arc December/January Issue 119

119 DEC/JAN 2020/21 www.arc-magazine.com

Ancient Wonder Eleftheria Deko opens up on the re-lighting of the incredible Acropolis of Athens

LPA 30TH ANNIVERSARY • CRISTINA GIL VENEGAS - THE NIGHTTIME TRAVELLER • RCL DRX1 REVIEWED CHRISTIAN DIOR: DESIGNER OF DREAMS • FAÇADE LIGHTING FOCUS • EMPATHIC LIGHTING DESIGN

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As different as the airports around the world may be, they have one common characteristic: they need safe, efficient and attractive lighting. In order to realize this, the authorities of Helsinki Airport have decided to choose products of the SITECO portfolio.

Ask us, we will help you choose the right solution.

Read about the Helsinki Airport project and other beautiful indoor and outdoor projects here:

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047 Lighting Planners Associates On the 30th anniversary of LPA, we take a look back at some career highlights for Kaoru Mende and his team.

Contents

DEC/JAN 2020/21 014 016 018 020 024 038 040 044 120 122 128 130

010

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

www.arc-magazine.com

042 International Lighting Design Family Tree For the past few months, Light Collective has been hard at work putting together the International Lighting Design Family Tree, with an interactive version now available to view online.

062 Lighting Design and the Circular Economy As the drive for more sustainable approaches continues, IALD members discuss what the lighting industry can do to operate within a ciruclar economy

064 Cristina Gil Venegas In her research project The Nighttime Traveller, Cristina Gil Venegas examines the ways in which women interact with the urban environment after dark.

116 Empathic Design Communication Consultant and kindness advocate Bronwen Rolls asks if lighting designers can take a more empathic approach in their work.

118 David Morgan Product Review After a fascinating workshop session at [d]arc room livestream, David Morgan checks in with RCL to take a closer look at the DRX1 range and the iPad-based RCL Control system.

090 Shanghai Bund, China Fisher Marantz Stone opens up on the re-lighting of Shanghai’s Bund District, a project built on collaboration and bringing light to the people.

Projects

DEC/JAN 2020/21

072 Christian Dior: Designer of Dreams, China Assistant Editor Sarah Cullen sits down with Francois Roupinion of Lightemotion to discover the magic behind the remotely installed scheme for Dior’s Shanghai exhibition.

080 The Acropolis of Athens, Greece Long considered the most iconic monument of Ancient Greek culture, the Acropolis is now bathed in a new lighting scheme, designed by Eleftheria Deko.

100 Daiwa Roynet Hotels, Japan In illuminating the façades of three Daiwa Roynet hotels across Japan, I.C.O.N. paid close attention to each site’s context, creating a truly unique scheme for each hotel.

106 Façade Lighting Case Studies A selection of manufacturers showcase the latest façade lighting projects to use their range of products.

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29.07.20 11:51

EDITORIAL

Another year over...

And a new one just begun...

Front cover: The Acropolis of Athens, Athens, Greece (Pic: Gavriil Papadiotis)

What a year it has been!

Editorial

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

Commercial

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

Design

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

Corporate

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

I don’t think anybody could have possibly predicted this time

last year that 2020 would have turned out the way that it did. To

use the most over-used word of the year, it has been completely

unprecedented in the challenges that it has thrown our way, and I

sincerely hope that all of you have made it through the year happy and healthy.

While it has, at times, been a huge struggle, it has also been a year of new adventures, new technologies and new opportunities. For many of us, it may have taken a while to get used to, but by now I’m sure

you’re all overly comfortable with Zoom/Teams/Hangouts, and have sat in on enough webinars to last a lifetime.

Through it all though, I’ve been constantly reminded of the

kind-hearted, spirited and community-driven attitude of the

lighting industry. From digital events such as our own [d]arc room livestream and the IALD Enlighten conferences to wide variety

webinar series, to simple group chats and virtual hangouts, the

way that everyone has stuck together and supported each other has been incredibly touching, and I know that we as a magazine would

certainly have found it a lot tougher without the support of you, our readers. So from everyone at [d]arc media, a heartfelt thank you!

Onto our final issue of 2020: inside these pages, we’re thrilled to

feature a massive 15-page special on Lighting Planners Associates as

they celebrate their 30th anniversary. I also sat down with Colombian lighting designer Cristina Gil Venegas to talk about her fascinating

research project, The Nighttime Traveller, which you can find in our

Women in Lighting feature.

Elsewhere, our incredible cover story sees us speak to Eleftheria Deko about the amazing re-lighting of the Acropolis of Athens - Deko

provided some great insight about the logistics of this incredible project, so I hope you enjoy reading it.

Finally, as we wave goodbye (and good riddance) to 2020, and look ahead to 2021, I’d like to paraphrase the late, great John Lennon:

Have a very merry Christmas, and a happy New Year, let’s hope it’s a good one, we could certainly do with it!

Happy Holidays everyone!

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

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

Matt Waring Editor

Spatial Ltd is acting as our mailing agent.

Proudly Supporting

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NEWS

Headlines

2020 inductees to IALD College of Fellows announced

(USA) - David Ghatan, Maureen Moran and Kevin Theobald inducted into College of Fellows

David Ghatan

The IALD has announced that three new members have been inducted to the IALD College of Fellows in 2020.

The IALD Fellow designation is awarded to members of the IALD for their valuable contribution to the art and science of lighting design, and for exemplary service to the IALD. Fellows are professional members with a minimum of 10 years of experience.

David Ghatan, Maureen Moran and Kevin Theobald were the 2020 inductees, formally inducted in an online event.

David Ghatan is deeply involved in lighting design through professional and personal pursuits, as well as his work with associations.

President of CM Kling + Associates, Ghatan is

Maureen Moran

the immediate Past President of the IALD, and has consistently been an active member of the association, serving as Treasurer from 2013 to 2017 and Director at Large from 2011 to 2013.

Maureen Moran began her lighting career as a lighting designer at Marriott Corporation, before transitioning to Coventry Lighting Associates as a designer. She established her firm, MCLA, in 1996. Leadership, strategic thinking and mentoring have all figured prominently in her success as a designer and business owner. Moran advances the interests and mission of the lighting community through her active engagement with industry organisations such as IALD and IES. Kevin Theobald has worked for the past 30

Kevin Theobald

years in major London-based design practices, and with a background in theatre and museum lighting, boasts more than 40 years’ experience in the industry. A Fellow of SLL and an Affiliate Member of the ILP, Theobald has dedicated an enormous amount of time and expertise to the international design and build community, and especially to the IALD. He has served on the board of directors and is a Past President of the IALD, where during his tenure, Theobald oversaw the creation of the Certified Lighting Designer (CLD) programme to establish a validated method for assessing the competency of designers and raise the visibility and standing of the profession. www.iald.org

Speirs + Major unveil new name, brand identity and website (UK) - The lighting design practice to be renamed as Speirs Major.

Speirs + Major has announced that as of Tuesday 24th November, it has undergone a rebrand, and will now be known as Speirs Major. The move reflects an ongoing evolution in the studio’s design approach and company structure. The practice has also launched a new website: www.smlightarchitecture.com.

Senior Partners Keith Bradshaw and Mark Major issued this joint statement: “Founded initially as an atelier practice 25 years ago, we have evolved into a unique team that has been responsible for creating hundreds of award-winning projects in more than 40 countries around the world. Our new name reflects this broader organisation, in which the design teams in our London and Tokyo

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studios are steered by our Partners, under our creative leadership.

“We are delighted to announce that Clementine Fletcher-Smith and Carrie Donahue Bremner are joining us as Partners, and Benz Roos, Philip Rose, Iain Ruxton and Hiro Toyoda as Associate Partners.

“Light Architecture underscores our ethos, rooted in our fascination with light, form, space and time. Our approach is to progressively and responsibly use light to improve the experience of the built environment, promote wellbeing and generate a unique sense of place.”

The new website includes a full explanation of the practice’s approach, alongside in-depth coverage of its wide-ranging portfolio of work,

including many images and sketches that have not previously been publicly available. The site is also home to a journal page that is intended to act as a repository of inspirational content on the subject of light architecture. www.smlightarchitecture.com

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Dancer: Maja Størseth Direction: Raquel Bañón Photography: Héctor López

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EYE OPENER

Bruma Mexico City, Mexico The observer is embraced in a constant gloom, blurry and uncertain, much like the times we are living in now. There is a gloom that reveals light and matter; darkness and memories; memories where feeling another person’s skin was possible.

Bruma, which in Spanish means haze or confusion, is a space of post-pandemic reflection, where we redefine that social distancing is not physical, is not real, it doesn’t have to exist if we use our emotional resources to create another reality.

Bruma is an immersive light installation created by Sombra, that consists of a series of boxes that emit light from a middle slit. These boxes are modulated with different configurations, depending on the intention or the size of the space. The light becomes solid with the use of a fog machine; when the particles of the fog interact with the light, it becomes “visible”. At the same time, a dancer

creates an intimate connection with the light – the light is her lover, they understand each other and move together.

In viewing this installation, the spectator is submerged in a space bathed in light, this light becomes material, one can touch it, feel it and breathe it. The body is immersed into the haze, generating a dialogue with the solid light, there is an intimate bond between the dancer, the space and the light.

Likewise, Bruma is a space where spectators are subjected to keep a physical distance of 1.5-metres, a distance we recognise today as crucial to survive.

Nevertheless, there is a spiritual connection between the spectators due to the emotionality of the artistic expression of the close relationship between the dancer and the light. They become one. www.s-ombra.com

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Drawing Board

Render: Atchain

Xi’an International Football Centre China Designed by Zaha Hadid Architects, the new Xi’an International Football Centre is a very modern structure, with a sweeping roof, tensioned cablenet structure, fluid forms and louvred envelope.

However, the 60,000-seat stadium also pays homage to ancient buildings, historic materials, and its setting in Xi’an, one of China’s oldest cities.

The centre will be located in Xi’an’s Fengdong New District, with its stations on the city’s expanding metro network. With a population of nine million people and two professional football clubs, Xi’an will be a host city for the 2023 Asian Football Confederation (AFC) Asian Cup in China. Taking its legacy mode of operations as a starting point of the concept, the stadium has been designed to provide optimum conditions for football, and to maximise its use by generations after the 2023 tournament.

Integrated within the orthogonal urban grid of Fengdong’s business district, the stadium’s open façades invite the city into the heart of the building to enjoy its public spaces, recreation and dining facilities throughout the day. Located in a series of shaded south-facing garden terraces with views over the city to Qing Mountain, these amenities will also serve spectators visiting the stadium during football matches, cultural events and performances.

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The sweeping lines of the façade have been designed to protect the stadium from northerly winds, and convey the fluid forms of the roof that shelters the saddle-shaped seating bowl, which maximises the spectator seating at midfield.

Lichtvision has served as lighting consultant for the project, working with Zaha Hadid Architects to develop a lighting scheme that supports its architectural vision.

Time and timing play an important role in Lichtvision’s lighting design proposals. The studio’s concepts have evolved around different lighting elements that are added and subtracted in combination with the element of time. This has resulted in a layered lighting approach that aims to be highly adaptable and transformative, but always blending into one design.

The lighting design responds to the varied uses planned for the stadium – from international football games, domestic league matches and cultural events to public dining, recreation and entertainment – by imagining the different atmospheres that the designers wanted to create, and the associations that they wanted to evoke.

Working with the transparency of the façade, designers at Lichtvision envisage a more enclosed

feel when louvre lighting is used. Different scene settings will allow for this change, from perceiving the envelope in the foreground, to revealing the architectural structures and its interior.

During match days, the whole stadium is an illuminated landmark, a celebration of colour and movement attracting visitors from afar and enhancing the important birds eye view for TV coverage and drones. The illuminated louvred faรงades, the metal and tensile roof structures and dynamic lighting scenes offer a spectacle while visitors pour into the stadium to enjoy the match and the hospitality. Rather than projecting images onto the roof and faรงades, the lighting designers have considered abstract scenes inspired by nature, sweeping winds, a moment of clouds or the mist rising in the early morning.

During other cultural events, the stadium is envisaged to be softly illuminated, with architectural structures becoming more visible, providing a backdrop to the visitors on the public plaza. The building will therefore become more transparent, revealing more of its interior features. Illuminated terracotta columns behind the louvres begin to peek through the envelope.

The glowing entrances and the large terraces invite guests and diners into the building, with the terracotta tones of the terraces and the fifth floor arched roof becoming focal points. www.lichtvision.com www.zaha-hadid.com

Match day scene - Celebrations

Sketches: Lichtvision Design

Cultural Events scene - inviting and calmer

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drawing board

DARKhut USA In a direct response to the growing presence of “White Knight” surveillance towers, Francis Milloy Design has unveiled proposals for the DARKhut – an introspective place of meditation, completely dark and devoid of technological artifice.

“We first encountered the White Knight in Times Square, New York City,” said Francis Milloy. “As thousands of individuals streamed past these mobile towers without so much as a glance and seemingly acquiescent in their own surveillance, we were struck and alarmed at the irony of a city and space so identified with freedom of choice, variety and cosmopolitanism, being monitored and watched in such an openly “covert” manner.

“While these glinting white towers may have some uses and advantages in terms of “protecting” large temporary crowds or assisting search efforts – in our towns and cities they are, more often than not, strategically placed to monitor behaviour and act as a symbolic deterrent.

“From today’s all-pervading insta-tech surveillance culture, it is not a radical leap to see this device for what it is, direct references to Jeremy Bentham’s Panoptican, George Orwell’s Big Brother and Michel Foucault’s

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Normalisation are implicit in its form and function.

“For us, the symbolic and real form of the White Knight has a direct correlation to the space of ego. The fragile, centralised, neurotic, tooled up ego, vainly trying to control the concrete, complex and unknowable totality of existence beyond itself. This correlation between our “personalised” sense of self and the spaces of our towns and cities is no coincidence or accident, they are intrinsically linked.”

Through the DARKhut, Milloy aims to “dissolve” the White Knight, and “recover the infinite space that our ego and society has cut us off from in its relentless pursuit of control and stability. From this source space, the authentic light of compassion, desire, creativity and appropriate action can arise”.

As a “polemic response” to the White Knight, the DARKhut “manifests in a form that reflects, yet is also, altogether entirely, opposite”. It is black and charred, countering the White Knight’s superficial brightness. The inside is devoid of natural or artificial light, which Milloy believes will act as “a portal to the unconscious, to the dissolution of the watchful, fragile ego, towards a radical and

powerful realisation of space and ourselves at our most fundamental. Open, interconnected, infinitely expansive and full of light, energy and potential.”

Milloy added that while the DARKhut is envisaged as a place for quiet contemplation and practice, he also sees it as a “vehicle of resistance and organisation in the face of the oppression and systems that seek to control our activity”. DARKhuts are mobile units that can be configured in many ways and distributed throughout our towns and cities at critical points in time and space.

“The DARKhut is a radical challenge to our monadic existence,” he explained. “Our towns and cities reflect who we are. Our lack of understanding and misuse of space and light is a great danger to our future as a species.

It is hoped this proposal provokes discussion and further action in that regard.”

The DARKhut is an educational outreach programme, which seeks to share diagrams and drawings to a broader audience. The goal is to further advance these principles and construct a DARKhut. www.darkhut.space www.francismilloy.com

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Spotlight ICON O2 UK In 2000, the Millennium Dome opened on Greenwich Peninsula with the intent of creating a celebration of Britain in the new millennium. The exhibition hosted a series of stages celebrating “who we are”, “what we do”, and “where we live”, while the centre of the dome housed a special circus-style show.

The Dome was open for 12 months and attracted 6.5 million visitors. It then lay empty for several years, before Anschutz Entertainment Group (AEG) purchased the venue in 2005, with the view of transforming the landmark into an entertainment venue.

The redevelopment saw the venue renamed to The O2, with the centre turned into an entertainment venue, and half the perimeter circulation area becoming a pre-event food and beverage offer. The remaining half ring was left as storage, temporary events and delivery zones.

However, as the O2 became a major draw, the Greenwich Peninsula developed with hotels, shops, residential, universities, piers, transport links and a cable car. As part of this continuing development, the remaining half of the ring was seen as a great opportunity for retail development; AEG therefore appointed CRTKL architects to develop designs for a designer outlet village.

In 2016, Hoare Lea was engaged to provide lighting design for the project, and began working with AEG

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and CRTKL on developing lighting concepts.

The development of ICON saw the 180-degree arch of retail spaces architecturally split into two distinct experiences – Clouds and Petals, with differing architectural and lighting treatments to define each experience.

The grand entrance staircase announces the beginning of the Cloud area, drawing visitors up into the retail zone. Linear washes to the side of the stair treads define the curvature of the stair, while also enhancing the transition into the retail malls.

