacelight from ADO Lights help to combine art and architecture at the Heinrich-Heine University in Düsseldorf.


or the Chemical-Medical

hours of the evening.

Heinrich-Heine University, ADO

specifically to the foyer of the Faculty of

Institute at Düsseldorf’s

Lights developed a 19.5-metre-

long light sculpture that illuminates the

stairwell. Its shape is based on that of the

high-grade, curved stair handrail. Installed

on the concrete substructure, a slender black steel casing then serves to hold the light

sculpture based on high-performance LED modules. A cover made of satin-finished PMMA plastic ensures homogeneous, diffused lighting even in the corners. Looking up at the sculpture creates a

trompe-l’œil effect, as the illumination is repeated on each of the eight stories. The

substructure is barely visible, making the sculpture with its white frame appear to

hover. The brightness can be regulated: It is

dimmed by 50% after lectures have finished, and can be reduced down to 20% in the later


A sculptural U-shaped staircase leads

Medicine. Indirect lighting has been installed on the steel structure such as to subtly trace its contours. To this end, an LED light line system was installed over a length of 36.5

metres – an elegant solution, designed and realised by the specialists at ADO Lights. An aluminium profile that also includes

the cable duct serves as the backing for the light line. Thanks to opaque encapsulation conforming to protection class IP68, there is no danger of dust particles or moisture

damaging this custom-made installation. It is functional, robust and nonetheless

highly aesthetic. Indeed, the light is emitted downwards and underscores the special

quality of the staircase – entirely without dark areas at the joins.


Live On Air After having to cancel [d]arc room in London this year, we at [d]arc media launched [d]arc room livestream, an online, global lighting design multi-track conference and exhibition held this September for specifiers, designers and suppliers in the lighting industry.


eld over three days from 16-18 September, this year’s

[d]arc room looked very different to previous editions of the event. While we hoped to return to the Old Truman Brewery for the fourth edition of the

conference, created by [d]arc media in collaboration with Light

Collective, the continuing Covid-19 pandemic meant that this was sadly not possible.

However, as the old saying goes, “the show must go on”, and

although it was a huge shame to cancel the physical event in London, we were thrilled to be given the opportunity to bring the event online, and thus, [d]arc room livestream was born.

Although we’re living through some difficult and unusual times,

there are some positives to take out of the current situation, and the chance to bring [d]arc room to a global audience, and to include

speakers from a much wider geographical range than ever before, is certainly one of those positives.

The newly redubbed [d]arc room livestream featured 44

presentations across two streams over the three days, curated by

Light Collective, alongside three stellar keynote presentations from

Olympic Ceremony lighting designer Durham Marenghi, UNStudio’s Filippo Lodi, and light artist Aleksandra Stratimirovic. The

conference programme covered a vast array of topics, from project

case studies, professional research and inspiring stories, to pressing socio-political concerns, industry predicitons, and even a guided

group meditation session - all under the overarching theme of light. Speakers that participated in the event included: Keith Bradshaw

(Speirs + Major); Kaoru Mende (LPA); Monica Luz Lobo (LDStudio);

Carla Wilkins (Lichtvision); Dan Lister (Arup); Barbara Horton (HLB); Edward Bartholemew (Bartholemew Lighting Design); Claudia Paz; Victor Palacio (Ideas en Luz); Sophya Acosta; Sakina Dugawaller-

Moeller (Light.Func); Yah Li Toh (Light Collab); Dr. Kit Cuttle; Regina Santos (Godwin Austen Johnson); Nathalie Rozot (Phoscope); Brett Andersen (Focus Lighting); Francesca Bastianini (Sighte Studio);

Katia Kolovea (Archifos); Richard Taylor (Graphic Strategy); Ruth


[d]arc room livestream 4







Kelly Waskett (Hoare Lea); Annukka Larsen (WSP

should organise a fully integrated virtual event

(Illuminate Lighting Design); Akari-Lisa Ishii

the success of [d]arc room livestream has

among many others.

“To our attendees... what can I say? Over 1,000 of

attendees could also view the latest products and

the conference, both by attending sessions and by

sponsors. Divided into Gold, Silver and Bronze

away by the attendance figures from the four corners

formalighting, kreon, ELR, Archilume, Feelux,

[d]arc media truly appreciate it. I love the lighting

Radiant Architectural Lighting. Alongside their

“To our speakers, thank you so much for giving up

special workshop, showcasing the capabilities of

content from all over the world. To our sponsors,

is now available to view on arc tv).

there would have been no event in the first place. To

Finland); Lisa Marchesi (mldlab); Rikus De Kock

following the cancellation of the physical event, and

(I.C.O.N.); and Martina Frattura (White Pure),

vindicated that decision.

Alongside the stacked speaker programme,

you have supported us by actively participating in

innovations from our forward-thinking event

using the platform to network. I am genuinely blown

levels, sponsors included: RCL, LensVector,

of the globe and I want you to know that all of us at

Ligman, Applelec, ETI, Lumino, Orluna, LSE and


Exhibitor spaces, RCL and LensVector also held a

your time to give us inspirational and educational

their remote controlled technology (this workshop

without the forward-thinking attitude of you all,

The speaker programme began at different times

our supporters, to the BIID, IALD, ILP, SLL and

speakers and the audience. Day One was focused on

Gaut from Parrot PR and Marketing, thank you for

Day Two was more Europe and UK-centric, while Day

“To our collaborators, to Light Collective and

Central and South America.

scenes (and in front of the camera) to make this

around the world, the [d]arc media team was

All presentations are still available to view online.

each day, to reflect the different regions of both the

Women in Lighting, and a special mention to Eve

the East, covering Australasia and the Middle East;

spreading the word and for being so enthusiastic.