“Lighting inspiration was taken from a theatre stage, which relies on different lighting treatments working together to create a defined impression,” said Jonathan Rush, Partner at Hoare Lea. Large, waved fabric fins define the Cloud space, and create an undulating soffit with washes of DMX interactive LED lighting, courtesy of Osram and Traxon Technologies, which can pulse, colour change and flex with the light, either mimicking daylight or creating a more kinetic and dynamic feature for special events. This cove lighting is complemented by additional suspended downlights from Reggiani.

Natural daylight is limited in this zone because of an existing box structure beneath the fabric dome of the building, so the lighting was designed to mimic the brightness of light spilling in from above, which in turn adds a balance between the daytime and night

impression of the two connected spaces.

The calming Cloud zone creates a false soffit of illumination and leads visitors into a large, two-storey node denoted by a yellow structural support leg of the dome’s existing structure.

The node acts as an event space and a link between the Cloud and Petal spaces, the arena, and an external link to a nearby hotel.

Large-scale retail façades wrap around the edge of the node, with back-illuminated perforated panels, lit via Traxon’s Nano Linear Allegro fixtures, enhancing the retail illuminated experience and creating exciting interventions.

The Petal feature ceiling sails over this zone with a myriad of metal petal forms suspended beneath the original fabric dome. Designed by CRTKL to mimic the dappled shade of a tree-lined thoroughfare, creating a unique experience, these petals are complemented by large wooden columns that are intended to replicate the trunks of trees, supporting the canopy of petals and utilising up and downlighting from Erco, which very slowly ripples and dims over time. From an existing high-level gangway, RGBW spotlights from Traxon project light downwards through the petals, creating subtle shadows and dapples of coloured light.

The upper level of the mall has additional illumination sources in the form of bespoke fixtures from Aether Lighting neatly integrated within the balustrade supports and wall lights that break up the uniformity of the retail fascias with definitions of light.

“The two-storey mall section referred to as the Petals creates a sensory explosion of colour and form inspired by London’s fashionable retail streets,” said Nathmya Saffarini, Senior Associate Director at CRTKL. “Clever use of LED lighting enables the tone and look and feel of the development to shift depending on the time of day.”

Each lighting experience was designed with people in mind, as Hoare Lea wanted to create a unique destination, and a feeling of sensory reverie. Brad Joseph, Senior Lighting Designer at Hoare Lea, explained: “Lighting has the power to amaze and captivate people. We wanted to use light within ICON O2 to create unique sensations and moments. The design has the power to be soft and calm, but also had to have the ability to erupt into life at selected moments.

“Given the nature of the O2 as an event destination, it was vital that we responded to that, but also created a beautiful, calm retail environment throughout the day. The CRTKL design was an amazing canvas upon which we could use light.”

The illumination of the ICON O2 mall was designed to create a neat transition between the day and night impressions.

During the day, the original fabric of the dome allows daylight to penetrate, which defines a uniform background illuminance in many areas throughout the day. Care was taken to balance the soft daylight illumination of the Petal zone with the covered Cloud zone, creating a seamless daytime impression between the two. At night, the fabric becomes darker and greater illumination interplay comes to the forefront.

The ICON O2 opened at a point when many other retail environments were having difficulties engaging people and enhancing footfall. The vision for the mall from AEG and CRTKL was to expand on an already iconic destination, and create a retail focal point for the arenas various uses, while increasing visitors throughout the day. Hoare Lea’s lighting design enhanced this experience, making a space people wanted to linger and relax in. The design closes the loop of retail within the O2, and provides a breath-taking new space for shopping and entertainment. www.hoarelea.com

Pics: Jonathan Banks Photography

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SPOTLIGHT

The Iron Bridge UK Shropshire’s iconic Iron Bridge has been brought back to life at night with an exciting new lighting scheme, unveiled during this year’s Ironbridge festival.

As its name suggests, the Iron Bridge was the first in the world to be made of iron and as the forebear of modern metal framed buildings, is considered a worldwide icon for the start of the industrial revolution. From 2017-18, English Heritage undertook a £3.6m conservation project, repairing cracked joints to preserve its longevity.

While the bridge has been lit since the late 1970s, the 40-year-old floodlights were lifeexpired, only lit one side of the bridge, and were regularly flooded by the River Severn. A new lighting scheme was therefore required to celebrate the conservation project, and the 50th anniversary of Telford new town.

The new lighting scheme for the landmark bridge was designed by Liz Peck, Design Principal at LPA Lighting, and Bob Bohannon, Director of LuxRapide. With a strict brief from English Heritage, which included nothing being mounted on or under the bridge, as well as no cables running through or across it, the scheme had to meet very specific requirements.

Further to this, Telford & Wrekin Council, as the client, wanted a new scheme that would extend the economic day of the towns of

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Ironbridge and Telford, to illuminate the downstream side that had previously been left dark from a key viewing point, and crucially, to celebrate the magnificence of the history of the bridge.

The original concept for the bridge was to deliver a white-light scheme for weekdays, with a special effect on weekends, and the opportunity to have colour-changing for special occasions. The weekend effect was inspired by a quote from Morgan Cowles, Head of Conservation & Heritage at English Heritage, in a Sunday Times article: “Imagine the effect of the bridge lit at night by the fires from the furnaces and forges of Coalbrookdale, the structure glowing a demonic red” – the weekend effect thus became “the furnace”.

This design could be achieved through the use of unobtrusive columns with integrated RGB floodlight heads to deliver both schemes, while also enabling Telford and Wrekin Council to colour-change on special occasions. A lasercut model of the Bridge was procured from the Ironbridge Enginuity Museum to physically demonstrate beam angles on spill light and light pollution to stakeholders, while detailed computer models of the bridge and gorge were made to determine quantities and aiming angles to ensure uniformity, while minimising glare and light spill through the filigree structure.

To gain planning permission, with the support of Historic England, the use of Aubrilam’s bespoke Moshi wooden columns was proposed to soften the daytime appearance.

These had bespoke brackets to bunch the projectors tightly together to reduce height, and customised bases to ensure that the wooden shafts were well above extreme flood levels. These were then located in as unobtrusive places as possible. The floodlights, courtesy of acdc, are mainly narrow beam, cross aimed horizontally to capture as much light as possible on the solid stone abutments to minimise glare and spill.

To overcome cabling restrictions, Pharos’ automatic controls talk across the river by radio, while GSM links enable the client to change programmes from a computer or smart phone, with a backup system in place to ensure system robustness in case of signal failure.

The final effect delivers a warm white light scheme during the week and the dynamic ‘furnace mode’ of red and amber overlaying a dimmed back white scheme for the weekend; the dynamism is created by altering the intensity of the red and amber floodlights across the bridge, creating the movement of the light from the fiery skies of Coalbrookdale. www.lpa-lighting.com

SPOTLIGHT

Pics: Ståle Eriksen

Selfridges Buying & Merchandising UK Nulty has completed work on the prestigious Selfridges Buying and Merchandising office space, designed by architect Alex Cochrane, to transform the department store’s head office on Duke Street, London.

The result is a modern infusion of Brutalist architecture, comfort and colour, and the intent across every aspect of the space ensures that this aesthetic is celebrated.

Designed with comfort in mind, this office floor comprises enclosed meeting rooms, phone booths, break-out spaces, flexible working desks and an outdoor terrace. To deliver a lighting scheme that highlights the original design of the architecture, Nulty worked closely with Alex Cochrane Architects. By illuminating each design element, the lighting designers create a hierarchy in the space, while the clever use of colour becomes apparent as users move through each area, with primary colours enveloping furnishings and walls to brighten the rooms. Every vibrant surface is lit to emphasise its colour, while vertical illumination ensures that light falls on specific finishes to bring depth and warmth to the office.

The use of light is considered and deliberate. This sense of utility and purpose is reflected in the design to remove any sense of cluttered elements and intentional but discreet light fixtures are in place to ensure that the lighting is as unobtrusive as possible. Concealed track lighting in the ceiling pours subtle light on the furniture, while linear suspended pendants hover above desk islands, providing sufficient task lighting.

It was vital for the designers not to implement lighting for lighting’s sake, and as such there is a method to lighting every location. The space isn’t over saturated with different ideas and lighting schemes, instead the same family of fittings has been sued throughout, creating a consistency and recognisable journey for every employee.

Employees are welcomed by bright, contrasting elements in the reception area. Cove lighting details wrap around grey fabric panels

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to wash the vertical elevation, creating a subtle and sleek aesthetic.

Moving to the main workspace, employees are met with hotspot hubs and flexible working environments, with desks equipped with bespoke built-in low-level task lights. Windows surround the office, providing an abundance of natural lighting during the day. The inclusion of cove and uplights enhances these windows at night, and balances the absence of natural light in the evening.

In the ‘Playroom’ – a break-out area that forms an informal space for team building, activities and meetings – evoking a spirited atmosphere was encouraged. The use of flexible seating allows various room set-ups, and linear LED lights are concealed underneath fixed bench seating to create visual interest and low-level glow. Around the perimeter of the space, a line of high-level illumination highlights the verticals, while a rectangular downlight component with uplight features is suspended from the ceiling, dramatically illuminating the room.

A roof terrace invites employees to surround themselves with nature.

Here, linear LED strips are concealed in planters to highlight shrubs and bushes, while spike lights angled upwards bring attention to larger olive trees. Inside, a relaxed break-out kitchen includes a foosball table, dramatically illuminated with downlights to encourage play. A bold contrast in colour and finishes is apparent in the bathroom with gold metal sheets that envelop the walls. The mirror is an eye-catching feature, etched below to create an opal see-through finish. An LED sits behind it, illuminating a symmetrical line of light and allowing the eye to equalise every aspect of the bathroom. A linear lighting detail in the ceiling reflects in the mirror to illuminate the basins and taps, creating a softer vertical glow.

Nulty’s strategic design solution enhances every space and its surface, promoting an uncluttered environment to suit any working individual who enters the space. www.nultylighting.co.uk

Pics: Margret Hoppe / Sebastian Stumpf

Oscar Niemeyer Sphere Germany After seven years of design and construction, an intensive coordination between the Brazilian office in Rio de Janeiro, local architects, and a committed client, the Oscar Niemeyer Sphere, designed by renowned architect Oscar Niemeyer in 2011, has been officially unveiled in Leipzig, Germany.

Niemeyer is widely recognised as a “master of curves”, and lighting designers at Licht Kunst Licht sought to pay tribute to this, with a design that traces and emphasises the fine curves of the sphere, while giving the concrete finish the lightness for which the architect is known. At the same time, an interior atmosphere is created to experience and enjoy the extraordinary ambience of the sphere.

The outcome of a simple request to extend the company canteen for railway crane manufacturer Kirow, the Oscar Niemeyer Sphere appears to have fallen from the sky and landed on the corner of the listed canteen building of the Techne Sphere Leipzig on Niemeyerstrasse.

Designed by Niemeyer at the age of 104, and completed posthumously following his death in 2012 by his associate Jair Valera and local architect Harald Kern, the sphere measures 12-metres in diameter, with a 20cm-thick shell of pristine white concrete.

While the sphere appears to sit eight metres above the ground, on the corner of the nearly 100-year-old brick hall, it actually rests on a brick-coloured concrete shaft

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that is flush with the building’s head end structure. Two organically shaped cut-outs open the concrete shell, these are closed with a geodesic steel tracery, whose 147 triangular panes of liquid crystal glass can be coloured black for shading, depending on the sunlight levels.

In illuminating this striking architectural design, Licht Kunst Licht felt it was important to first understand the architectural intentions of Niemeyer, in order to underline them with light in the appropriate manner.

Through extensive exchanges with Valera during the design process, the lighting designers were able to properly interpret the architectural language of the sphere.

The sphere is accessed via the concrete shaft at the building’s head end, which houses a lift lobby and the central elevator to the upper floors. The brick-coloured concrete surface also extends into the interior of the shaft, and is gently illuminated by cove lighting from LED Linear that has been integrated into a ceiling panel inclined towards the elevator door. The ceiling, as well as the light, therefore have a guiding function.

The lift takes visitors to the bar area on the lower level. The ceiling cove lighting continues around the perimeter of the sphere, tracing the ground floor plan and washing the curved white concrete shell with an indirect light. The bar is located in front of a red wall – a feature typical for Oscar Niemeyer’s designs.

SPOTLIGHT

An artwork by Niemeyer on the back wall, and the bar counter, are accentuated with recessed spotlights. LED downlights with warm dimming technology provide a golden, warm-toned light, while the bar counter and shelves on the back wall have lighting integrated into the millwork, again courtesy of LED Linear.

The bottom of the sphere hides the building services and utilities areas, which have also been fitted with ceiling cove lights in order to emphasise the organic shape of the inner shell over both floors in the same way as the bar area above.

The restaurant and lounge are located in the middle of the sphere, and are accessed from the bar via an internal, freefloating staircase. While the restaurant’s service area in the back of the sphere is surrounded by an adjusted wall, daytime visitors are seated in the anterior, light-filled restaurant area, underneath a glass vault that offers wonderful views of the outside.

The artificial lighting in the lounge and restaurant areas offers various programmed light scenes, created especially for the evening hours. Indirect light is initially used as architectural lighting. Small, adjustable spotlights from XAL are integrated in the upper area of the partition wall, and illuminate the inner concrete shell, which acts like a white reflector. Additional small spotlights are located in the black floor ventilation duct along the perimeter of the sphere, directly next to the glass-steel construction, in order to gently wash them with indirect light.

Another light layer is added via miniature spotlights at the junctions of the steel construction, which are used for direct lighting in the dining area and the stairs, as well as to emphasise the expansive mural. All spotlights are adjustable in both beam angle and tilt angle.

In order to enjoy an undisturbed view of the Leipzig sky, even during the evening hours, it was important for the lighting designers that the floor and table surfaces be kept in dark tones in order to avoid reflections in the glass panes. In the dining areas, battery-operated lamps provide local, intimate lighting on the table surfaces, while ceiling spotlights provide atmospheric light by virtue of their dimmability. For other events, such as lectures or receptions, ceiling spotlights are used to provide general lighting.

In illuminating the sphere’s smooth exterior, the lighting designers’ aim was, especially in the evening hours, to make tangible the organic shape of the sphere in its entirety. The light coves and indirect lighting in the interior trace the extraordinary volumes inside the sphere. They set the curvature in scene and create a depth effect, as well as interesting visual references from the outside into the interior of the sphere. Gobo spotlights mounted on the roofs are used to illuminate the white concrete shell of the sphere, while a soft light gradient gives the concrete a lightness that is typical for the architect.

In the evening hours, the exterior lighting gives the impression that the sphere is floating in the dark. While the exterior of the sphere deliberately shines in a cooler 4000K light colour, the interiors are illuminated with a warm, inviting light of 27003000K. Oscar Niemeyer’s driving force was always to gain attention through being different – “Architecture is a surprise, I want people to stand still,” he has famously said in the past. This attitude is particularly present in his late work in Leipzig. www.lichtkunstlicht.com

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SPOTLIGHT

Pics: Tomasz Majewski

Farrisbrua Norway The 570-metre long Farrisbrua (Farris Bridge) is part of the new fourlane E18 highway in Norway, situated in Larvik. The bridge curves across the shores of Lake Farris, and is the only sloping stay cable bridge in Norway with a curved road surface. Since its completion, the bridge has become a landmark for the city of Larvik and a visual milestone for drivers, with its two 70-metre high concrete towers, tilted outwards and backwards in a V-shape.

The lighting concept, designed by Ramboll, highlights the two towers and their network of stay cables in a careful and gentle manner, where the contrast between the towers’ outside and inside is emphasised, while also supporting the architectural design of the bridge.

According to Ramboll, the lighting concept for Farrisbrua is “from 3D to 2D”; the bridge is transformed gradually from a three-dimensional object during the day, to a two-dimensional object when it gets dark. The bridge will therefore be experienced differently during the day and night, giving the citizens of Larvik and all who drive past lighting scenarios that differ depending on the time of the day. The idea was to transform what could appear as a massive, heavy concrete structure into a simpler and visually lighter experience in the evening and at night. It is based on a minimalist and stylish design that reinforces different combinations of flat surfaces for the observer as they move around the scene.

As Ramboll sought to create a contrast between the outside and inside of the towers in a way that the bridge’s inner volume would be emphasised. It was central to the design to create spaciousness and contrast, with a focus on light and shadow, where a warm “core” acts as the centre of attention.