Three had an emphasis on speakers from Northern,

Streeam, thanks so much for your effort behind the

While the online event was accessible to viewers amazed, honoured and humbled by the number of attendees that tuned in, with more than 1,000

people (1,086 to be exact) from around the world

1. In her keynote presentation, entitled My Lights, Aleksandra Stratimirovic discussed the creative process behind some of her most striking light art installations. 2. arc Editor Matt Waring, alongside Assistant Editor Sarah Cullen, and Light Collective’s Martin Lupton, hosted presentations across the event. 3. A behind-the-scenes look at the [d]arc media studio. 4. Sarah Cullen talks with Edward Bartholomew and Nelson Jenkins during the event’s final presentation, The Global Impact of Racism in the Lighting Industry. 5. In another highlight, Martin Lupton spoke with Speirs + Major’s Keith Bradshaw. 6. [d]arc room livestream attracted a global audience of more than 1,000 attendees, including Jess Gallacher of the ILP’s dog, Murphy. 7. Deniz Ural and Katia Kolovea lead attendees on a guided meditation during their presentation, Light and the Art of Being Present. 8. Keynote speaker Durham Marenghi gave attendees a valuable insight into his incredible work illuminating the Olympic Games Opening Ceremonies.

event such a success. Let’s do it again sometime!”

Visit the [d]arc room website for more information.

registering for the event.

Paul James, Managing Director of [d]arc media, said: “I would like to say a huge thank you to everyone that participated in [d]arc room livestream.

“We thought long and hard about whether we






RCL RCL has released the latest flagship model of its popular DRX1 spotlight, which combines industry leading motorised positioning with LensVector variable beam technology and a tunable white light engine. RCL has developed its own tunable white LED engine, allowing seamless adjustment between a beautifully warm 2200K and a crisp, cool 3800K. The beam passes through a highly efficient TIR optic into the LensVector liquid crystal beam-shaping filter, which allows adjustment from the narrow 15° beam all the way up to 54°.





kreon kreon kagi is an innovative and extremely versatile patented profile system combining linear and accent lighting. The basic 24V profile can be either recessed or surface mounted and can optionally be equipped with satinated continuous light tubes for a sustained soft light distribution. A junction allows a perpendicular, 90° tilted second level connection of the 24V profile. Round or square shaped spotlights and wallwashers can be added just by clamping them on the main profiles, making kreon kagi an essential lighting tool.


LensVector The LensVector lens enables Dynamic Beam Shaping – the feature that allows lighting designers the ability to shape beams from a variety of luminaires, dynamically, from a wired or wireless device. No ladders, no changing reflectors, no lost time. Modifying a scene, which once required changing bulbs, reflectors, or even entire luminaires, can now be realised via a switch or mobile device – instantly. Dynamic beam shaping is easily integrated by OEMs and easily managed by lighting designers and end-users.

Ligman Ligman’s new Frame bollard is a unique piece of urban landscape furniture. More than just a lighting bollard, Frame is designed to be both a comfortable exterior seat as well as a source of ambient and directional lighting. The design’s inspiration came from the shape of the letter ‘I’ in the Ligman logo. Standard options are with white LED lighting to the head and base and a version with RGBW to the base. Special finish options can be provided with two-tone powder coated variations.



Feelux DIVA Free is a new concept from Feelux. The innovative, slim linear LED with AC connection does not require transformers anymore, and can make long connections of up to 400W with dot-free effect. Feelux’s Diva series always guarantee luxurious lighting with high CRI and slim LED. Among the Diva series, the new NDFree is the most useful and innovative version. Also, it has a safe connecting locking system for easy and quick installation, and is the new standard for line voltage, dimming products.



formalighting Award-winning design for improved sustainability, formalighting’s Colosseo is a modular recessed downlight. All its components - LED module, optics and driver - can be replaced individually. Moreover, its LED module is removable toollessly. The fully adjustable light head, tiltable up to 30° in two directions, is available in three diameter sizes - 75mm, 90mm and 120mm. Each size is offered in both trim and trimless versions, and is compatible with accessories. Also available in a square version, it is an ideal solution for retail spaces.

[d]arc room livestream



ELR The new dim-to-warm linear flexi strip from ELR features matching colours and dimming curve to the manufacturer’s warm dimming LED module. Dim with single channel from either leading/trailing phase, DALI or 0-10V control, the linear flexi strip is an innovation that makes combining linear indirect lighting with spots and downlighting to one dimming channel possible with perfect synchronisation of dimming and colour shift.


Applelec Manufactured in the UK to bespoke specification, Applelec LED Light Sheet has built a reputation as the go-to backlighting solution within the design industry. A flat sheet of brilliant light, Applelec LED Light Sheet is created with the manufacturer’s patented engraving technology, spreading bright and even light across the entire surface of the LED panel. Available for both national and international projects, Applelec LED Light Sheet has been chosen to back-illuminate unique and inspired light installations.


Lumino V20S is one of Lumino’s most established luminaires. A compact linear lighting profile available in silver, white or black, the V20S is only 20mm in both width and depth. Variants include 35° graze lens for wall grazing, 50° wash lens and 90° flood lens for broad beam control, all with optional anti-glare louvre. The latest version of this proven solution is the V20S Optic and Louvre ColorTune. The integration of tunable white ColorCORE keeps whites clean, offering a modern, bright light.


Radiant Architectural Lighting The Radiant 3D LED FLEX 100 IP66 modular and linear lighting system is now available with ultra-narrow 4° optics to create dramatic exterior lit effects. Each 100mm module comprises a single Cree XHP35 LED with a Ledil or a Gaggione ultra narrow beam lens. Adding a spread lens produces the narrow elliptical distribution. The 3D LED Flex 100 IP66 system has been developed for larger scale exterior lighting applications with a light output of up to 8,700 lumens per metre.


Orluna Only 59mm tall, Fina Adjustable Origin Natural is a flush downlight useful for settings with a low void that require floodlight or higher output. The lamp is positioned close to the front of the luminaire, maximising the light output and the number of beam angles available. Powered by Orluna’s new Origin Natural engine, it offers a CRI of 98, Rf 98 and Rg 100 as well as ten beam angles ranging from an 8° ultra spot to a 60° wash.


ETI Wires connect, but they also limit both physically and situationally. We’ve all been in the position of finding that a component could be positioned in a more convenient or more effective way but wiring just isn’t in quite the right place. With dynamic, modular platforms, ETI delivers power wirelessly where it’s needed, not just where it’s convenient. The mission of ETI is to enable your creativity and virtualise your approach to power with the ETI platform, liberating light ... No batteries or wires required.


Natural Origins In this issue, David Morgan inspects Orluna’s Fade Adjustable downlight fitted with the new Origin Natural light engine, following its debut at [d]arc room livestream.


50-year business trajectory has taken Orluna

from its origins in the aeronautical industry into the architectural downlighting market. Started in 1973 by a group of aeronautical engineers, the company was involved in

early applications for LED light sources for

use in civil and military projects where their

efficiency, long life and mechanical resilience were ideally suited.

This was long before LEDs were adopted for use in general lighting, so the company had a good headstart in their use.

In 2009, Andrew Kilborn took over the company after a career in

private equity and venture capital. Under his management, Orluna has become one of the leading suppliers of downlights for high-

end residential, hospitality and retail applications, working closely with lighting designers and specifiers around the world. His focus for Orluna is to grow the company organically with a long term investment horizon.

The company is truly international. It currently has more than 50

employees with overseas offices in Austria, Dubai and Singapore and works with a network of partners in 32 countries.

Orluna’s first big success in the architectural lighting market was the Quad 50 range of architectural downlights, which proved to

be popular with the international lighting design community and helped to establish the brand.

All Orluna products are made in the UK with an above industry average content of UK-made mechanical components. Orluna plans to increase this proportion to even higher levels in the

future. Sustainability is an important topic for the company and, David Morgan Associates, a Londonbased international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting. Email: Web:


by sourcing more mechanical components locally, it will help to reduce the carbon footprint caused by the shipping required to

work with overseas supply chains. It will also allow easier re-use

and re-assembly of products at the end of the life of the luminaire

when light engines and drivers need to be replaced. By focusing on


a limited number of related product types, Orluna is able to create

The Fade adjustable downlight is an 80mm diameter trimless, fully

light engines and bezels can be used on a variety of different product

cone and a baffle for good glare control and visual comfort. With 10

The latest product introduction from Orluna is the Fade Adjustable

options to fit project requirements.

Unusually Orluna luminaires incorporate custom COB light engines

adjustable downlight were understood to have taken around 18

light engines, the Origin, features a CRI of 98 with a very high R9

Technology officer were responsible for these projects.

values of RF of 94 and RG of 101. However, the spectrum of the earlier

of aluminium die castings, aluminium extrusions and machined

violet and cyan areas.

in both axes is smooth with a positive horizontal rotational stop

and the RG to 100 so getting even closer to the sunlight spectrum

a moulded ceiling plate with ball catches that will allow further

The spectrum of the new light engine is now noticeably more linear

gaiter fills in the variable gap created as the luminaire is angled back

and 3000k colour temperatures are available as these are the most

feature. The bezel assembly is easily unscrewed to allow the reflector

adjusts from 1800k to 3000k with a CRI of 98 and R9 of 98, but at the

The heat sink on the sample I tested ran quite warm and I noticed

The small improvements in the colour fidelity performance of the

restricted, but I assume that the COB LED running temperature will

the target market of lighting designers. The lit effect from the Fade

Orluna has achieved a very high level of performance with the new

well differentiated, attractive and with a clean, soft-edged beam with

extent from the many other downlight companies. The wide range of

I suspect that the wide range of distributions available may be of

that can use this new light engine will definitely give the company a

the Orluna range. Ranging from a very narrow 8째 spot up to a 55째 wash

a modular range where common components including heat sinks,

recessed luminaire with a 28째 aiming angle. It incorporates both a

variants to achieve economies of scale.

distributions and a wide variety of colour finishes there are many

downlight fitted with the new Origin Natural light engine.

The development of the Origin Natural light engine and the Fade

made to its own phosphor recipe. The previous generation of Orluna

months. Design Director Graham Lunn and Daniel Mahdavi and Chief

value of 99. Under the TM30 system the Origin light engine has

The luminaire is constructed from a conventional combination

Origin light engine was not fully continuous and had some dips in the

components. The build quality and finish are good and the rotation

The new Origin Natural light engine improves the RF value to 98

giving around 350째 adjustment. The luminaire snaps positively into

and achieving slightly higher values than a Soraa Vivid 3000k lamp.

horizontal rotation if necessary. A somewhat flimsy moulded rubber

and continuous across all the colours. At the moment, only 2700k

to prevent a direct view into the ceiling void which is a nice design

used for Orlua projects. A warm, dim light engine is available, which

and diffusing window to be changed on site if necessary.

moment this is not included within the Origin Natural range.

that the direct air flow path through the heat sink was somewhat

Origin Natural light engines should be useful to get the attention of

be within operating limits when used in a ceiling void.

adjustable downlight sample I tested was impressive with all colours

Origin Natural light engine, which should differentiate it to some

no imperfections.

optics and variety of luminaire options, including the Fade adjustable

greater interest to designers, with up to 10 beam angles in most of

strong story in this market.

in the symmetric distributions and with two different elliptical beam angles for asymmetric applications.