The use of coloured light emphasises the inside of the V-shape with a lower light distribution than that of the front of the towers, creating a visual dynamic between the structures. The outer side of the towers is not illuminated, and thus becomes part of the visually untouched surroundings. “It was important that the illuminated bridge should be

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experienced in a comfortable way both up close and from a distance,” said Katherine Hjelmeset, lighting designer at Ramboll. “The bridge is placed right next to a residential area, and it was essential to create a visual balance in the area. Effect lighting should not seem dominant in relation to Lake Farris as a landscape space. Its location involves reflections of the bridge in the water, which can be experienced through the curved roadway.”

The bridge is visually anchored to the terrain through lighting of the towers from the underside of the roadway, as well as at each end through the lighting of the abutments. This is the same coloured light as inside the towers, visually connecting the structure.

Ramboll used a range of high-quality LEDs from Studio Due, GVA and SILL, selected for their ability to handle the harsh environment, their precise light distribution, good light quality and low maintenance costs.

The luminaires are programmed via a Helvar router into six groups, which are programmed in five different scenarios, following the day and being controlled by an astronomical timer.

Since completion, the project has received recognition both locally and internationally. An entry into the 2020 [d]arc awards, the Farrisbrua has already won the Best Outdoor project at the Norwegian Lighting Awards.

Speaking of the project, judges said: “The lighting of the Farrisbrua is executed in a refined and elegant way, based on a convincing move to transform a three-dimensional form into a two-dimensional expression.

The lighting is sold and precise in an area with complex road geometry with a small margin of error. Good contrast between cool lighting on the outside and the warm spaces between the columns also creates a feeling of security.

“The bridge is subtly lit and appears almost as a luminescent element and an appealing landmark. www.ramboll.com

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Interchange Pavilion Australia Interchange Pavilion is a sculptural landmark at South Eveleigh Village in Sydney, Australia. A new architectural pavilion and public artwork created by artist and architect Chris Fox, and illuminated by Westudio.

Peeling from the ground plane up, geometries arc overhead to create an embracing volume and a point of confluence. The pavilion acts as a meeting place for the public to enjoy, and a space to host events for the community.

Drawing inspiration from the precinct’s rail history, Fox worked with the salient geometries of the railroad switch; the point at which a train can change its course, moving from one trajectory to another.

The work is intended as a tribute to the diverse stories and journeys of people connected with the Eveleigh Rail Yards.

From the outset, Westudio founder Rhiannon West’s lighting vision was to ensure that the space would be as attractive and usable by night as it is by day – not only illuminating the structure to ensure that users feel safe and secure, but seamlessly concealing fixtures within the architectural skin to enhance its twisting form and impressive scale.

Illumination needed to be simple and effective, with minimal fixture sizes concealed internally and externally. West’s concept called for four layers of light to bring the space to life: The Switches - highlighting the inspiration of the train tracks changing course, small in-ground marker lights (iGuzzini’s Light Up Orbit) provide a ‘spark’ of light at the ‘switch’ point locations, bringing homage to the

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design; The Drama Spots – a cluster of miniature high-powered spotlights located at the peak of the pavilion create ‘pools’ of light on the floor below; The Inner Shell – inside the Pavilion, lighting is integrated within the ‘tracks’ to provide a delicate wash of light to highlight the inner twists and turns. Each iGuzzini iPro luminaire required different aiming angles, tilts and outputs to create a deliberate drop-off of light washing down the warm timber cladding. Finally, The Outer Shell – where a contrasting cooler light is designed to provide illumination from the ground level, fading off towards the peak of the Pavilion. A series of iGuzzini’s Palco InOuts positioned carefully around the structure ‘cross-illuminate’ the skin, providing a uniform wash of light, avoiding any hotspots and glare.

Getting the lighting solution right from concept to completion meant that Westudio worked closely with Fox and his team through studio reviews, creating prototypes, testing and exploring conceptual ideas, software modelling and several on-site mock ups.

The management of the lighting programme for the Pavilion sits within a larger NEMA site-wide wireless system. One of few projects in Australia to utilise a NEMA lighting control system, the 4G network allowed for all of the lighting to be installed with nodes that talk directly to a master network. This allowed for a smart lighting control system with an astronomical timeclock, enhanced safety and an increased flexibility approach. www.westudio.com.au

SPOTLIGHT

Pista de Baile Spain Artist Guillermo Santomà, in collaboration with Simon and ProtoPixel, has unveiled the immersive art installation Pista de Baile at Madrid’s Intermediae – a space dedicated to socially engaged artistic practices with research and cultural innovation in mind. The installation is part of the Ciudad Bailar Exagerar (Dance City, Exaggerate) programme dedicated to the idea of solidarity, community and collaboration through dances with workshops, performances and radio meetings. The installation opened on 6 November 2020, and will be in place until the end of July 2021.

Through Pista de Baile (Dance Floor), Santomà has transformed Intermediae into a completely different space.

The result is a self-supporting structure that appears to be covered by sand – as if it were a negative of the original architecture it is a part of.

The project is based on the idea that there is no fast distinction between the spiritual and the physical world, and that this soul, spirit or sensibility also exists in other animals, plants, stones, mountains or rivers, as well as in this human landscape. Therefore, this piece of “nonarchitecture” can also be defined as landscape or sculpture.

By working with Simon, Santomà has also explored how the space can continuously be transformed through light.

In this instance, Simon collaborated with ProtoPixel, who provided light control and the technical advice required to develop the installation’s creative possibilities at a light,

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interactive and experiential level. The piece therefore becomes a platform that is constantly changing and adapting to the different contents within the programme.

On 6 November, during the opening of Ciudad Bailar, Exagerar, the dance piece Dondequiera Cualquier Sito, Seguimos Bailando (Wherever, anywhere, we carry on dancing), by architect and stage director Nacho de Antonio, premiered in the space designed by Santomà. This was the first of many proposals that will be held inside the Pista de Baile installation.

Santomà works within design, architecture, sculpture and performance, and throughout his career has exhibited works in Paris, New York, Copenhagen and Barcelona.

As a company, Simon has known for a long time that light is much more than the solutions designed, manufactured and marketed – its contribution to the culture of light is based on creating and collaborating on projects that help to see, feel and understand it, bringing together art and technology to humanise light and bring it closer to people. Santomà’s intervention is one of several artistic initiatives and cultural events, such as Barcelona’s Llum BCN Festival, Tulou Festival in China, or Alameda art lab in Mexico, in which Simon participates, which allows the company to learn and research with creators who inspire new views and concepts. www.guillermosantoma.com www.simonelectric.com

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SCHWINGHAMMER With a new office recently opened in Miami - the first expansion for the studio - we look at some highlights from New York-based Schwinghammer, a practice that covers a wide range of high-end projects.

53 West 53 New York, USA 53 West 53 is the most significant addition to the New York skyline in recent years.

A gracefully-tapered 1,050ft-high tower rising above The Museum of Modern Art, it represents a bold artistic and technical achievement by Pritzker Prize-winning architect Jean Nouvel.

The elegant, refined interior spaces of the private residences are designed by noted architect Thierry Despont. Complementing Nouvel’s innovative design, these homes offer a 21st century vision of the gracious urban living for which New York is celebrated.

Schwinghammer’s approach to lighting this masterpiece bridges Nouvel’s contemporary form and Despont’s rich material palette. In the entrance, for example, the sleek vestibule is lit with cooler panels that highlight Nouvel’s diagrid. Those panels are then transformed into custom square decorative fixtures with backlit

Ralph Lauren’s Car Collection New York, USA This astonishing collection is rated by critics as one of the top ten car collections in the world.

Schwinghammer’s first step in this project required understanding the collection. Given the unique character of the programme, the lighting designers decided to treat the space like a museum, where colour rendering and UV control are central to the perception and protection of the pieces.

The design of the space carefully displays each car in the garage on a white platform over a black carpet, creating a monochromatic background that recedes and lets the cars capture the viewer’s attention.

When Schwinghammer saw that approach to the design of the exhibition, they decided to recreate the light-ondark scheme in the ceiling by introducing large rectangular glowing surfaces to provide general illumination over the platforms. The scale of the panels is large enough that their reflections are concealed on the surfaces of the cars, easing the understanding of the various silhouettes of the pieces.

The general illumination layer is then reinforced with a secondary layer of projectors that highlight the interiors and other special features of the cars.

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onyx that bring a warmer light to the lobby.

The residents’ lounge, a grand space overlooking Central Park, reinterprets the theme introduced in the lobby. Here the coffers are dimly lit with inverse coves that leave the centre squares in silhouette and create visual interest on the ceiling. Given the spectacular views from this space, the lighting designers avoided over-illuminating the space to reduce reflections on the glass and preserve the view of the exterior at night. The main source of light in this space are the various floor lamps and table lamps throughout.

The pool is illuminated with a custom detail at the bottom, which creates a continuous line that demarcates its floor surface. The cool colour temperature of the underwater light contrasts with the warmer light surrounding it, transforming the water into the sparkling jewel of the space.

SNAPSHOT

Dr Barbara Sturm New York, USA This is the first retail flagship for Dr. Barbara Sturm in the United States. Schwinghammer worked with the client’s brother and project design architect, Tobias Freytag, to enhance their vision of a contemporary urban retreat where clients can find comfort while treating their skin with the brand’s products. The designers concealed architectural lighting for the retail areas as much as possible to direct attention to the product. A cluster of decorative globe pendants over the counter add sparkle to the space.

In the treatment spaces, the lighting fixtures are purposefully showcased to reinforce the architectural concept. The smooth curves in the ceiling are accentuated with sleek lines of light that follow them. A circular pendant over the treatment chair provides a highlight to the skin of the customer while remaining diffuse and pleasant to the eyes.

All sources were vetted to provide great colour rendering that helps showcase the products’ effect on the customer’s skin. The project embodies the skincare brand’s ethos and offers clients a unique way to experience both treatments and product.

The Ritz Paris, France The $450 million renovation of the Ritz was announced in 2011. The design team was asked to refresh the feeling of “the best hotel in the world” without altering its character. Architect Thierry Despont approached the project with the idea of reusing as much as possible of the existing materials and furnishings in the space. Wherever possible, the spaces retained their original components or received replicas of the original pieces. This approach guided Schwinghammer’s thoughts about the lighting.

Much of the lighting designers’ intervention consisted in reilluminating the existing spaces to give them a face-lift without changing their character. They relied enormously on concealed lighting that did not distract from the ornate elements that should protagonise the experience.

Schwinghammer also created a transition strategy for the hotel, from outdated incandescent technologies to LED. Given the richness and variety of the colours in the fabrics and materials throughout the complex, initial research concentrated on the LED technology available at the time that could render colours beautifully and consistently. Upon reviewing the existing luminaires of the hotel the lighting team found that the multiplicity of decorative fixtures required their facilities manager to stock dozens of different lamps for maintenance. The final plan intended to reduce the stock of lamps to less than a dozen types. This required the rewiring and modification of antique decorative fixtures to retrofit warm-dim lamps.

Schwinghammer Schwinghammer is an architectural lighting design firm based in New York City with more than 30 years of experience. The summer of 2020 saw the firm’s first expansion with the opening of a new office in Miami.

Its work encompasses high-end retail, hospitality, residential, commercial, corporate and luxury projects worldwide. Some of the highlights of its portfolio include the Woolworth Tower Residences, 56 Leonard (Herzog & de Meuron), 53 WEST 53, The Palm Court at The Plaza Hotel, The Irish Hunger Memorial, among others.

Schwinghammer’s design team comes from diverse backgrounds – architecture, interior design, graphic design – that enrich its approach to projects and allows the studio to tailor its solutions to the needs of its clients. www.schwinghammerlighting.com

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BRIEFING

Krishna Mistry With more than 10 years’ experience in the lighting design industry, Krishna Mistry has this summer established her own independent lighting design practice, Mistry Lighting. arc sits down with Mistry to learn more about her lighting journey to date, and her goals for her new solo venture.

How did you get into lighting?

I studied interior design at university and always focused on the lighting element to design during my studies, which came naturally to me. I initially hoped to get into theatre set design but graduating during a recession, it was difficult finding a job. I got a temporary position at a wholesale lighting company, and it was only here I realised there was a possibility of a career in lighting design. I started looking for junior lighting jobs and got a position working for Fagerhult. It was a brilliant start to my career and it only took a few months for me to realise I found my passion!

Can you describe your lighting career so far?

After Fagerhult, I moved on to Buro Happold. Coming from a manufacturer to a large engineering firm was a big jump, but it gave me the opportunity to work on recognisable projects across the globe with the some of the most iconic architects. I later moved on to the Light Corporation specialising on hospitality projects. My favourite client was Nando’s, I love their ethos and we designed some creative colourful lighting schemes for them. 10 years later I now have a new journey as an independent lighting designer.

What led you to the decision to start your own lighting design studio?

I always imagined I’d work for myself in the future but whilst I was furloughed for several months, it gave me the opportunity to think about my future and I thought why wait when this is the path I always intended to go down.

Was it a difficult decision for you to make?

It wasn’t difficult at all; I have gained freedom to follow my passion independently and focus on my own values when it comes to lighting design.

How has the experience of forming a new studio in the middle of a global pandemic been?

Strange, but exciting! It’s been challenging not being able to meet face to face and create new connections. While work is harder to come by during these times, the support of the lighting industry has been amazing. I’ve been fortunate to have a great network of peers, which has made this transition smooth sailing for me.

Do you have a ‘Mission Statement’ or design philosophy for Mistry Lighting?

I don’t have a mission statement as such, but I’m very open minded when it comes to lighting. I never want to restrict myself to a particular style but like to keep adapting to the latest technology. I strongly believe in supporting small businesses.

Whilst working with Nando’s, I’ve had the opportunity to come across extremely talented artisans such as AAKS, who have a ‘weave for change’ initiative, which aims to create fair and dignified work for refugee artisans. Through creative collaborations such as these the refugee

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artisans living in extreme poverty may have an opportunity to change their lives. For me, this gives greater meaning towards a lighting scheme and I am actively sourcing artisans to widen my knowledge of what is available to us and support small business where possible, especially now in our current economy.

Will you have a particular area of specialism?

I will be open to working in all aspects of designs from hospitality, residential to landscape and retail design.

How does running your own independent studio compare to working for a global engineering firm such as Buro Happold?

It is completely different; working for a large firm like Buro Happold, there are bigger teams, a lot of admin and planning that goes into the project before you can even begin designing. Once you’re on the project, it can also last a number of years. A complete contrast to an independent studio, our projects are smaller and the pace is a lot quicker. I really enjoy the smaller projects, which has made the transition pretty easy. I find you have more authority over the lighting design as there are less people involved with the advantage of focusing on small details, which can often be overlooked on larger projects.

What are your aspirations for Mistry Lighting? What do you hope to bring to the lighting world?

I’d hope to continue to evolve my designs with every project I work on. I always believe you can never stop learning. Each project will always bring its own challenge and it’s how you adapt and push design forward that is important to me. I want to continue to enjoy each project I work on and keep lighting fun, not only for me, but hopefully in the future when I can expand the team and share my knowledge and experience.

Finally, lighting is so important to our daily lives, it almost gets unnoticed, so I hope I can be influential in making it one of the first aspects of design that is thought about.

What sort of reaction have you had so far? Do you have a lot of work already in the pipeline?

The reaction has been very positive. It’s always scary to start up on your own, especially in the middle of a global pandemic, but to have support from my network, friends and family has given me the confidence to take this next step in my career. I’m fortunate to have worked under some great peers through whom I’ve been able to get some work in the pipeline, as it’s still early days and I’m continuing to reach out to my network.

What do you think the future holds for the lighting industry?

The future is exciting for the lighting industry, as products are evolving, so are lightings designs. In the 10+ years I’ve been in the industry so much has already changed, who knows what the next 10 will bring. I have no idea but I’m enthusiastic about it! www.mistrylighting.com

String Theory For the past few months, Light Collective has been hard at work putting together the International Lighting Design Family Tree, with an interactive digital version now available to view online. Here, they tell us more.

F

inally, many months after it was

don’t like you or forgot to put you in, it’s likely that

pegs at Light + Building 2020 (yes - we

we will get a chance to include all 900+ of you in a

supposed to be realised in wool and

must have been completely mad!), we

have created a digital version of the International

Lighting Design Family Tree for you to admire and explore. You can find this version - which uses

some zoomable software so you can move around it - on the ILDFT website.

As you look through it, you can immediately see

how complex it is so hopefully you will therefore appreciate we couldn’t include everyone who submitted data this time around. We needed

to narrow down the list of people we included

(otherwise we would still be drawing…) so created a smaller list of participants. This encompassed

countries with the most lighting design companies and people who had said they would definitely be going to Light + Building in March and had also

submitted their information before a certain date.