SIM City Dominic Meyrick, Partner at Hoare Lea, explains how the lighting design studio’s web-based controls app LightSIM - helped to rejuvenate the lighting for LTS Architects’ new office space.


ack in August 2019, I gave a talk to LTS Architects at their rented offices in

Bermondsey. During the conversation that

followed, we discussed workplace lighting and I mentioned that I thought their lighting was

terrible... fortunately Greg Shannon, director

and founder of LTS, took this in good grace, and

we went on to examine the existing scheme, with its 600x600 ceiling downlights, together.

Recognising that the ‘LG3 throwback’ lighting was awful, Greg had

hoped that the task lighting in which LTS had invested would enable

everyone to turn off the inherited background fluorescents. However, when they tried this, staff complained that the space was too dark.

My CPD seminar had mentioned that this approach doesn’t generally work, and because LTS were moving to a new office at 66 Wentworth Street in Spitalfields, London, I agreed that I would advise on the

lighting scheme with a view to trying out new ideas about how an office could be lit to save energy, while creating a comfortable, attractive visual impression.

The new office comprises a ground floor containing the main

workspaces and a small meeting room, while the basement level is designed around a long meeting table set beneath a timber

slatted ceiling, lit by an internal skylight. I had the plans, knew the environment and the work that would be carried out, and so could

tailor the lighting accordingly. Obviously, this is the luxury of a Cat B fit-out.

Ground Floor

Bang on trend, LTS were thinking of painting the ceiling and services black. Perhaps this aesthetic works in a hip coffee shop, but I didn’t

think it would work for an office where visual comfort is paramount and factors, such as age, should be considered. The brain and visual system is designed for daylight. If the ceiling above our heads is

dark, our visual system will take us to the time it is naturally dark

overhead: nighttime. And so any space will appear dark. Clearly this would be a problem in a workspace. We therefore recommended

keeping the galvanised silver elements on the ceiling and painting

the concrete slab white. We could then uplight the ceiling and use the interreflection created to bring brightness into the space. Such an

approach would mean that the mechanical kit would be lit and, well, why not! If it is there, why not flaunt it à la high-tech architecture. The big idea on the ground floor was to have a continuous linear

system, rather than pendants hanging over the desks. The main

obstacle to this change was the aesthetic of exposed services, which were set.

We knew staff would be largely working in the middle of the

floorplate, so the only space available for lighting was around the

edge. Supplied by Optelma Lighting, the linear system runs around the space, uplighting the room and creating a background lighting level of 200lux +. The asymmetric system runs right across the Dominic Meyrick, Partner, Hoare Lea


windows. This is because at night, windows become ‘light suckers’; putting artificial light on the ceiling above the window opening


Hoare Lea designed the lighting scheme for LTS Architects’ new office space. In doing so, the lighting designers introduced a continuous linear band of light around the perimeter of the main office space, uplighting the room and creating a pleasant background lighting level. This motif is replicated in the basement area, with a linear lighting strip hidden under the basement’s 15m pin wall. All lighting is controlled via Hoare Lea’s LightSIM Controls app (bottom left), enabling LTS Architects to explore new lighting scenes on screen, before uploading them to the real world environment. (Pics: James Brittain)

reduces the impression of ‘black holes’. Therefore, with the

be missed if care is not taken when working out the LED strip to be

the ground floor working area all have the system running across.

lumen package, placement and purpose.

exception of the entrance door, the eight areas of large glazing within However, the channel is so small (around 50x10mm) that it appears

used within a profile. LED tape will only do the job if you consider the

as a line, which does not upset the aesthetic.


These are the only ‘feature’ light fittings in the interior, and give the

lighting scenes, with photometrically accurate imagery on- screen,

We brought 13 Dyson Lightcycle task lights from LTS’s old office. task lighting on each desk as required by BS EN 12464-1.

Having been a lighting designer for more than 30 years, I am happy to admit that while I love their light, I ‘hate’ light fittings as too

often they distract from the architectural character of an interior. However, in this office, the Dyson task light is part of the ‘desk

architecture’ and so is a visual enhancement rather than distraction. Away from the main office space, the second big idea was to use

concealed lighting. In the corridor between the office area and back meeting room, a floor-mounted, buried light fitting along one side uplights the wall. Opposite, in the alcove area where desks are

Hoare Lea’s web-based LightSIM Controls App enabled LTS to explore before they were uploaded to the real-world environment. Once a

‘scene’ is created in the app’s virtual environment, it is sent to a webbased lighting controls system and then imported directly into the

enabled light fittings. We specified Mymesh from Chess; this enables each fitting to be ‘spoken to’ without hard wiring a control system. LTS can easily reformat any of the lighting scenes. Whether in the building or working remotely, they can control the light, creating

different scenes, while saving energy by making sure light is only on when needed.

located, concealed fittings ‘push’ downlighting onto the working area.


units, we decided to make them a feature, with colour-changing LED

close to the maximum requirements of Part L (10.76W/m) for an

Finally, rather than trying to hide the ugly fan coil air-conditioning lighting putting colour into the space.


The basement comprises a meeting room, break-out space and

desking. At present three of the desks are spares, which might in the future be rented out. As there is no task lighting in the basement, it was agreed that pendants would provide direct lighting over these. The main feature is the pin wall, which at 15m long, runs from one

end of space to the other. Rather than putting downlighting on this

thoroughfare, we specified asymmetric light fittings under the board. This system provides light that washes down onto the corridor that runs from the front to the back of the building.

The same asymmetric profile is used in the basement and the ground

floor. Interestingly, we changed the lumen package for the LED strip: on the ground floor ceiling it is 3000lm per square metre, whereas

under the pin wall in the basement it is 1000lm. Opportunities can

The energy use across the lighting, if all on at 100% output, sails office space. However, the LightSIM has allowed the ‘trimming’ downwards of the energy use to 6W/m, without losing that all

important visual impression; and obviously the task lights are

only on as and when required. The key is to remember that the eye,

designed for the lit condition of daylight, will not ‘see’ the difference in visual impression of a lit scene when the lighting is at 100%,

compared to 70% output. With further ‘tweaking’ the overall energy use was reduced without any detriment to users.

Commenting on the success of the solution, Shannon said: “It has

been an absolute pleasure to work with Dominic and his team, and

watch our humble home come to life. The results have transformed our thinking on lighting, energy use and what’s possible. We have saved significant sums on the build and on our running costs and have gained a beautiful scheme of which we are all very proud.”


Saving Grace Rupert Tait, Founder of Smith Tait Lighting Consultants, tells us more about his newest creation: Lightified – an online tool aimed at streamlining the specification process.


he lighting industry is highly competitive and

demands that professionals work within tight deadlines and under immense pressure. As a

means of easing some of that pressure, founder of Smith Tait Lighting Consultants, Rupert

Tait, has created Lightified, a new online tool that aims to enable lighting professionals to

fulfil their roles as efficiently as possible.

“Lightified was created to ease this pressure by digitising the

current offline process,” Tait explained. “Outside of Lighting (and

construction in general) we’ve seen digital revolutions in everything from F&B to Travel; with automation revolutionising processes and enabling companies to be far more efficient. The pressure lighting professionals experience is largely the result of an offline, highly

analogue process – where being faster or more efficient is achieved by hiring more people, rather than optimising processes.”

Why was Lightified Created?

Tait is someone that has experienced this pressure first hand – as founder of Smith Tait Lighting Consultants, which over the

last decade has grown into a multinational company with four

global offices and a large market share across the MENA and SEA

regions, and also in previous roles where he worked as a supplier in South Africa, where he explains the industry demands “were only magnified by the logistical nuances of the region”.

It is from these experiences that Tait envisioned Lightified. “The concept of Lightified in its most embryonic stage was designed as a tool to help my team leave the office on time,” he said. “It

wasn’t long however, before it became clear that Lightified could

be the saving grace of lighting professionals globally, and the tool developed into what clients see today.”

Since it started, Lightified has been chosen to participate in two Rupert Tait, Founder of Smith Tait Lighting Consultants & Creator of Lightified


start-up accelerator programmes; the first was the Dubai Smart

City Accelerator by Startup Bootcamp, where Lightified was chosen


out of 800 global companies and eventually achieved first place,

are endless,” Tait exclaimed. “It represents an area of focus

most recent was the New York Abu Dhabi University Corporate

revolutionary services. At our most ambitious we will use the

securing funding from the Dubai government in the process. The Sprint Accelerator, which partnered with leading contractors in the Middle East. Lightified was awarded the innovation prize by ALEC

Engineering & Contracting, winning the top prize of $10,000. ALEC is now partnering with Lightified to digitise its procurement process.

“That spirit of innovation is a common thread that runs throughout

the team,” continued Tait. “Each bit of product development is done with one goal in mind – to digitise the industry and alleviate the pressure from lighting professionals.”

How Does It Work?

where the technology can be pushed to the limit to deliver truly automated product selection to reduce the time it takes to build a specification.

“Utilising AI image recognition to identify products in project

pictures, a designer will be able to select an inspirational project

picture and gain instant insights into the products used to create the scene. The exciting part is this isn’t technology that will be available at some distant point in the future – it is on the roadmap for the next year.

“From a manufacturer point of view, we are producing industry-

wide analytics. These will give insights into data that will help them

The core features of Lightified are concerned with searching

to make decisions and form their corporate strategy. For example,

opportunities lie in searching for products and comparing their

world, which product ranges are the most/least competitive, and

found in fragmented offline places, making gathering it a time-

“We take inspiration from sites like Amadeus in the travel industry;

“On Lightified, you will find all the product information in one place,

industry together. Long-term we will build out the verticals for all

name a few) quick to sign up to the platform to make it as easy as

most complicated) of that vision.”

take minutes, rather than hours,” said Tait.

“It is not uncommon to see a lighting catalogue used as a mouse mat

How Can Designers & Manufacturers get involved?

envisage that is all the catalogues will be good for in the future.”

to help build Lightified further. “Lightified is built to help lighting

for products and building specifications. The key time-saving

which products are being specified in different regions around the

technical information. In today’s world, that information is often

what areas of the market they’re not being specified in.

consuming and often frustrating process.

building technology that brings all elements of the construction

with household brands (Flos, Linea Light, Sylvania, Kundalini, to

aspects of the construction industry, with Lightified the first (and

possible for designers to specify them. Product selection will now

in our office. With the advent of new technology and the use of AI, we Lightified, Tait explained, enables project information to be compiled and stored in one central, dynamic project page, which can be

accessed and viewed by clients, contractors and suppliers. Once the

products are selected, quotes can easily be requested with no need to

upload product data and fill out Excel spreadsheets as the information is pre-loaded onto the system, and easily compiled into a quote.