So if you aren’t on this version, it’s not because we

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you didn’t fit the above criteria. Hopefully one day, full version…

The designers names are around the outside of

the infographic. The circles represent countries

with each dot representing a separate company.

The coloured line from each lighting designer

represents the geographical region the designer

is from and follows their career path from design

company to design company and from country to

country if applicable. You can follow their journey on the drawing.

After we published a series of facts drawn from

the data, we listened to the online feedback and in answer to your questions, here are a couple more

facts. This time we have taken several of the data points and combined them to see if there are any discernible trends. Interestingly the number of

people with an educational background in lighting design is consistent through the ages until you

international lighting design family tree

get to above 61 - this could relate to the age of the various courses

and with KTH just celebrating 20 years that possibly accounts for the high number of respondents in the “Under 40” bracket. In gender terms, it’s interesting to see that although the overall picture is

50/50 this is created by a large increase in female lighting designers under 40 compared to the older generations and also the average

does vary a lot by country of origin. Without a doubt, using the data

we have gathered it seems realistic to say look out guys - the Women in Lighting are on the way! If there is anything you are particularly interested in, drop us an email.

If you don’t know what we are talking about, the ILDFT is a global

lighting data project, exploring the career paths and backgrounds of the lighting design profession everywhere. In September 2019, we

asked designers to provide their data to help us get it right, sharing with us all the companies that they have worked with in their

lighting design career and their educational background. If you still want to participate, we are still accepting data via a simple form on the website.

www.lightingdesignfamilytree.com www.lightcollective.net

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DARK SOURCE

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

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Learn how an IALD member lighting designer can turn your vision into reality.

Visit iald.org/FindALightingDesigner to start your search today.

2020 IALD Award of Excellence – Re-Lighting of Interior of Norwich Cathedral | Norwich, England UK | Speirs + Major | Photography Š James Newton

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30 Lighting Planners Associates (LPA) is an organisation of lighting specialists established in 1990 and led by Kaoru Mende. The goal of LPA is to design and build outstanding lighting environments that enrich architectural and lighting culture. Today, LPA has more than 60 unique lighting specialists at its offices in Tokyo, Singapore and Hong Kong. Here are the footsteps of LPA’s unique and exceptional lighting design history.

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This Is Your Life LPA Founder Kaoru Mende, and directors Mari Kubota, Kentaro Tanaka and Reiko Kasai, reminisce on the history of the company, and how it has grown to its current stature.

L

ighting Planners Associates (LPA) Founder Kaoru Mende

has experienced an empty toilet paper holder twice since he established the LPA office in 1990, and both times he was extremely annoyed.

“Who didn’t replenish the toilet paper after it was empty? You should stop being a designer right now.”

In other words, Mende’s theory is that design is about caring for

those around you - if you are not able to do so, you are not qualified to become a designer.

This is the first time that LPA has shared Mende’s toilet paper theory.

As LPA celebrates its 30th anniversary, Kaoru Mende, alongside three of the company’s current directors - Mari Kubota, Kentaro Tanaka

and Reiko Kasai, looks back on the past 30 years, and discusses what kind of company LPA has grown to be today.

Reiko Kasai (RK): Oops, I don’t see any 2400ø (diameter) round

tables in the new Tokyo office that we have just moved into at the beginning of the year.

Mari Kubota (MK): LPA is now too big to fit around a singular round table.

RK: When you started LPA 30 years ago, did you think that it would expand to become a company of this scale? What was the state of

the world at that time and what was the environment surrounding lighting design?

Kaoru Mende (KM): I started my career in lighting design 43 years

ago, and at that time there were no architectural lighting designers in Japan. I founded LPA on 8 August 1990. Three days later, Rafael

Vinoly’s office contacted me and we started working on the Tokyo International Forum project, our first commissioned project.

At the time, there were a lof of highly motivated architects in

Japan like Arata Isozako, Fumihiko Mako and Toyo Ito, who were all interested in LPA.

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PROFILE

We started with six people, and now there are 60 spanning three offices in Tokyo, Singapore and Hong Kong. At the time I had no

idea that LPA would grow to this size, but I think that we achieved

this scale because we feel very strongly about being involved in all phases of development, including site supervision, properly and meticulously.

RK: Mari, what was the atmosphere like at LPA when you joined the company as a new graduate in 1994?

MK: At first, I started out working part-time, organising slides,

but I learned a lot from looking at the many photographs that Mr.

Mende and his colleagues took of architecture and spaces in various locations, capturing them with light. Gradually I became involved

MK: It is amazing that in the 25 years since then, the various activites

to look beautiful with light, which led me to the present day. Unlike

carried out continuously for the public.

projects, so I guess one of the characteristics is that there is never a

the spirit of the Lighting Detectives and involve citizens in planning

in the project and was fascinated by how architecture can be made

of the Lighting Detectives as a non-profit organisation have been

architects, lighting designers are always working on multiple

RK: In Japan, there are also public projects in local cities that take on

clean break in our work.

the lights of their cities. I think it’s wonderful that lighting designers

motivation for joining the company Kentaro? For a while after I

that reflects the culture and history of the area, not forgetting the

the time, where they just made models.

We are currently working on a community lighting revitalisation

commissioned by architects, so in hindsight, I think I was spending a

something like that in Singapore, where cities are built based on

models.

The Lighting Detective’s work has become a major part of LPA’s

by making models, and I realised that the hands-on experience and

started to network with lighting designers who responded to the

the completion of the space later on site.

Detectives Forum.

RK: Kentaro and I joined the company in 1995. What was your

and the government are working together to create urban lighting

entered LPA, I saw you in a small room called the “model room” all

will of the people.

Kentaro Tanaka (KT): At the time, most of our projects were

plan in the area where the LPA office is located to see if we can do

lot of time in the design process with the architects, carefully making

state-led urban planning.

With no practical experience, I deepened my knowledge of the space

identity. As we began to be featured in international media, we slowly

understanding I had in making models would be directly relevant to

term “Lighting Detectives”, which led to the Transnational Lighting The first Transnational Lighting Detectives Forum was held in Tokyo

in 2002, and has since travelled to Europe, Asia and the United States for a total of 15 forums and workshops.

In 2000, we celebrated our 10th anniversary and opened an office in Singapore.

LPA’s starting point in Japan was architectural lighting design, and to literally bring new light to the Japanese architectural culture, focusing on projects that Japan’s world-class architects were RK: Speaking of me, I was hired as Mr. Mende’s personal assistant

responsible for. Following the expansion overseas to Singapore and other locations, the scope of work has naturally evolved to cater for

and publicist. On the second day of work, I asked what I could do

what different societies and cultures require.

Theme”, and was asked to translate it into Japanese. I was puzzled by

to the site alone, interacting with the architects to plan the design

today and was handed a copy of Louis Kahn’s book “Light is the

MK: By 2000, I was handling projects on my own, and enjoyed going

this first work assignment.

and build the site. I felt a sense of fulfilment in working with Maki,

thought it was highly admirable that the company was doing non-

sense of accomplishment that I was able to physically and actively

purely desk-based work.

When we started working on the Roppongi Hills project, I got the

it was founded. We moved from our first office building, which was

from being commissioned by architects to being commissioned by

office. We ended up staying in this office for 25 years, until the

KT: The first overseas project I was involved in was the

From the end of 1995, LPA started organising various public events

just after its completion in 1998, but it was completely different

Centre, these included monthly public talks with artists, writers and

very surprised. At the same time, it reminded me of and made me

lights, one-night guerrilla lighting events and so on.

RK: Singapore is a country where the government has strong

had to juggle organising these events when we are a lighting design

forward and updating its plans for development from time to time.

MK: We learned how to organise and make plans through the

We have witnessed that change through our work in ligting design

What drew me to LPA was the Lighting Detectives activities. I

Taniguchi and other wonderful architects on public buildings, and a

profit after-school activities to bridge design and society, not just

make things happen on site.

The year 1995 was a milestone year for the company, five years after

impression that the work we were doing was gradually shifting

near Kengo Kuma’s office, to a few minutes away from Toyo Ito’s

business owners.

beginning of this year.

refurbishment of the lighting at Kuala Lumpur International Airport

under our non-profit group, Lighting Detectives, at the Tokyo Design

to a Japanese project in terms of structure and manners. I was

cultural figures until the end of 1996, tours to explore Tokyo’s night

appreciate the high quality of Japanese construction.

Mari, you must have been overwhelmed and wondering why we

leadership and initiative in urban planning. It is constantly looking

company?

Over the past 20 years, development has progressed at a fast pace.

monthly talk events. Although it was hectic, I learned how to plan

there. It is in Singapore that we have been able to push on with the

skills and to work in a team.

project development. LPA is proud to have contributed to the

efficiently each month, and this helped me improve my management

nightscape planning, along with urban planning and landmark

RK: Ah, “making plans” is one of Mr. Mende’s favourite terms.

creation of the night scene in this city-state with projects such as the

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PROFILE

Kaoru Mende

Kentaro Tanaka

Mari Kubota

Reiko Kasai

Light Masterplan for the city centre and Gardens by the Bay.

company, which is very meaningful for the development of interests

will be added to our proposals after they are completed if they are

As more and more work is being done online through the pandemic,

However, there is always the question of how much additional light perceived to be too dark, and if our work has been appreciated as the final product by lighting designers.

There are many lighting design firms out there, but what makes LPA’s lighting design unique?

KM: People sometimes perceive LPA’s work as being dark. When I was young, I was taught by my seniors to add about 20% more brightness to the design, and it was safer that way. However, I believe that it

is the professionals who should always ensure that it is sufficiently bright enough or dark enough. “Learning from nature” is a design

principle of LPA. I have been inculcating this value to my staff for a long time now.

KT: To be consistently detailed and meticulous is something I learned in my early days of model building, and I think this basic approach is how LPA has been able to contribute to building projects.

KM: That’s right. Meticulous work in both “concept” and “detailing” are the lifeblood of LPA. Lighting design with a strong sense of

responsibility for what we are trying to create through our projects is something that LPA values.

RK: Young people today do not know about the process of creating

lighting design by moving their hands and bodies, such as making models and examining details from the early days of LPA when we

joined the company. 30 years later, the process and speed of work has obviously changed.

From the early days when designs were created by communicating

with architects, the focus is now to proceed with the design process from the point of contact with the client. This is especially true

outside of Japan. The challenge is how to maintain LPA’s design DNA and still make full use of new technologies and engineering to create beautiful work.

Within LPA, Kubota’s specialty is collaborating with architects to

create spaces, and Tanaka’s best interest is in hospitality design. It is important to create an environment in which talented, experienced designers can make use of their individual strength.

The “Expert” programme is an extracurricular activity within the

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and characteristics of each designer.

I feel that communication between our three offices in Tokyo,

Singapore and Hong Kong is becoming easier than ever before. In the same way, I think we will see an increase in the number of activities that transcend traditional boundaries.

KM: Yes, that is right. Lighting design will be linked to the peripheral fields of “lighting” to create a “new realm”, and LPA will also aspire to be an interdisciplinary design studio that transcends barriers.

At the same time, I believe that artistic work and technical work will become more polarised, meaning LPA will focus its professional and creative efforts on these two extremes.

Furthermore, we are a company that combines the business of lighting design with a non-profit social activity.

Since our inception, we have always promoted and will continue to

consistently promote that we are not for profit through our Lighting Detectives organisation.

I do not think that lighting has become as much of a culture as what we expect it to be. I believe that we should continue to play a role in educating society about environmental issues as they become even more critical.

MK: Through experiencing the Covid-19 pandemic, I feel more

strongly about our lighting design to provide sensible experiences

that are similar to how humans respond and move by natural light.

KT: Agreed, I would like to create luminous environments that lean towards the users for them to feel special.

RK: In addition to pursuing beautiful design, LPA should like to

remind ourselves that we are a group of professionals always pushing our thoughts and actions to the public to enhance our social and cultural environment with design.

Let’s always remember to be mindful of making sure the next person can use the bathroom comfortably!

KM: 2020 has been an unimaginable year for humanity, but it is also a huge milestone for LPA as we celebrate our 30th anniversary. I

am 70 years old now, and with 20 more years of work ahead of me, I guess the next step is a 50th anniversary round table!

Tokyo International Forum Tokyo, Japan / 1990 LPA was established on August 8th, 1990, and received a phone call three days later from Rafael Viñoly Architects in New York to design the lighting for this project.

At the time, the architects had recently won an international competition, and were about to solidify their basic design.

From that moment, it took six and a half years to complete the project.

Many people have “thought about becoming a lighting designer after witnessing the lights of Tokyo International Forum”, according to Kaoru Mende. This project was indeed honorary and legendary for LPA, and incorporated diverse ideologies and methodologies of architectural lighting design.

Even 24 years after its completion, it still stands as a model for lighting design.

LPA 1990 >>> 2020 Estabished LPA Tokyo

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National Peace Memorial for The Atomic Bomb Victims

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Lighting Masterplan for Singapore's City Centre

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Light Up Ninja at Duxton Plain

Tokyo Nightsape 2050, Tokyo

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Transnational Lighting Detectives

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Jewel Changi Airport, Singapore

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Children workshop, TNT Forum, Kyoto Yokohama

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Website renewal

2020

Jewel Changi Airport Singapore / 2019 Jewel Changi Airport is a mixed-use development containing gardens and attractions, retail and dining, a hotel and facilities for airport operations. As time passes, expressions of light gradually change to reveal the full 24-hours of pre-set lighting operations, using a combination of daylight and artificial lighting.

PROFILE

Magical Shores at Siloso Singapore / 2020 Magical Shores at Siloso is a grand scale, multi-sensory experience that transforms Siloso Beach and its islets, on the island resort Sentosa, into an interactive light installation. The permanent installation along the 400-metre sandy beach was set as a part of the island revitalisation programme. Inspired by the rich biodiversity of the island, visitors can enjoy the interactive lighting and projections that respond to the weather and movement of people.

Nagasaki City Nightscape Japan / 2019 The Nagasaki City Nightscape was formulated in 2017, and the guidelines for the Nagasaki City nightscape are steadily becoming a reality.

The neighborhoods near Heiwa Park has been maintained and completed with the Nagasakistyle light up of the Peace Statue.

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‘Minna no Mori’ Gifu Media Cosmos Gifu, Japan / 2015 This 80x90m, two-storey, multi-use facility, with central city library, includes on the first floor a closed-shelf library, public gallery, multi-use hall, and community center. The second floor is an open-floor, open-shelf reading room with large, suspended, umbrellashaped, “globes,” to gently divide the space. The globes incorporate daylight and are used to circulate air. The lighting design concept aims to create the illusion of being in a forest and connected to nature through the lighting environment. The architectural aim is to reduce primary energy consumption by 50% compared to the same architecture of 1990 and the lighting plan achieves this goal with sensors and detailed operations.

The interior environment should not be one uniform solution; instead combinations of temperature, humidity, and brightness are used to create various individual spaces.

Whether daytime or nighttime, the second floor lighting environment is gently wrapped in soft light from the highly transparent and diffusive globes. Using daylight sensors and dimming control system, artificial lighting in the globes adjusts according to the amount of daylight, gradually increasing lux levels to 200-400lx when necessary. Disk-shaped pendants suspended outside the globes are also wired together into several small groups to allow area daylight sensors to intricately control levels of brightness.

The application of highly-efficient luminaries, incorporation of daylight, use of daylight sensors, and a dimming control system all add up to a 14% reduction of the goal to reduce primary energy consumption by 50%.

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Mt. Fuji World Heritage Centre Shizuoka Shizuoka, Japan / 2017 This centre is a base for study and the cultural output of Mt. Fuji, registered with UNESCO. The centre’s main gallery, clad in a lattice of Japanese cypress, is designed to reflect in a pool of water at night. The reflection of Mt. Fuji on water, a “Reverse Fuji,” is an age-old, familiar view from long ago.

Mt. Fuji naturally exhibits ever-changing expressions; similarly, the lighting programming adapts to suit centre events and seasonal changes. Outside, low positioned light emphasises the centre’s commanding façade. Light grazes the lattice structure inside and out for a soft presentation, threedimensional feel, and comfortable brightness.

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Kusatsu Onsen is one of the most popular hot spring areas in Japan. The after-hours lighting surrounding the symbolic Kusatsu Hot Water Fields was upgraded. The hot water beds are softly illuminated, coming to form amongst the rising stream to delight visitors.

Sino-Ocean Taikoo Li Chendu is a commercial complex that includes historical buildings. Vertical luminance washes the landscape, while the eaves of the roof are lit up to create comfortable ambience for shoppers.

Gardens by the Bay is a 101-hectare waterfront garden. LPA proposed a concept of Entertainment with Organic Lighting for adapting outdoor entertainment to a new age.