Tait is inviting more designers and manufacturers to get in touch

professionals, so we encourage lighting designers and manufacturers to reach out and see the benefits for themselves. We cover all types

of lighting, from decorative to commercial, floodlights to pendants.” For more information, visit the Lightified website.

“Where does Lightified go from here? For designers, the possibilities


new products

Latest and Greatest

A look at some of the latest products and innovations from across the lighting industry to hit the market.

Linear One DMX Acclaim Lighting Linear One DMX is a high-output, energyefficient interior and exterior modular linear LED fixture, available in a wide range of dynamic colour options and beam angles. It utilises an end-to-end modular design, making it an incredibly adaptive, efficient and versatile light system, designed for linear, multi-colour, high-output LED fixtures, ideal for creative capabilities for wall grazing and cove applications to meet design criteria. Available in one and four-foot sections, Linear One is available in RGBW (30006000K) and RGBA and DW (2200-5000K).

Eclipse Bold Lighting Replicating the lunar phenomenon, the light source in the Eclipse is hidden, offering a completely glare-free, indirect illumination. The LED is located in the static blade of the fixture body, shining up on the reflector. The reflector orbits omnidirectionally around the light source, allowing maximum vertical beam adjustability, up to 45° tilt in a 360° horizontal span. The reflector is regressed around 8mm from the face of the bezel and maintains the same horizontal position regardless of beam tilt, allowing the luminaire to maintain high efficiency with a discreet and unobtrusive aesthetic.

ION Matrix Filix Filix’s sensor controlled high-quality bollard will cater to public realm projects and exclusive hospitality landscape areas. The combination of classic design, latest LED technology, energy saving and light pollution minimisation increase the value for the architecture and users. Five light distribution options and dimming are programable on site with a switch located inside the anodised aluminum body. Integrated sensors activate or increase the light intensity when activity in the operating range is detected.

Focus Micro CLS CLS has released its smallest zoom luminaires ever. The specifications are however massive: a spectacular effective zoom range from 6-87°, both the track version and surface mounted versions are available with built in 24V/DMX 512/Magno dim electronics in extremely small bases. Surface mounted versions are available with both screw mount as well as magnetic mount functionalities. Extension rods for the screw mount version are available up to 60cm. The all new flex snoot can be simply cut to the right size by the user.

Combina D L&L Luce&Light The first application from the new Combina System, the Combina D downlight is available in four sizes, each with different wattage (6W, 11W, 15W, 29W). Fully customisable, with either a fixed or adjustable body, Combina D can be flush or rebated, round or square. Lighting effects can be changed at any time by the addition of optical filters. Colour temperature ranges from 2700K to 4000K, while the LED light sources have a high CRI of >97, which means optimum fidelity in the colours of the objects being lit, ensuring that they are shown in the best possible light.

DL20 Siteco Elegant design based on lantern-shaped luminaires with robust workmanship (IP66, IK08) and dirt-resistant toughened safety glass, Siteco’s DL20 offers lowmaintenance, continuous operation of up to 100,000 hours with minimum luminous flux degradation thanks to optimum thermal management. Precise light distributions due to MIRO-quality double reflector technology are suitable for various road and plaza situations, while optimum glare control allows glare-free view into the luminaire.


PROLED LINEAR XL luminaire series

The LINEAR XL luminaire series can be used universally and is available in 720 different versions. Each version is also available with indirect light output (uplight) in RGBW or monochrome (4 colour temperatures). ■ ■ ■ ■ ■

5 lengths: 604 mm, 894 mm, 1174 mm, 1534 mm and 1964 mm 3 colours: aluminium silver, white and black 4 covers: crystal clear, frost (semitransparent), milky (opal) and with microprism 3 power classes 4 colour temperatures: 2700 K to 6000 K

Option Uplight

Optional: ■ with indirect light output (uplight) in RGBW – control by RF remote controller ■ with indirect light output (uplight) in 2700 K to 6000 K – separate connecting cable for separate ON/OFF switching

MBN GmbH Balthasar-Schaller-Str. 3 86316 Friedberg · Germany Phone +49.821.60099-0 Fax +49.821.60099-99


Day and Night, Land and Sea The Passenger Terminal Amsterdam is a destination for travellers, tourists and residents alike. Acclaim’s lighting system now solidifies the bridge between day and night further.


ymbolising the connection between

PTA specified 172 Acclaim Lighting Dyna Drum SO

architect Larry Malcic, the Passenger

partner ULC Technisch Beheer BV.

land and water under the vision of

Terminal Amsterdam (PTA) is now

being enjoyed day and night by passengers and local residents.

The PTA is a unique building with its undulating

roof, large glass windows and huge interior wooden beams located on the river IJ just a stroll away

from the historic Amsterdam City Center. Since

its opening in 2000, more than 2,100 ships and 3.8 million passengers have visited the terminal to

enjoy the beautiful modern architecture, as well as views of the port and city.

To emphasise the architectural beauty of the facility, the PTA now has a state-of-the-art

nighttime lighting system that has become a

must-see for travellers and local citizens. The


QW, which were delivered and installed by Dutch

The Dyna Drum SO Color is a high output, outdoor rated, LED flood fixture with a wired digital

communication network. The fixture features

spectrum technology to offer more usable colours, including pastels, dedicated whites, and dynamic

white options, all in the same system. In addition,

it has an adjustable yoke, on-board digital display, and a 100-277VAC internal power supply. The

Dyna Drum SO Color is ideal for façade lighting applications, and as an area flood light.

The lights in the PTA are controlled by an Obsidian Onyx system, programmed by Tibbe Warnier,

to highlight the entry to the world class tourist destination and capital of the Netherlands.