Takanawa Gateway Station is newly completed railway station in Tokyo. At night, the station is softly illuminated with warm light, a contrast to the daytime, when it is filled with daylight.

1: Kusatsu Onsen, Gunma, Japan / 2016 2: Sino-Ocean Taikoo Li Chendu, China / 2015 3: Gardens by the Bay, Singapore / 2012 4: Takanawa Gateway Station, Tokyo, Japan / 2020 5: The Okura Tokyo, Tokyo, Japan / 2019 6: Aman Tokyo, Tokyo, Japan / 2014 7: Nihombashi Mitsukoshi, Tokyo, Japan / 2018

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The Okura Tokyo, an original Japanese hotel brand, was first established in 1962 in Toranomon, and was renewed and reopened in 2019. The main lobby, beloved by foreign and Japanese guests, was faithfully recreated.

The lighting design uses LEDs to create a soft lighting environment that beautifully adds a modern touch.

Aman Tokyo is the first city hotel that Aman resorts has opened in Japan.

One of its most distinctive features is the 33rd floor lobby covered by a spacious six-story high atrium. Here, guests are greeted by soft light radiating through the washi glass that covers the atrium like a giant lantern and by the view of Tokyo outside the windows.

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Nihombashi Mitsukoshi is a historical department store that is listed as an important cultural property of Japan. In this renovation project, the interior design concept is that of “a shining, white forest.” A pillar-supported “tree canopy” extends throughout the first floor of the main building and is beautifully illuminated with a gradation of light to provide a sense of unity in the retail space.

Pics: Toshio Kaneko Arch - Exist, The Oval Partnership Chen Yao, The Oval Partnership Fumito Suzuki Shinichi Sato XIE, Xin

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Lighting Detectives LPA is also very active in promoting the appreciation of lighting culture and awareness of good lighing through its non-profit wing, The Lighting Detectives, by engaging with the public. The Lighting Detectives have organised numerous workshops, urban lighting surveys, exhibitions and public forums.

Who Are They?

The Lighting Detectives is a non-profit group dedicated to the study of lighting culture through practical methods, mainly by engaging in fieldwork.

The Lighting Detectives was founded to review the present state of urban environmental lighting – to physically go out with our own feet and eyes to observe lighting in actual use instead of relying on theories, ideologies and preconceptions.

Through the Lighting Detectives, LPA goes to places where light is found and observes, detects, and gathers experiences to understand lighting on a deeper level. They leave their books behind and go out into the streets where physical examples of lighting are found. Natural light teaches us many wondrous ideas and techniques, and from street lighting, we learn the reality of the properties of light. With new discoveries, we continue to feel both excitement and anger. This feeling led to the emergence of a curious group called The Lighting Detectives.

There are five rules that Lighting Detectives always keep in mind: 1. Get angry with surrounding light pollution.

2. Deep and accurate observation of light on site.

3. Do be impressed with artistic lighting.

4. Calmly detect inspiring lighting designs.

5. Continuously accumulate experineces in lighting.

Mission 1. The Lighting Detectives highly regard local lighting culture from around the world and offer a platform to share knowledge and inspiration attained from it.

2. The Lighting Detectives highly respect the identity of various lighting cultures and provide activities to learn, think about, and enjoy through mutual interaction.

3. The Lighting Detectives also meet and talk about the future and ideal being of “light, lighting, and akari” and the brilliance of lighting culture.

Who Are the Members?

As of 2020, Lighting Detective membership totaled 1,100 members - 800 Japanese members, 300 international members. Members come from various backgrounds including lighting professionals, researchers, architects, designers, students, businessmen, and housewives, but all have a collective interest in lighting.

The Lighting Detectives feel it is important to work together with a wide range of people who are interested in lighting, instead of those just professionally associated with the field.

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Worldwide Activities The Lighting Detectives, which started in Tokyo, became a worldwide network in 1999. People of many nationalities gather together to study, analyse and discuss lighting around the world in the hopes of promoting the development of a lighting culture. Now, 16 core members in 12 chapters all around the world lead Lighting Detectives’ worldwide activities.

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The Forum is an annual international event where Lighting Detectives’ core members from around the world gather in a host city to discuss the local lighting culture with local people. Since 2002, Lighting Detectives has hosted this event in 15 different cities around the world..

World Lighting Journey The World Lighting Journey is a photo library of nightscapes and lighting environments from cities worldwide. Lighting Detectives hopes this database will be a catalyst for future discussion on urban lightscapes and local lighting culture.

Viewers can submit their own nightscape images from their hometown, adding to Lighting Detectives’ ever-expanding photo library. www.shomei-tanteidan.org/en/wljtop-en

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Eight Major Activities 1. City Walks & Salon City walks and salons are the base activity for the Lighting Detectives and are held regularly with Lighting Detective Club Members.

2. Night Watching Tour In contrast to the city walks, these extended trips are sometimes carried out in foreign countries to study the nightscapes of various places.

3. Global Lighting Survey To grasp lighting environments around the world, the Lighting Detectives have continued to survey local and global cities.

4. Children Workshop The Lighting Detectives wants to offer lighting educational programmes for the younger generation through play and real experience.

5. Light-Up Ninja Far from extravagant illumination of towers and bridges, Light-Up Ninja focuses on simple experiments to find appeal in the typical, by illuminating scenes found in daily life.

6. Symposium & Exhibition Many large and small exhibitions have been carried out, including “World Lighting Journey Exhibition” and “You Can Be a Lighting Detective”.

7. Publication & Web Lighting Detectives newsletters, website and social media are essential tools to promote Lighting Detectives’ activities.

8. Transnational Lighting Detectives Forum The Forum is an annual networking event for the Lighting Detectives to exchange information and learn about other lighting cultures.

Light-Up Ninja Sao Paulo, Brazil / 2014 A three-day workshop and Light Up Ninja event was held in August, 2014 in Sao Paulo, Brazil. During this three-day workshop, participants not only looked for heroes and villains of light, but also discussed what kind of nightscape is needed in Sao Paulo, since public safety and other issues are of concern in the city. Lighting Detectives and its

local participants illuminated one of the city’s iconic buildings, Copan, designed by Oscar Niemeyer, for two hours. This workshop was a handson opportunity to take part in a regular night walk, but also debate and carry out actual experiments with several viable lighting proposals.

1. Orientation Lighting Detectives gave a lecture on urban lighting, and the purpose of the night walk, explaining how to find heroes and villains of light.

2. Nightwalk With lux meters in hands, all participants walked around the Copan to see what the problems of lighting were in that area.

3. Group Discussion & Presentation After a discussion, the Heroes and Villains of light were presented by each team. Light up proposals for Copan were also shown. Participants voted and decided on the best lighting plan.

4. Light Up Ninja A light up plan that featured a contrast of red and blue light was decided by voting and realised for two hours. The building, previously lost in the dark at night, was highlighted beautifully by lighting and transformed into an exciting space.

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PROFILE

Transnational Lighting Detectives Forum Shenzhen, China / 2019 The 15th annual Transnational Lighting Detectives Forum aimed to create a platform to discuss the nightscape of this enthusiastic and frenzied city 10 years down the road in 2030. Participation from local students and residents exceeded expectations and through their proactive efforts proposals concerning the future of various Shenzhen nightscapes were discussed.

1. Orientation The content of the event was reviewed and Lighting Detectives core members were also introduced.

2. Night walk After introductions and review of the assigned area, each team set off on their city walk with a core member to act as a central figure to guide discussion about existing positive and negative lighting environments.

3. Group Discussion The teams gathered in small groups to look over images taken from the preview night’s city walk and to discuss heroes and villains of light.

4. Presentation The three-day workshop was capped with a presentation. Each team gave a 15-minute presentation on the survey results in their assigned area, including the existing lighting environment and proposals for the Shenzhen nightscape of 2030.

5. Panel Discussion Discussions were held with seven panelists on the theme of Shenzhen Nightscape 2030.

Children’s Workshops Various Locations There is no set curriculum for the children’s workshop, so each can be tailored to fit individual or group needs depending on age, season of the year, size of the group, etc. Previous workshops included lantern craft, candle making, candle-lit parades, adventures with flashlights in darkened gardens, and simple lessons to experiences different sources of light.

Workshops range in size, from Candle night, with more than 500 participants, to a simple class of 30 elementary school students.

For instance, Light Up Ninja Jr. workshops were carried out in Singapore and Tokyo. Children made lightsabers with flash lights and mimicked Japanese Ninja. In other workshops in the bay area in Yokohama, children drew the transition of the sky from sunset to night, painting the shift of colours.

Through these enjoyable experiences, LPA wants to contribute to children’s emotional education.

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Nightscape 2050 A dialogue between cities, light and people in the future

Berlin > Singapore > Hong Kong > Tokyo From August 2015 – June 2016, the Travelling Exhibition of Light, an event organised by LPA, was hosted in four cosmopolitan cities: Berlin, Singapore, Hong Kong and Tokyo.

The exhibition aimed to explore the interactions between people, light, and cities in the year 2050, and LPA hoped that it would serve as a remarkable opportunity to animate thought and spark discussions with regards to the future interrelationship between cities, light and people.

Around 35,000 visitors enjoyed the exhibition, which included a Lighting Pavillion, interviews with five masters of light, and panels illustrating the lighting heroes and villains of Berlin, Singapore, Hong Kong and Tokyo made by children.

LPA hopes the exhibition encouraged an engaging dialogue to exchange ideas on the delightful future of light and people throughout the world.

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PROFILE

Lighting Design for Disaster After the great earthquake and tsunami hit eastern Japan on March 11, 2011, as a group of lighting professionals, LPA wondered what kind of support could be offered to the affected areas. This led LPA to start of The Earthquake Disaster Relief and Support Project. Since then, LPA has held lighting events and surveys together with architects, university professors, students and local people in the Tohoku region of Northeast Japan.

Lighting Design Proposal for time of disaster LPA wanted to make a proposal on lighting design in times of disaster and of recovery. First of all, LPA held an in-house competition and came up with 32 unique ideas. These were then compiled into four proposals: SOS Light Station, Emergency Light Goods, Urban Lighting system against Disaster, and Hope to the future ~Lighting for Hope~.

LPA continues to hold internal workshops to brush-up ideas in the hope that some ideas will come to be realised.

Details of some proposals can be found at: https://note.com/lpa_revivng_pj/m/m1c4b95c9743a

Akari Cafe, Akari Cinema, lighting survey in temporary housings The earthquake and tsunami destroyed not only houses and infrastructures but also local communities. There was a situation of temporary housing in a space with little socialising space. Also, the darkness caused by the damage led to a depressing atmosphere at nighttime. To make the situation better, LPA set up a temporary outdoor café kit with lighting set up in collaboration with relative teams. The kit was used at the temporary housing area during summer, at a local

summer festival, and local theatre revival after it was destroyed by the tsunami, among other locations. A children’s lantern-making workshop was set up for when the kit is used.

LPA has also been undertaking a hearing survey for those affected by the disaster, and a “disaster-defence lighting workshop” to explore knowledge of around the needs of lighting in emergency conditions.

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Lighting Design and the Circular Economy: What Does the Future Hold?

As the drive for more sustainable approaches continues, IALD members discuss what the lighting industry can do to operate within a circular economy.

I

n Europe and other parts of the world, sustainability is gaining attention.

Owners and investors into new

buildings want to offer the users

and building occupants healthy and

sustainable experience. At the same

time, policymakers and regulators are

continuing to push industries to transform their products

and operations to be greener and climate neutral. Welcome to circular economy.

Circular economy is a response to the current linear economic system: We extract materials from the

environment in unsustainable ways, we manufacture products not designed to last and we dispose of used

products in a way that ends up in landfills or incinerators.

In fact, 80% of products’ environmental impacts are

determined at the design phase and packaging alone is

responsible for 173kg of waste per inhabitant (in Europe

in 2017). And by 2060 material use is expected to double if

there is no change in today’s system of use and disposal in the economy.

A circular economy is based on the principles of designing out waste and pollution, keeping products and materials in use and recycling end-of-life products back into the economy.

Source: A Circular Economy Handbook for Business and Supply Chains: Repair, Remake, Redesign, Rethink by Catherine Weetman

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IALD

“We are actively trying to select our suppliers based on sustainability criteria. However, the problem we face is that often manufacturers cannot guarantee sustainability in their supply chains.”

Kevan Shaw, KSLD | EFLA Lighting Design

Linear Versus Circular

The IALD has studied how lighting comes into play in these trends and published a position paper on the role of lighting designers in

control the lighting, the industry will need to make sure that the software gets updated during the whole lifetime of the product.

Outdated software could make products obsolete too early before the physical end of life of the luminaire, creating waste unnecessarily.

Kristin Bredal, Director at Zenisk, says her clients are eager to reuse second-hand equipment in their projects. “Currently the problem is with warranties for second-hand products. There needs to be a

way to fix this and we as lighting designers have the responsibility to make the right recommendations to our clients as to what fixtures and lamps could be reused.”

circular economy (https://iald.me/circulareconomy). The paper

A Way Forward

between policy development and practical application.

sustainability and durability of products and materials? Hopefully

positions the lighting design profession at important crossroads

Focus on Sustainable Products

As the need for sustainable lighting solutions rise, lighting

designers will increasingly look to specify products that fulfil this

criterion. However, how will lighting designers be able to judge how sustainable a lighting product is? Increased transparency from the

industry about the materials used and the efficiency of their products will not be enough. Kevan Shaw, Design Director at KSLD | EFLA

Lighting Design, says: “We are actively trying to select our suppliers

based on sustainability criteria. However, the problem we face is that often manufacturers cannot guarantee sustainability in their supply chains. Manufacturing in areas where environmental and labour

standards are lower, or unclear treatment of waste, opens a question in many industries and lighting is no exception.”

Today, electronic products carry labels scoring them on their energy

efficiency. If planned regulations go forward in the EU, every product on the market would have a sustainability label displaying a score

according to different criteria. It would encompass rating of products

based on criteria such as product life cycle assessment of their carbon footprint (the emission produced during manufacturing and use),

reparability (the ease of taking a product apart and fixing defective

parts) and recyclability, in which separable material composition that avoids harmful substances such as mercury or adhesives will be key.

Another parameter of products’ eco-design is their durability.

One of the keys to using products for a longer period of time is the

Does this mean lighting designers will need to become specialists on not, if the regulators manage to come up with efficient legislation resulting in clear criteria on product sustainability that will be reflected on product labels.

Cobham points out that the whole industry needs to focus on

providing information. “There is also a lot of misinformation out

there, some companies are making claims on sustainability that are not necessarily true. We need to find a method to prevent that.”

These labels would guide consumers, in the same way as they could

guide specifiers, to select lamps according to sustainability criteria.

If these strict criteria eventually find their way into lighting

products, lighting designers will be able to continue to focus on

good design and quality of light – creating atmosphere and light

induced wellbeing. But even so, the responsibility of lighting design professionals is larger than that.

Carla Wilkins, Senior Partner at Lichtvision Design, believes lighting designers are well placed between clients and the lighting industry,

communicating with both to find sustainable solutions: “We should not be afraid to push both the industry and our clients to make sustainable choices.”

“Lighting designers are well placed between clients and the lighting industry, communicating with both to find sustainable solutions.”

Carla Wilkins, Lichtvision Design

availability of spare parts for repair and maintenance. “Our main focus is both longevity and performance of our products,” says Matthew Cobham from Erco.

Meanwhile, Shaw is convinced that lighting designers should assume

lifetime guarantee, a luminaire will need to come with a guarantee

refurbishments of buildings. Nevertheless, it will be up to lighting

For specifiers, to choose the lighting product with the longest

that there will be spare parts available. However, for manufacturers,

it might be difficult and costly to keep a stock of many different parts for many products for several years.

Shaw sees the solution in digital technology, such as 3D printing.

“Stocking spare parts for a long period of time is not practical for the manufacturers and also has its environmental impact. But if

manufacturers store digital models of the products and their parts,

it will be fast and efficient to simply print out a replacement part on request.”

Similarly, as more and more luminaires contain software used to

the role of advisors on what existing products could be reused during manufacturers to innovate fast enough to take into account changes in regulations, which will incorporate eco-design requirements on reparability, durability or on low carbon footprint.

Even though the road to circular economy is long, many have

already started the drive by engaging in these critical conversations central to sustainability, durability and reusability. Clients,

contractors, lighting designers, suppliers and others in the lighting community all need to join this discussion as the future of circular economy evolves. www.iald.org

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The Nighttime Traveller A new research project has been established to examine the ways in which women interact with the urban environment after dark.

We speak to the research founder, Colombian lighting designer Cristina Gil Venegas, to find out more.