Arc ad oct 2020 - PRINT READY.pdf 1 08/10/2020 13:34:34










Natural Highlights L&L Luce&Light provide fixtures to Holmestrand rail station, situated in the fairytale-like bedrock of the over-hanging mountains in the Norwegian coastal town.


urrounded by sinuous fjords and immense, silent forests

that slope gradually upwards as you move further into the station.

tales – Holmestrand, a coastal town in the county of

concept, following the style chosen for the railway station. The

– the familiar features of traditional Norwegian fairy

Vestfold og Telemark, looks out across the icy waters of

the North Sea. Here, new works of architecture maintain their link with the region’s DNA: the structures and forms are chosen with full respect for their surroundings. Equally, the inspirations and

influences that come from the natural environment are a constant in designs, merging smoothly into the Scandinavian style.

An example of this is the construction of the new strategic railway station of the same name. Built inside a mountain, it serves as a junction for both local and high-speed trains. This unique,

spectacular project will modernise rail traffic along the west coast of Oslofjord. Rambøll Norge AS, an Oslo consultancy firm working in

construction, architecture, transport and urban development, has designed the site with two new entrances to the structure. One of

these is in the south, in the centre of Holmestand, and the other is

in the north, with a passenger terminal, rest area, bus station with associated services, and a car park.

The architecture of the two entrances was the work of Gottlieb

Paludan Architects, who set the grey concrete structures in the

mountainside with inclined planes that form sharp angles to each other in a clear allusion to the outlines of the rocky peaks. The

result is an architecture composed of dramatic lines that explicitly demarcate the boundary between inside and out. The spaces were

designed with geometries that appear to grow and develop out of the mountains into the outside world. The access tunnels have ceilings


The lighting concept was aligned with the architectural design

lighting design, by Rambøll Norge AS, specified the installation of L&L Luce&Light stainless steel outdoor Rio 2 linear profiles with diffuse light recessed into the structure. This striking solution

underlines the entrances’ contemporary design while also satisfying the functional need to light the area for the passengers entering and leaving the station. The light emitted from the LEDs has a

warm colour temperature (2800K), complementing and enhancing the sense of space. In keeping with the aesthetic approach to the

building itself, it creates a pleasant and inviting atmosphere. The Rio profile assures continuity of light between fixtures installed

end to end, something that was fundamental to the aesthetics of

this project, both to increase the general sense of brightness and

comfort and to set off the building and reinforce its significance in

the space. The geometric lines of light are integrated perfectly into

the architecture, so that the light appears to float as if suspended in the air.

The characteristics of Rio 2 fixtures are compatible with the

environmental conditions and climatic variations of their setting:

with an IP67 ingress protection rating, IK10 impact resistance and IPS (Intelligent Protection System, patented by L&L) system, they are also tested to guarantee robustness and unchanging lighting

quality down to a temperature of -20°C, making them ideal for the Norwegian climate.

Individual LED solutions – for interior and exterior matching the architecture above: LED-LINARGO – baffle luminaire for acoustic suspensions Acoustic presented in the best possible light.


by TTC Timmler Technology

T +49 2255 921 200 E

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A Perfect Fusion For the lighting of Belgrade’s BEO Shopping Centre, Lichtvision utilised fixtures from Intra Lighting to create a blend of nature and innovation.


here are two main aspects that connect Belgrade’s BEO Shopping Centre and Intra Lighting’s luminaire, Tracker - nature and

innovation. An innovative architectural concept, Beo Shopping Centre features a lot of natural light during the day, with the

abundance of greenery helps to bring the feeling of nature inside.

Tracker perfectly supports this fusion of outdoor and indoor, as it is able to

adjust to all forms of the space and follow them endlessly, to create and design almost whatever the designer has in mind. All of which helps to provide visitors with the optimum relaxing shopping experience.

At BEO Shopping Centre, lighting is in itself a subject of consideration

in space, and helps to emphasise other elements of the interior, which

means that it further evokes their appearances. With lighting designed by

Lichtvision, the central hub of the space is dominated by a large lantern that

gives a lot of natural light. The main emphasis is on the steel elliptical shape,

on which oblong lamps and artificial greenery are hung. Openings in the slabs

create fascinating shapes through the floors, to deliver an enchanting view for visitors. This is accentuated by perfect proportions throughout the interior;

the height of the ceiling is significant, and the materialisation is a few steps ahead of everything in the area.

BEO Shopping Centre is in the Zvezdara neighbourhood, south-east of

downtown Belgrade, which occupies almost the entire eastern urban section of the Serbian city, with a population of more than 350,000 inhabitants. The Shopping Centre covers 130,000sqm over three floors.



Krypton Factor CLS provides illumination to the second largest concert hall in Germany, offering multiple colour applications to suit the varied-use space.


LS has developed the Krypton series as a customer

specific solution for the second largest concert/event centre of Germany. Stadthalle Bielefeld hosts many

national and international concerts, congresses and all

sorts of other events.

The main hall offers a capacity of up to 10,000 visitors, with a vast ceiling reaching 18 metres in height.

The challenge for CLS was to design a lighting solution that would

offer high quality warm white light (3000K) with a CRI of >90 that

would generate at least 500 Lux at 80cm floor height, combined with

an RGB section for effect lighting and mood creating lighting scenes. As the rooms are used for many different applications, where often

an office lighting level is requested, it was necessary to come up with a solution that would offer a high quality white light on a long term basis.

Instead of trying to generate white light with many RGBW LEDs, CLS opted for a solution with a very strong, single white light source in combination with a cluster of RGB modules.

Originally intended as a mid-air effect, it proved in practice that the

10W RGB modules are optically so effective that even the floor from a height of 18 metres can be painted in virtually any colour.