F

or many in the lighting design

interest in urban design and outdoor lighting.

added bonus of plenty of global

environments, and in the course of my lighting

sphere, the job comes with the

travel. Whether it’s working on projects overseas or attending international conferences,

many of us are lucky enough

to occasionally swap the office for the airport and see the world (before 2020 had other plans).

With this luxury of international travel comes

the opportunity to experience different cultures, immerse ourselves in new environments and

discover new cities. However, while it can be exciting to explore places that we’ve never been to before, for some, this can come with an added sense of caution or trepidation, especially once night falls.

This is the basis for a new research study from

Colombian lighting designer Cristina Gil Venegas,

entitled The Nighttime Traveller. Based in Bogota,

Colombia, Venegas has travelled around the world,

studying in Buenos Aires, Barcelona and Stockholm, and throughout her career has always had an

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“I have always been keen to work in outdoor

design studies, I began to feel an interest in working in urban environments at night,” she told arc.

“During the first urban intervention I saw in

Barcelona, during the Llum BCN Festival for Santa Eulàlia, I felt really inspired by the poetical way Barcelona’s old town was transformed through

lighting and the way that locals and tourists of all ages enjoyed the outdoor activities. Even though

those activities were mainly contemplative, people’s mood transformed just by walking by and admiring the city, seeing Barcelona through new eyes.

“Since that moment, I wanted to inspire other

people to explore the night with that curiosity I saw in people’s faces during the Llum BCN Festival,

contrary to the current panorama in which most

citizens almost don’t interact with the urban night.

I wanted to become a spokeswoman for the endless opportunities of urban lighting design to create a sense of wellbeing at night.”

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women in lighting

Venegas first came to lighting via architecture;

Venegas explained that it was once she began

Urban Environmental Emphasis at Santo Tomás

she realised what her true passion was. “During

she completed a degree in Architecture with

University in Tunja, Colombia, during which she spent a year studying abroad at the Universidad

de Buenos Aires (UBA) in Argentina. “I had some hints of lighting design while I was studying in

Buenos Aires and saw a class given at UBA,” she

explained. “I was intrigued by the description of

that class, which was on the relationship between

light and spaces, but I didn’t take the class because it overlapped with other assignments I had already enrolled on. It wasn’t until later that I realised

that class was given by a really talented lighting designer, Eli Sirlin.”

Years later, while Venegas was working as a junior architect in an architectural heritage studio, she read an article on the ability of light to change

the perception of buildings. “The article was on a group of people who stopped heritage buildings from being demolished in New York by lighting them up and doing an ephemeral intervention.

“Since that moment, I felt inspired by light as an

‘invisible’ tool that can transform a place with no visible interventions.”

This led Venegas to research lighting design

postgraduate courses, which eventually led her to

a one-year course at the Universitat Politècnica de Catalunya (UPC) in Barcelona, called “Proyectar

la luz”. “I found this one-year programme a good way to understand light, from its basic concepts

between light and shadow, then its application in

indoor and outdoor environments, and finally the

possibility to explore my own interests during the development of a final project,” she continued.

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researching lighting design as a career choice that my last years as an architecture student and at the

beginning of my work experience, I was interested in urban design and the job opportunities that I had. But at the time, even though I enjoyed my

work and career, I didn’t feel the passion I used

to see in my bosses. When they were working you could notice how much of themselves they put in

their projects, so I realised I hadn’t found my own path yet.

“When I started researching lighting design, I

began to feel that passion that I used to see in my bosses, so I followed my intuition and I believe

that with the passing of the years, this passion just increases.”

Finally, in 2017, Venegas enrolled in the Master’s

programme at KTH in Stockholm, Sweden, “driven

by the recommendations of some lighting designer friends and my curiosity of living in a country with

such drastic light conditions”. Here, she expanded on her interest in urban design, researching

outdoor lighting and focusing her thesis on how light can positively influence and encourage

peoples’ engagement and interaction with the urban environment at night.

“For this, I did field research at Norrmalmstorg

and Biblioteksgatan in Stockholm, and a literature review about two case studies in Colombia and

lighting designers’ approach to urban projects.

I called this research Light as a tool to structure

urban planning: a socially-oriented approach. My

tutor for this was Florence Lam, Global Lighting Design Leader at Arup,” she explained.

The outdoor space of the Guggenheim Museum in Bilbao, Spain, taken by Venegas during her studies at UPC in 2013.

The space shows how ambient lighting can create a welcoming atmosphere without being over lit.

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The result of her thesis, Venegas continued, was the proposal of

unless asked, not to speak up, not be so noisy or demanding, and

guideline was to establish the framework to structure urban lighting

“But then I discovered that the fear of the night was a shared

a guideline to approach urban lighting design. “The aim of the

proposals, by identifying the attributes in light that encourage people to dwell and explore cities at night.”

This research ended up being a great influence for Venegas in

creating The Nighttime Traveller. She explained: “During the

research process of my thesis, I was able to study qualitative and

quantitative data, and see the way people move through urban spaces

differently during daytime and nighttime, and also to study how their paths and pace change in those two moments of the day.

“Additionally, when I was studying how facial perception changed

under different light conditions, I realised how we as citizens avoid certain spots of the city due to the fear of not being able to identify

among all those ‘nots’, not to go out outside alone at night.

feeling. As women, we hear statements such as ‘you should not walk alone at night outside’, or ‘you have to avoid wearing provocative

clothing’. These statements can be more or less extreme between

countries as a result of social constructions that translate into norms and boundaries.

“Most of us were raised with that fear of the night, in cultures where statements exclude women from enjoying the nighttime, and where we are judged if we do.”

Venegas even references Michelle Obama – a spokeswoman for freedom and empowerment – who herself wrote in her book

Becoming, that she “knew never to walk alone at night”.

other people because the light position makes us perceive faces with

“After a while of exploring that shared feeling of fear and my own

“That process made me enquire about my own way to explore the

trying to be as invisible as possible in the urban nighttime. We

strong, dramatic shadows.

night and start asking some friends about their experiences. I began to ask about how, when recognising landmarks was easy, through

planned lighting design, those places became more interesting for people to explore.

“Then, I realised how different the perception was between women and men about the urban night, and from that, I decided to inquire more about that situation.”

The contrasting perception in the way that men and women feel

about the urban night, Venegas believes, stems from deep-seeded societal attitudes. On the Nighttime Traveller blog, she writes:

“In my youth, I started to become aware of the difference between

women and men. In the beginning, I was not sure if that feeling was just my own construction because of my shyness, or the fact that I

grew up in a Catholic school, where the norms were very clear about

‘how a lady should properly behave’, referring to not give her opinion

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feelings, I came to the conclusion that, as women, we have been

use this as a sense of self-protection; as a way to remember those

behavioural norms that society has imposed on us, in order to protect ourselves from harassment, and because we know if we are attacked, society is going to blame us for provoking these situations – this is something we continually see,” Venegas continued.

“I became aware that the way we move, the speed of our pace, the

emotions we put in the urban journeys, suddenly became controlled and supervised by external eyes, and those eyes are prepared to

judge us if a misfortune happens to us. In this situation, we become aware as women that our gender, that social construction, instead of including or integrating us into society, has instead limited our interaction with public space due to those prejudices.”

It is these attitudes that inspired Venegas to set up The Nighttime

Traveller, to try and ascertain with more clarity how public spaces are perceived by women, and what can be done to create more inclusive

women in lighting

“I hope this research can contribute to raising awareness about how different women perceive and explore the urban environment at night, and to communicate how culture influences our confidence to explore the world and stand by ourselves as women.”

Cristina Gil Venegas

2

public spaces at nighttime.

awareness about how different women perceive

try and allow for a more open and transparent

and to communicate how culture influences our

To do this, she created an anonymous survey to dialogue. The survey is divided into four sections as a way to structure the outcomes: General

Information, Emotions, Travel and Comments.

In the first section, Venegas looks to obtain

general data about the women taking part in the survey, to guarantee that the sample includes perspectives of women from different socio-

economic backgrounds and age groups. In the second, Emotions, she seeks to identify how women interact with public spaces at night,

emphasising the perception of safety and the main obstacles they identify when exploring cities at

night. The third section, Travel, asks participants

about their preferences when travelling, and hopes to gather qualitative data about whether the topics they search before travelling are connected to the obstacles they identify earlier in the survey. The

final section is more open for women to share their experiences of cities after dark. The goal for this

section is to explore qualitative information that

can then open the discussion up to future research.

Venegas plans to present the outcomes through data visualisation that is easy to understand,

communicate and interact with, and with that data, “adapt and design tools that decision-

makers, designers and other professionals could

use to design collaborative projects with citizens from a gender perspective approach”.

“I hope this research can contribute to raising

and explore the urban environment at night,

confidence to explore the world and stand by ourselves as women,” she added.

“I believe light is a powerful tool to communicate,

1. The Secret Garden, an outdoor lighting installation that Venegas created alongside four classmates during her studies at KTH in Stockholm.

2. While working on her thesis at KTH, Venegas carried out field research on site at Norrmalmstorg, Stockholm. Using an app called AftabLuminance, she gathered information about facial recognition at diverse points of the square.

so I want to create and encourage other designers to create urban ephemeral interventions with the data of the outcomes of my research, to

communicate to citizens, decision-makers and designers the female perception of the urban nighttime.”

It is an issue that Venegas clearly feels passionate

about, and from the many women around the world that have already participated in the study, it is

clear to see that this is a global concern. “I believe it is a situation that as women, we are aware of,

but it still has many cultural barriers that make us avoid those conversations,” she said.

“One of the insights this process has brought to

me was how different women feel when they travel abroad compared to the way they do in their own cities. I have identified this situation mainly in

Latin American countries. So far I have found that, in general, women are cautious to explore urban spaces at night, and in countries such as mine,

Colombia, this situation is even more evident.”

While Venegas’ research gauges how women

perceive the urban environment at night, she has

also begun to consider what lighting designers can

do to help create more safe spaces for women after dark. “I have read about how we, as women, rely

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women in lighting

“I want to become a spokeswoman for the endless opportunities of urban lighting design to create a sense of wellbeing at night.”

Cristina Gil Venegas

1

2

3

more on a sense of location and facial recognition

atmosphere that allows all of us to grow together,

I believe that as lighting designers, we can

continued.

to explore urban environments at night. So

contribute by lighting landmarks to turn them into reference points when we navigate through cities

at night; light pathways to guide the flow through a visual sense of direction; and also to take care

about the light direction in the urban environment, related to how citizens will perceive each other’s faces,” she said.

“With that in mind, I believe it is not just a

matter of how much light, but where the light is

coming from; what areas, buildings or elements to accentuate; and what the best lighting positions are that allow people to recognise other faces without distorting facial features.

“Additionally, the idea of designing urban

environments at night around the activities people do would promote more vibrant spaces at night,

and with more people engaging outdoors comes a feeling of more safe spaces.”

Venegas’ research is still open (scan the QR code at the end of the article to get involved), and she is hopeful that, through the support of Women in Lighting (WiL), more women will take part.

“WiL has given me a lot of support in sharing my

research, and also brought me the opportunity to be in contact with other women who have either been researching this topic, or who have some

interest in it. I believe these networks create an

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and I am really delighted to be a part of it,” she

Looking forward, as Venegas continues to work

on her research, she is already making a number of plans based on the outcomes she has already received.

“I am planning some ephemeral interventions with the outcomes of the research for raising awareness about this topic to a wider group of people.

Additionally, on the Nighttime Traveller website,

I am making the outcomes available through data visualisation, and will share a report with more detailed information for lighting designers and other professionals interested in the topic. My

aim is for this information to be shared on other platforms to reach a bigger audience,” she said.

“I am also adapting and designing tools to help

designers to go through the design process, taking into account the gender perspective, and working

with citizens to design collaborative projects. The

goal with these tools is to encourage professionals to use them during their design process, and get

feedback from them to adjust the tools to diverse needs and locations, and make them available to anyone who wants to use it.

“I also want to encourage other women to share their own stories – nobody knows who they can inspire.”

www.nighttimetraveller.com

1. The Holbeinsteg Bridge during Luminale 2018 in Frankfurt, Germany. Part of Venegas’ research has looked into how light festivals can act as a means of “activating urban vitality” at night.

2. For her thesis at KTH, Venegas investigated how light can positively influence and encourage engagement and interaction with the urban environment after dark. Part of this thesis involved field research at Stockholm’s Norrmalmstorg (pictured) and Biblioteksgatan.

3. While studying at UPC in Barcelona, Venegas visited the Llum BCN Festival for Santa Eulàlia. Here, she says that she “felt really inspired by the poetical way Barcelona’s old town was transformed through lighting, and the way that locals and tourists of all ages enjoyed the outdoor activities”.

Remote Control Assistant Editor Sarah Cullen sits down with Francois Roupinian of Lightemotion to discover the magic behind the remotely installed scheme for Shanghai’s Christian Dior Designer of Dreams exhibition.

T

he turn of events the world has experienced this year

has undoubtedly had an impact on everyone, globally.

But from it, we have witnessed an increasingly

staggering positive response from industry creatives,

and the new lighting design scheme for the Christian Dior Designer

PROJECT DETAILS Christian Dior Designer of Dreams Exhibition, Shanghai, China Client: House of Dior Curator: Oriole Cullen, V&A Museum UK Lighting Design: Lightemotion, Canada Exhibition Design: Agence NC Nathalie Crinière, France Graphic Design: Anamorphée, France Audiovisual Design: La Méduse, France Photography: Dirk Weiblen

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of Dreams exhibition in Shanghai by Lightemotion is no exception, with its unique Zoom-based installation.

Beginning its journey back in 2017, the Christian Dior Designer of

Dreams exhibition launched at the Musée des Arts Décoratifs of Paris before moving on to London’s Victoria & Albert Museum, and arriving at Shanghai’s Long Museum West Bund in 2020.

Canadian-based lighting firm Lightemotion was assigned the brief of illuminating the display by Nathalie Crinière in Paris, who designed the exhibit, which comprises more than 270 Haute Couture

silhouettes alongside original documents, accessories and artworks by contemporary Chinese artists. A complex and dynamic lighting

project

scheme was created to interact with and highlight the pieces in a

possible for a smooth transition to working remotely on the lighting

put together after the Coronavirus was declared a global pandemic in

the dresses in the rooms, and it was only when the placement of each

sculptural aesthetic for what was the first big international exhibit March. As such, the designers embarked on a unique and groundbreaking approach to the task by establishing an entirely remote team to implement the scheme.

Professional camera operators helped to facilitate an accurate

portrayal of each room, from their colours and tones to the size of each space. A number of cameras were also installed on tripods to give the

team simultaneous virtual views of each room from various angles. At the same time, more cameras set at eye level moved through the

rooms and around specific items that needed to be lit to complete the

full picture for the designers, giving them a chance to understand the overall visitor experience and each item’s setting in the rooms.

Crinière, curator Oriole Cullen and the Dior teams had worked on the project for months leading up to its arrival in China, which made it

install. The process of the installation started with the placement of exhibited item with the remote teams by Cullen was finalised that the lighting process started.

Lightemotion was then connected to local staff, Crinière, the Dior

team, Cullen, and audiovisual designer La Méduse via a Zoom link,

which was left open at designated times for all members to access.

The virtual meeting room was specifically for the usage of the

lighting design team; however, it proved a useful tool for all parties

to participate in consultations and voicing their opinions cohesively.

The open link – typically open for up to 12 hours a day – made it possible for the Lightemotion team to consult directly with the

necessary people when making critical decisions - when lighting a

specific dress, for example. The team could witness multiple lighting options and scenes that would highlight varying aspects of the dress

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project

Lightemotion worked closely with all those involved in the new Dior exhibition to create a dynamic and submersive lighting scheme. Video projections and sculptural architectural lighting transformed the exhibit, highlighting new details and perspectives of the classic, iconic items of clothing.

“What unified the show was the extreme quality of lighting and how it would sculpt the objects.

Each artefact was treated like a star...”

Francois Roupinian, President, Lightemotion

and decide together on the most fitting outcome.

Francois Roupinian, President and Director of Design at

Lightemotion, reflects on the collaboration with Crinière and the formation of the successful project: “It has been an amazing

collaboration with Nathalie and her team, curator Oriole Cullen, and with the Video artist team La Méduse. From the beginning, we were

able to sit with everyone and bring fresh new lighting ideas to really create that sensory experience. Nathalie also wanted to be able to tell the story of the show with light and wanted us to be able to

create a subtle environment that would serve the purpose and the experience of the show.

“The concept was to create a sensory experience with light that

would evolve throughout the show. I wanted to put the artefacts on

stage and illuminate them in a way where they could tell a story and create a feeling, an experience that the visitors feel when they see the display. Also, the environment of each of these spaces was crucial; we went into detail to make sure that even the general

lighting would fit with each theme and that the public always had a sense of being submerged and part of the environment. It is a very submersible experience,” he said.