Being so powerful, the RGB section can also be used to alter the colour temperature of the white light source.


MICRO is the new A.A.G. Stucchi low-voltage product family born to meet the market’s need of miniaturization. A great focus has been placed on the dimensions, that are greatly reduced but also on offering a complete system with different track profiles, a wide range of connections, accessories and linear light modules to give the maximum flexibility to lighting projects.

The leading international magazine for lighting in architecture

Subscribers benefit from: - Reviews of the most exciting projects in the world - In-depth profiles of leading figures from the lighting design and architecture profession - Special features on stand-out products and collaborations - Coverage of international exhibitions and conferences - Bonus subscription to International Lighting Design Survey

ADVERTISERS INDEX A.A.G. Stucchi.............................. 117


Lumascape.................................... 77

Acclaim Lighting........................... 89

Feelux............................................ 13

Madrix........................................... 93


Filix............................................... 115

Modular Lighting Instruments... 39

ADO Lights.................................. 113

formalighting................................ 23

Nichia............................................. 79

Alto................................................. 25

GVA Lighting................................. 31

Orluna........................................... 35

Applelec....................................... 111

IALD............................................. 121

Precision Lighting......................... 29

arc tv............................................ 117

Illumination Physics..................... 47

Proled.......................................... 109


Intra Lighting................................ 63

Radiant Architectural Lighting.. 119

Bold Lighting................................. 53

KKDC.............................................. 17

RCL................................................. 97

Clear Lighting................................ 93

L&L Luce&Light............................ 49

Seoul Semiconductor.................. 69

Climar............................................ 83

LED Linear................................... 124

Siteco........................................... 4, 5


LightGraphix............................... 123

Unilamp......................................... 11

Colors............................................ 59

Ligman........................................... 33

Wibre............................................. 95

[d]arc awards.............................. 6, 7

Lucifer Lighting............................. 15


Centura System IP20 Up to 5,500 Lumens per Mtr. Flexible or fixed-shape modular LED linear pendant lighting system IP20




Indoor Lighting Product of the Year

Encompass Control Room, London. The Centura System Flexible Downlight with double spaced modules and 2 x high-power LEDs with narrow elliptical beam lenses per 100mm module provides a perfect line of light along the curved desks, while the anti-glare louvres provide excellent visual comfort

Win Best Indoor lighting product Light Middle East Awards 2018 Award for Excellent Product Design (Lighting) German Design Awards 2020

Wimpole Street Dental Clinic, London. Lighting design by Syntax Lighting. Elliptically shaped Centura pendants provide a wash of uplighting onto the ceiling, and a controlled downlight output with high-power LEDs and medium beam lenses. Photography by Richard Washbrooke. Dental surgery design by Apollo Interiors | +44 ( 0 ) 208 348 9003 | | All products designed by

arc advert. full page. Oct-Nov 2020.indd 5

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W Excelle

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 in your diary for the months ahead. IALD ENLIGHTEN AMERICAS ONLINE 21-22 October Global

ARCHITECT@WORK 27-28 January 2021 London, UK

INALIGHT 30 March - 1 April 2021 Jakarta, Indonesia

LEDFORUM.20 DIGITAL 6 November Global

SURFACE DESIGN SHOW 9-11 February 2021 London, UK

EUROLUCE 13-18 April 2021 Milan, Italy


[D]ARC AWARDS Spring 2021 (DATES TBC) London, UK



LIGHT 3-5 March 2021 Warsaw, Poland

INTEGRATED SYSTEMS EUROPE 1-4 June 2021 Barcelona, Spain

LIGHT MIDDLE EAST 24-26 January 2021 Dubai, UAE

LEDUCATION 16-17 March 2021 New York, USA

STRATEGIES IN LIGHT 22-24 June 2021 Santa Clara, USA


2020 IALD Award of Excellence – Kistefos, The Twist | Jevnaker, Norway | Light Bureau | Photography © Tomasz Majewski


#18 Light, Research & Design / Amardeep M. Dugar

“Dancing is creating a sculpture that is visible only for a moment.” Erol Ozan.

What: The World Hip Hop Dance Championship. Where: The World Hip Hop Dance Championship is one of the many global events produced by Los Angeles-based Hip Hop International. How: Dance Crews participating in the World Hip Hop Dance Championship advance either from national qualification rounds and/or selections within their country, or by special invitation. Join a crew, go solo or get yourself a ticket to be in the audience. When: The event takes place every year, but I recommend you choose the year when I am selected or receive a special invitation to be the first person to compete as a dancer and design the lighting for the show! Why: Hip Hop dance is a fusion of different dance disciplines and cultural interpretations that capture the attitude, elements, look, music and posture of the urban environment. It is a continuously evolving style of entertainment that transcends cultural and language barriers. It is a perfect multi-sensory experience that can only be enhanced by the lighting. As a passionate hip hop dancer, this global dance event is a chance to meet and interact with the most celebrated hip hop dancers and choreographers from around the world who are equally passionate about hip hop culture and dance. More importantly, this event has the potential to reach an ever-wider audience with some super cool lighting designed by a dancing lighting designer!!

Photo: Breakdancer, Orlando, Florida by Michael Afonso on Unsplash


Project: Deloitte - Link Bridges Lighting Design: GIA Equation Architect: WilkinsonEyre Product: LD43W with custom angled mounting sleeve

Visit for more info

Photography: GIA Equation

BREATHTAKING BELOW THE WATERLINE NEPTUNE IP68 – Precise engineered ridged linear fixture for pool lighting and water features with challenging requirements.

For more information about NEPTUNE IP68 please scan the QR-Code or visit our website

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