“What unified the show was the extreme quality of the lighting and how it would sculpt the objects. Each artefact was treated as a star, as a personage.”

Understanding from the outset that communication was key to making this project a success, Roupinian saw the project as an

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project

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The design team at Lightemotion highlighted specific details in display items and created spotlight focuses, purposefully avoiding general washes of light, creating a contemporary and striking overall finish in the cohesive exhibition.

opportunity to create a platform for everyone to be directly involved,

setup. Good lighting design is a process where you need to be

new way of working for us. I established from the get-go a level of

never forget that we are the magic wand that is meant to serve a

like pieces of the puzzle coming together. “The challenge became a communication where everybody would be involved and be part of

the process. The client, the House of Dior, the exhibit design team, the auiovisual designers, and the installers were always invited to

join us, to pop up in our Zoom sessions. So, these sessions became

the pivotal point for everyone, and we were able to get some amazing human interaction. I do not believe in working solo and for me, 90%

of a project is the human factor. Everyone felt part of the process and it made the artistic elaboration quite unique and collaborative.

“Our team in Shanghai was incredible. They were our eyes on the

ground and we could not have reached the level of quality without them. They were engaged and generous; the local team is a major part of the lighting success of this project.

“The person in charge of cultural projects at Dior was involved

almost every day in the Zoom sessions. We would ask her to pop in

for a few minutes, ask her feelings and her level of comfort on how

we were presenting the pieces, which was very different from what

they had done in the past,” he added. “I think the key was to always stay connected with the curator and the Dior teams and be sensitive

to their needs and business objectives, and be flexible and adapt what we were doing to the challenges they may encounter during the

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generous - it has to be heart driven and not ego driven - we must purpose, the exhibition’s purpose, not ours.”

When speaking to arc about the difficulties the project encountered, surprisingly the list was very short. With the on-ground support of the Activation team and the constant level of communication, the

Lightemotion scheme was installed successfully and with minimal difficulty. One of the only unfortunate consequences, as a result of the global Covid-19 situation, was the team having difficulty

sourcing the desired fittings for the installation. As such, many

fixtures were replaced with more convenient local alternatives to combat this obstacle.

Another matter they had to address during the installation was the

lack of track or support system for fixtures in the museum. Roupinian explained further: “We had to create an extensive study and layout of additional tracks and pointing structure to host the lighting needed for the project. Also wanting to use DMX, we had to come up with different scenarios, from wired DMX, to wireless DMX systems.

“Also, part our design was to take advantage of the beautiful brutalist architecture of the space by illuminating it and making it part of the

background of the show. So, cable placement was critical; we did not want to have a busy ceiling. Furthermore, La Méduse created an

project

elaborate, immersive video mapping environment,

deliver a Magic exhibit in Toulouse, France this

in some areas so the video could take full

and in Canada, an architectural project at

so it was important to have minimal intervention advantage of the surfaces.”

Reflecting on the successful installation,

Roupinian added: “I feel the lighting brings a

subtle aura throughout the show and embraces the visitors from the different spaces - we say in

French “le fil conducteur”, which means it is like the connecting thread of the project. For Dior, a

major difference was the way the dresses were lit up. I used a very sculptural approach with the

lighting, we never used just a general wash of light.

This technique made the dresses pop and it

brought emotions. It was not just about creating

beautiful environments but bringing that special attention to each piece so the visitor could really

connect with them and feel something, maybe an emotion that the creator had when he designed that dress.”

Moving forward, Lightemotion is now

undertaking numerous projects utilising its

remote experience over Zoom, and is due to

December, as well as a major show in Singapore Parliament Hill in Ottawa, all created remotely.

“We have developed a level of connectivity

working remotely that does not affect or reduce

the quality of the projects. In the way we produce our brief / mood boards and our narrative, we are

able to give enough information so that the team on site feel well-equipped. We are present every

day via Zoom. I see a major market opening up for us; we already have a very extensive experience

and portfolio of international projects, and now our clients and future ones can see that we can

deliver the same quality even remotely. That is a major selling point as it dramatically reduces costs,” concluded Roupinian. www.lightemotion.ca

lighting specified Chauvet Colorado Zoom EK Mini Profile MZ WW ETC Mini Leko iGuzzini 2 cell downlight LED Linear LED strip Loupi Spot C Monopoint Lumenpulse Lumenfacade LED grazers Lumenpulse Lumenfacade Nano Wallwasher Nova SS 349 Omnify Omnisheet Wac Lighting Silo Focus

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Wonder of the World Long considered the most iconic monument of Ancient Greek culture, the Acropolis is an architectural marvel overlooking the city of Athens. This landmark is now bathed in a new lighting scheme, designed by Eleftheria Deko.

PROJECT DETAILS The Acropolis of Athens, Athens, Greece Client: Greece Ministry of Culture Donor: The Onassis Foundation Lighting Design: Eleftheria Deko Lighting Design, Greece Lighting System Development & Programming: Demos Kapetanelis, Greece Photography: Gavriil Papadiotis

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1. The new concept for the Acropolis of Athens, proposed by Eleftheria Deko, called for a dramatic re-lighting of the Sacred Rock, the fortification walls, and the monuments that sit inside the citadel.

2. A UNESCO World Heritage site, the Acropolis and its monuments are considered as an international symbol of Greek civilisation.

3. Deko requested customised luminaires from Erco based on its Lightscan fixture to illuminate the Acropolis and its monuments.

4. The lighting designers used a range of different lenses, from elliptical to wide flood, oval flood, wall washer, etc, to accurately focus light on the monuments where needed, while avoiding scattered light and light pollution.

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P

erched atop a hill known as Sacred

previous lighting scheme, then we set up our

the Acropolis is an ancient citadel

approach.”

Rock, overlooking the city of Athens,

intentions and concluded with a whole new design

housing the remains of several

The philosophy of this new approach was applied

buildings of great architectural and historic

to the lighting of the Sacred Rock, the fortification

A UNESCO World Heritage site, the Acropolis is an

the Propylaea, the Temple of Athena Nike, the

viewed by many as an international symbol of

Stoa of Eumenes, the Shrine of Dionysus, and five

Acropolis considered some of the most famous

first time.

In late 2019, the Greek Ministry of Culture

Ministry of Culture and to the Central

lighting scheme for the Acropolis hill and its

six-hour presentation. The new approach of

Onassis Foundation, who offered to fund the entire

from the wall and the monuments through lighting

offices to submit their proposals for the

Because of the immense cultural significance of

In January of this year, Athens’ own Eleftheria

revealed that when working on the new lighting

Foundation for the project. Although the project

things in an entirely new way.

lighting study, Deko went one step further,

project, I felt I had to forget all I knew and start

“We didn’t receive a brief for the lighting design,

the space and understand the lighting

and restrictions from the archaeological

observer of the Acropolis.

Deko explained.

during the different phases of the day; in the

presented to the technical study, we studied the

dusk while the sun sets, under the moon and in

significance, including the Parthenon.

wall and the monuments, including the Parthenon,

iconic landmark for the people of Athens, and

Erechtheion, the Ancient Theatre of Dionysus, the

Greek civilisation, with the temples of the

other monuments that were illuminated for the

architectural landmarks in the world.

“The new lighting study was presented to the

announced to the public the need for a new

Archaeological Council in March 2020 during a

monuments. This relighting was supported by the

distinguishing, for the first time, the Sacred Rock

process, and invited distinguished lighting design

was welcomed and approved unanimously.”

monumental project.

the Acropolis to the people of Greece, Deko

Deko Lighting Design was selected by the Onassis

concept for the landmark, she had to approach

initially called for an improvement of the existing

“This one was so different from every other

proposing an entirely new lighting concept.

from scratch,” she said. “I had to feel the energy of

but we received a technical study with guidelines

requirements, so at the beginning I became an

department, which we had to apply to our study,”

“I spent many hours observing the monuments

“We respected all the guidelines that were

morning, at noon when the light is harsher, at

project

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complete darkness. Just to try and imagine

the other hand, are worship, art, and if I may

the project to be carried out.”

sculptures in different versions of natural

illuminated in the same way – apart from the

Heritage site also meant that accessibility on

teacher.

different materiality. The Rock is made of

designers to overcome. Deko explained

of the city and its coexistence in today’s

materials and the monuments are made of

hours due to the touristic archaeological site,

the Parthenon are visible from many points

This differentiation of materials was the

positions for lights that were difficult to

away from the site to see the Acropolis from

research, where they carried out many tests

same positions as the previous lighting

“When you are on the hill, you are

firstly for the Parthenon to reflect its light.

serve our lighting study, but for every new

and awe for the Acropolis itself. As you move

Temple of Athena Nike, the Propylaea, the

official approval from the Central

wall and the monuments. From these

the wall, in order to make them reflect their

ephorate. We had to submit detailed

elements needed to be differentiated. Each

highlight the details and also create depth of

“Another important element to mention is

inspired us to create those lighting layers

distinct from afar,” Deko added.

new lighting concept, we changed all the

differentiations. In the previous scheme, an

terms of its geographical scope, but also its

in order to comply with the new available

almost orange light colour for all, the

to work to a very tight schedule, with 45 days

tunable white luminaires, etc. The challenge

was no differentiation, which in my opinion

she was given just nine months to complete

electrical network, the replacement of all the

“The idea of differentiation was clear and

was only exacerbated as according to Deko,

ones, there was not allowed to be a black out

existed and exists before human

etc, was in fragments, so our team had to

monuments. That was a big challenge as the

effort, the craftsmanship. Monuments, on

and modify it into the necessary forms for

strict and organised way in order to achieve

the reflections of the stone and marble

say, mystery. These elements cannot be

The historical standing of the UNESCO World

light. That observation was the guide and the

difference in their substance, there is a

site was a challenge for the lighting

“Of course, I had to see the Acropolis as part

one material, the wall is made of other

further: “Firstly, the restriction on visiting

urban landscape as well. The Acropolis and

the luminous Pentelic marble.”

and then the accessibility to the new desired

of the city, so we were frequently walking

starting point for Deko and her team’s

reach. On some occasions we had to use the

far away, from different neighbourhoods.

to achieve the most appropriate shade,

scheme, and in others create new ones to

overwhelmed by the feeling of admiration

This same approach was replicated for the

position or new element, we had to get

away, you realise its gradations: the rock, the

Erechtheion and also the Sacred Rock and

Archaeological Council and archaeological

observations, I realised that these three

own light. “Moreover, we wanted to

sketches for everything to get approval.

bears the symbolism of its time and that

field in order to make the different volumes

that except for the implementation of the

through colour temperature and intensity

Although an immense project, not just in

electrical panels and wiring of the Acropolis

emotional colour was chosen; a warm,

cultural significance, Deko and her team had

technology and products – DMX control,

monuments, the rock and the wall. There

in which to deliver the lighting study, while

was that throughout the change of the

was necessary.

the whole project. Such a short timeframe

old fittings and the installation of the new

essential to me because the Rock is nature, it

“the available material, plans, 3D models

of the site, neither the Sacred Rock nor the

intervention. The wall represents the human

dedicate time to collect the proper material

whole installation had to be planned in a

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an unnoticeable transition from the old to the new,

DMX control provides independent control of every

lights off.”

improved energy efficiency, reducing power

luminaires from Erco, alongside fixtures from

“The complexity of the site, the differentiation of

to customise a specific type of luminaire based on

for us to work with a range of different lenses,

characteristics of the new fixture are: tunable

washer, etc, to accomplish the required light

based on DMX protocol, and lastly, to create a

to accurately focus the lights to the monuments

luminosity and high efficiency, while remaining

light pollution. The light only reaches where it is

Erco’s Greek representative, Smeka, was onside

Michalis Karousis, Vice President of Smeka, added:

during the mock-up and testing period on site.

Parthenon, the Propylaea and the wall, and the

temperature from 2700-5000K was based on the

several on-site mock ups. The availability of a

white to illuminate each monument, with 12

specify the ideal luminaire.

used across the Acropolis monuments. Meanwhile,

use the minimum amount of energy possible.

possible for Deko to define the optimum light

efficient LEDs. Thanks to precise optics and

on-site tests.

illuminate only the desired areas, even over long

fixtures specified, which allowed them to achieve

use of energy.”

and textures of the marble and stone, while the

team is the same challenge that we have all faced

and deliver the new lighting without turning the

fixture. The transition to LED fixtures also led to an

The new lighting scheme called on a selection of

requirements by around 60%.

Linea Light Group and Griven. Deko requested Erco

heights and structures, meant that it was essential

one of its existing products – Lightscan. “The

from elliptical to wide flood, oval flood, wall

white from 2700K to 5000K, the control system

distribution,” Deko added. “That way, we managed

product with maximum enhancement of

and the wall, and overall, avoid scattered light and

elegant in shape and size,” Deko explained.

needed.”

throughout, supporting the lighting designers

“The unique structural formation of the

The need for tunable white, with a range in colour

morphology of the Acropolis rock itself required

desire to be able to decide on site the exact shade of

projector with interchangeable lenses helped to

slightly different, harmonious shades eventually

“The demanding challenge of the project was to

Lightscan’s exchangeable lenses meant that it was

Energy efficiency is however, not only a question of

distribution for each mounting position through

different light distributions, it was possible to

The lighting designers also sought a high CRI in the

distances. In this way, we ensured a sustainable

the optimum illumination to highlight the colour

However, the biggest challenge for Deko and her

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1. The Covid-19 pandemic meant that Deko and her team had more flexibility to visit the site and carry out tests while it was closed to the general public.

2. By opting for a high CRI in the fixtures specified, Deko was able to achieve the optimum illumination to highlight the colour and textures of the marble and stone, while DMX controls provide independent control of every fixture.

3. The new lighting scheme called for a differentiation in illumination for the Sacred Rock, the wall and the monuments as according to Deko, each element “bears the symbolism of its time, and that inspired us to create those lighting layers through colour temperature and intensity differentiations”.

“I felt that our task was not to illuminate the site, but to make the monuments reflect their own incredible light.�

Eleftheria Deko, Eleftheria Deko Lighting Design

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throughout 2020, working around the

my first visits on site, I felt that I had to leave

and night, and my thoughts were exclusively

global crisis impacted on this project: “In

lighting designer, forget my art and science,

Parthenon; I was constantly thinking about

late March, and that was exactly during the

was as if I was listening to our ancestors,

bothering my colleagues with successive

ups and the ordering of the lighting fixtures.

Greek culture. It was the greatest honour for

which was presented at the Central

Covid-19 pandemic. Deko explained how the Athens, we went into a strict lockdown in

most significant period for the project mock“The pandemic became a big challenge, as

we didn’t have enough samples, the factories

aside my knowledge and experience as a

and focus on ‘listening’ to the monument. It reading our history, baptised to our Ancient me!”

Given the historical significance of the site,

there. I was closing my eyes and ‘seeing’ the the dilemmas of the shade of the rock; I was sampling to be sure that our philosophy, Archaeological Council, would be

implemented in the best possible way.

were temporarily closed and we were facing

while it was a great honour for Deko to be

“Together with my colleagues, we studied

team continued working throughout the

sense of pressure to get the new lighting

a photometric model, and then did tests and

was a positive situation, it is that the

She explained: “The Parthenon, as many

photometric findings and define the right

many delays in the process. However, our

lockdown period. If we could say that there

involved, she added that there was an extra right.

every inch of the rock and the monuments in mock-ups at night to confirm the

Acropolis site was closed to the public during

analysts and historians have said, is perfect!

number of luminaires.”

and visit the site at any time, as well as get

the perfect – I was in awe.

official unveiling of the new scheme was

lockdown, so we had more flexibility to test permission for the workers to work

undisturbed in the daytime on the wiring

You can imagine how difficult it is to light “This monument is imposed on everyone and it creates emotions and feelings so

Once the lighting design was completed, an organised and curated by production

company Yard and V+O, together with the

infrastructure and the foundation of the

unprecedented that they lead you to a

Onassis Foundation. As part of this official

positioning and installation of the lighting

our task was not to illuminate the site, but to

the world, Deko collaborated with director

electrical installation and afterwards, the fittings.”

While the relighting of the Acropolis would

be a big project for any lighting designer, for

Deko, an Athens local, the project holds even

more significance. “Being part of this project was a multidimensional journey not only for

me but for the whole team,” she said. “From

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personal introspection. Somehow, I felt that make the monuments reflect their own incredible light.

“As a Greek citizen and a lighting designer, the Acropolis of Athens has been a lifetime

project. It has been a unique experience for me and my team. For nine months, I was

dealing with the project’s lighting every day

unveiling, which was livestreamed around Alexandros Maragos and song composer

Stavros Gasparatos to create a short film and

dynamic light show that would catch the eye, while presenting different perspectives of the Acropolis from multiple viewpoints across the city.

“From the very beginning, I insisted that the

project

“I felt that I had to leave aside my knowledge and experience as a lighting designer, forget my art and science, and focus on ‘listening’ to the monument. It was as if I was listening to our ancestors, reading our history, baptised to our Ancient Greek culture.”

Eleftheria Deko, Eleftheria Deko Lighting Design

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lighting show should not last longer than three

claim that after the new lighting reveal, their

audience’s attention and not antagonise the final

their business.

“We believe that you cannot honour such a

congratulatory messages, photographs and

but you can create an exciting introduction, using

looking at a completely different nightscape,

minutes, since our intention had to captivate the new lighting of the Acropolis,” explained Deko.

monument by presenting a dynamic lighting show, the Parthenon as a symbol, and this is what we finally did.

clientele grew, with a positive financial impact on “People are sending us thankful and

comments that their daily life has changed by appreciating the beauty of the Acropolis.

“Also, the international press has applauded the

“During the ceremony, I was sitting in the VIP area,

new lighting approach and welcomed it as a fresh,

the Hellenic Republic, the Minister of Culture, and

times that we are going through globally.”

The whole time, I was crossing my fingers that

perfectionist at heart, she said that she is still

where the Greek Prime Minister, the President of

the President of the Onassis Foundation were sat.

optimistic and symbolic moment during the dark Despite the international acclaim, for Deko, a

everything would go as planned. I was so moved

“fine-tuning details”, and is “continuously

was finished, I felt fulfilled with the result, and

order to bring it to its fullest completion”.

that I had tears in my eyes. When the ceremony happy that everything went well.”

The new lighting concept for the Acropolis has,

visiting the site now and for a few more weeks in That being said, she is very satisfied with the final outcome of this extraordinary project. She

since its official unveiling, been universally lauded

concluded: “The new lighting emphasises the

community, the press, and the general public. For

the marble. The Acropolis hill is now more vibrant

around the world, from the lighting design

Deko, she believes the overall reaction can be summed up with two words: enthusiasm and

emotion. “We are constantly receiving moving and enthusiastic messages from people who live near the city centre and have a view overlooking the

Acropolis, people who are walking around the area, and even from the owners of local restaurants who

1. The Acropolis is visible from many points throughout Athens, so Deko and her team frequently walked away from the site to gain a better understanding of how it appears from different neighbourhoods.

2. The new lighting scheme for the Acropolis, according to Deko, emphasises the naturalness and pure colour of the stones and the marble, while allowing monuments such as th Parthenon to “proudly stand up again”.

3. Together with her colleagues, Deko and her team studied every inch of the rock and monuments in a photometric model, and then did tests and mock-ups at night to confirm the photometric findings and define the right number of luminaires.

naturalness and the pure colour of the stones and and to us, it feels like the Parthenon is proudly standing up again.

“I will use the words of the President of the Onassis Foundation during his speech at the opening

ceremony – ‘In dark times, when you light the

Acropolis, you bring light to the whole world.’” www.edeko.gr

lighting specified Erco Lightscan 24W Erco Lightscan 48W Erco Lightscan 72W Oval Flood Erco Lightscan 72W Wide Flood Griven Parade S 60 Linea Light Archiline_W Linea Light Periskop

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PROJECT DETAILS Shanghai Bund, Shanghai, China Client: Huangpu District Lighting & Landscape Management Authority, City of Shanghai Lighting Design: Fisher Marantz Stone, USA In Collaboration With: Uno Lai Lighting Design, Taiwan & Shanghai

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façade lighting focus

A Piece of History In re-lighting the waterfront buildings of Shanghai’s Bund District, Fisher Marantz Stone collaborated with Uno Lai Lighting Design, alongside several other local lighting consultants, to showcase the district’s history, and bring light to the people.

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1. The relighting of Shanghai’s Bund District has seen 27 landmark buildings cast in a warm white light, a strong contrast to the dynamic colour shows of the Pudong District on the other side of the river.

2. While Fisher Marantz Stone developed an overall concept for the Bund, the studio’s primary focus was on the district’s two most iconic buildings - the Shanghai Pudong Development Bank and Custom House.

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T

he city of Shanghai is perhaps best

focused on two of the Bund’s most iconic buildings

the Pudong district, with its bright,

Development Bank – while also developing an

known for the glittering metropolis of

– the Custom House and the Shanghai Pudong

colourful skyline the benchmark for

overall lighting concept for 25 additional

modern urban planning. However, just across the

buildings along the Bund, collaborating with Uno

architecture of the Bund district. A protected,

deliver the end result.

by a stretch of 27 landmarked buildings that stand

sense, Stone explained that FMS worked closely

built between 1920 and 1931, the façades of these

the original concepts: “They knew that they

orange light of high pressure sodium fixtures.

sodium was ageing. There were already different

Fisher Marantz Stone won a competition to

what they wanted to do in a larger sense,” he said.

sought to rejuvenate the buildings, and in the

one year, five years, 10 years and asked them what

Charles Stone, President of Fisher Marantz Stone

helped them write the brief.”

annually or more often, since 2013, when I began

striking new lighting concept that would stand up

judge for a different competition on the Huangpu

the “riot of colour changing dynamic lighting”, as

invited to this competition. I attended a

“Between the two sides of the river, it’s tough to

municipal authorities, a variety of constituents.

dynamism, it’s just outstanding,” he said. “Having

as soon as we realised that it was going to happen,

all built between 1920 and 1931 that represent a

whom we’ve known for many years. That was the

survived revolutions, they survived big changes in

During those eight months, FMS specifically

celebrate that history.”

Huangpu River lies the more traditional, classical

Lai and six other local lighting consultants, to

historic area of the city, the district is characterised

Although not given a design brief in the traditional

out within the wider fabric of the waterfront. All

with the municipality of Shanghai in formulating

buildings were previously cast in the warm, almost

needed to relight it, because the high pressure

However, in early 2018, lighting design studio

kinds of retrofit ongoing, so they already knew

spearhead a mammoth re-lighting project that

“We discussed with them what it would look like in

process, give the buildings back to the people.

they were trying to accomplish. From there we

(FMS), explained: “I’ve been involved in Shanghai,

The central question for FMS was how to create a

speaking at annual conferences, and served as a

to what was going on across the Huangpu River –

River involving 60km of Riverfront. We were then

Stone described it, in the Pudong district.

competition day full of presentations to academics,

name another city that has more night time

“We were awarded the project, and from day one,

that as context, we have these buildings that were

we joint ventured with Uno Lai Lighting Design,

snapshot of history – nobody tore them down, they

beginning of eight months of steady work.”

government, and here they are – we wanted to

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The best way in which to do this, Stone

dynamic colour shows of the Pudong.

the previous, ageing system of high pressure

light and use solely white light. Although, as

uniformity across all 27 façades, FMS worked

important to create a balance, and not go for

FMS explained, this was achieved within the

could deliver on their expectations.

“On a practical level, we just threw the old

“There is actually the ability to tune the

to do this in a unified manner, and to achieve

was no question, everybody knew from the

although we used some colour changing

had to be completed in a short space of

he said.

But there was a lot of testing to be done as to

choice but to use somebody with substantial

exist, perhaps in an older generation, from

close to the existing high pressure sodium

with along the whole district together.”

sodium, was important. We didn’t want to

to make it a little bit more modern, but stay

fixtures with them,” Stone added. “Signify

people. That wasn’t the only reason for

“There is a drama of expectation,” Stone

we were giving them a spec at the same time,

consider, and as long as you go down low

concept was that this was to be light for the

type, I guess you can put that in the

facsimile of sodium.”

preserving history, as well as looking

exactly, but I think they were the forerunners

laid it out for the client is, yes you could stay

comfort. All of this came together in a central

“And for the manufacturers that were

just update it with new technology and make

“And Enrique is quite right, the tunable

our two buildings, they were on the list to be

modern and bring it into true white light.

a cooler, whiter white, was driven in part by

reasons of consistency. If you call something

the only reason why it was orange to begin

To create this warm, historic feel with new

fixture at 3000K, using a different chipset

it at the time. Would they want to do it with

constrained to a CCT range from 1800K to

The only way to solve that problem is: once

had the chance originally?

the Bund, and a marked contrast to the

When it came to the logistics of replacing

low colour temperature effect would be, and

believed, was to move away from coloured

However, to ensure a sense of consistency and

sodium fixtures, Stone explained that it was

Enrique Garcia Carrera, Associate Principal at

with Signify to develop a range of fixtures that

anything too different, too quickly.

wider capabilities of tunable white fixtures.

“One of the challenges was that we wanted

fixtures away – and I say that because there

colour of the light for all the buildings, and

this result across dozens of buildings that all

first hour that it was all going to be LED,”

lights here and there, they’re set to be white.

time,” said Garcia Carrera. “There was little

“But the emotional connection that could

how close to white we could get, versus how

resources like Signify, who we could move

seeing the buildings lit in the golden light of

colour the client would allow us. We wanted

“What we ended up doing is developing new

change too quickly, as this is a project for the

within the warm range of white.”

was developing tunable white fixtures, and

tunable white, but it was a variable to

added. “In other words, our big central

so once you make thousands of a fixture

enough in colour temperature, you have a

people. That encompasses things like

catalogue. I wouldn’t call them custom

Garcia Carrera continued: “The way that we

forward, and ideas like placemaking and

of the range of fixtures that you have today.

with a very warm glow similar to sodium and

concept that we then linked to white light.

involved in the project, once they were on for

it easier to maintain; or you could make it

white, which we vary from a warm white into

used for the rest of the project, for very good

And perhaps that is the thing to do because

the history of sodium.”

3000K, and then get another manufacturer’s

with is because there was no other way to do

LED fixtures, FMS kept the white light

and different drivers, it will look different.

high colour rendering ‘white’ light if they

3000K – sympathetic to the stately façades of

you get one that you like, stay with it.”

“We showed them what upgrading to a very

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façade lighting focus

Fisher Marantz Stone worked with Color Kinetics to develop custom variants of a range of its Powercore fixtures, which were used to create a consistent, uniform white light along the Bund.

we also showed them what an increased white

to 3000K, keeping the light levels warm to bring

ended up with something in the middle.”

with the new tunable white system in place, there

that perhaps we needed to temper our use of the

a much cooler, more modern colour temperature,

white light really is, and then here you have

from all parties on what would work best. “It had

effect would be, and then we hedged our bets and “Ever since professional lighting designers realised RGB magic wand, we started thinking about what questions of what the indigenous colour should be,” continued Stone. “We agreed with the owner not to

Stone explained that there was a clear agreement been discussed in words, it had been drawn in renders, and it had been mocked up in the

conference room and on site, with yet another

the balance between warm and vintage vs crisp and

surprises,” he said.

piece of the spectrum of white, you have a long way

academics and the municipal authorities on the

modern. And even in there, if you zoom in to that

more formal mock up on site, so there were no “We walked arm in arm with the architects, the

to go from a very yellow, warm incandescent

committee, Uno Lai, our partners in design –

Garcia Carrera added: “Normally, we like to talk to

how we would do the next step. Few projects have

feeling, all the way up to a crisper white.”

the architects when working on a project like this, but of course they weren’t available at this time.

everybody was presenting a single attitude about so many incremental mock ups.”

While the project sought to update the old high

We had to go back and start thinking that not all

pressure sodium lighting to a new LED system, it

building to building the stone character changes;

existing fixtures and replacing them, like for like,

the buildings are made from the same stones, from the architects picked the stones for certain reasons, and we have to assume that the

colouration of the stone is part of the reason, so

why wouldn’t we want to be true to that at night as well as during the day?”

As such, FMS opted for a range in CCT from 1800K

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was a risk that the client could alter the lighting to

do colour, because we didn’t want to compete with

the Pudong. Instead, with white light we had to find

094

out the colours of the stone façades. And while,

wasn’t as straightforward as taking out the

with new ones. Garcia Carrera explained the

approach further: “We took an approach that was almost like putting makeup on an actor’s face

where you start off with the foundation. We didn’t want to just highlight certain elements and have

everything else go dark because the contrast would

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ARCHITECTURAL & FACADE LIGHTING

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have been too much. We found ways to put a very

on it, it’ll be LED and it will be wonderful’, then

added accenting where we felt it was required. In

down. And we came back a few weeks later and they

where the original lighting was located.

wanted us to be the bad guy. He knew it had to

conduits concealed, to come from inside the

Perhaps the biggest challenge for this project was

were going to be, but because the buildings were

such as this, it’s not uncommon to be given several

possible in many cases. Instead, those exposed

for FMS, the timeframe of just eight months meant

behind parapets or cornices, and whatever we

“We had to develop a point of view and a concept

exactly the colour of the stone. Similarly in some

no backpedalling,” said Garcia Carrera. “Once the

they’re also painted.”

it was just about implementation and overcoming

can’t find a conduit, because we had scene painters

Stone added: “That’s one of the reasons people

building, painting them to match the colours of the

professional you don’t question a decision that’s

Garcia Carrera continued that, during the refurb,

challenging, but also kind of fun in retrospect.

hardware and equipment that had previously been

line, there’s no going back. You couldn’t get out to

the Bank building was illuminated with a bunch of

maybe not, we should do it another way’,

flies circling around the dome. We got rid of that,

“And the projects really do look like the renderings

the boulevard by the river and erect new poles so

continued. “They were very true, there was very

from the building to let the building breathe.”

implementation, and that’s rare. When you have

do believe a lot of people involved thought ‘we can

the way you had it originally, but after going

soft wash of light on the main façades, and then we

we’re out there saying that it all has to go, take it all

many cases, that wasn’t in the same locations as

had taken it all down – maybe the owner just

“We also wanted to have most of the wiring and

come down – we had a great client.”

buildings to the exact location where the fixtures

the very limited timeframe. For large-scale projects

occupied with active office spaces, that wasn’t

years to complete such extensive re-lighting, but

wires and conduits were integrated into groups

that everything had to move very quickly.

couldn’t fully conceal, was painted to match

and just be sure of it right away, because there was

cases the fixtures themselves are exposed, but

concept was developed and signed off by the client,

“Without the benefit of shadows from the sun, you

the obstacles.”

in bosun’s chairs slipping down the façade of the

come to FMS, because we adopt the view that as a

stone,” Stone added.

well made. So yes, a compressed timescale was

FMS called for the removal of unnecessary, dated

“But Enrique’s point is we had to go in a straight

used to light some of the buildings. “The dome of

the field on the second mock-up and say ‘well,

out-rigged arms and light fixtures that looked like

everything had to go in a straight line.”

and convinced the client to go on the other side of

that we presented early on,” Garcia Carrera

that we could get a proper aiming angle and be away

little that changed from day one to the final

“It’s one of my favourite stories,” Stone added. “I

time, you change it a lot, and maybe you go back to

just use those brackets, we’ll just put new lighting

through a whole process. We didn’t have time to go

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1 & 2. The relit Custom House (1) and Shanghai Pudong Development Bank (2) are cast a warm white light, showcasing each building’s history, and the rich colour of the stone.

3. When selecting the correct shade of white, Fisher Marantz Stone presented a range of options to the client, from a very low colour temperature to a more crisp, modern white, before eventually landing in the middle.

façade lighting focus

through that process, so we were very glad that we

Garcia Carrera continued: “It also helps to establish

wasn’t going to be a second time around.”

the other side of the river. Whereas, when you’re in

ups in Europe over the last couple of decades that

around a city centre that has a river running

approach, but not in eight months,” Stone added.

banks of the river. Here we see a unique contrast.”

integration, and imagine the bureaucracy that was

whether that be the location, the use of white

anywhere without having 42 different civic

three, that both Garcia Carrera and Stone believe

and that. This was a unique opportunity and we

been recognised by the IALD with an Award of

This unique result has brought a new lease on life

“It’s hard to find something like this elsewhere, on

buildings along the waterfront in a new light, while

period, from the same era, unobstructed by views

while there is a uniformity to the new lighting,

think that what we did with that, and how it looks

district together.

a district. It’s a destination. There is a common

character and their own individuality. The

they’re joined together; and part of what joins

what the lighting does is bring them together into

looks great.”

And the decision to solely use white light is

white light. If we had used multi coloured light,

stand out on a world stage: “If they were lit each in

be forgotten as another night of coloured lights,

red and blue and green and yellow, it would be just

mind as this white image of history. The light

That’s the key right there. There’s nowhere else in

enhancing your appreciation of the architecture,

the moment.”

www.fmsp.com

got it right the first time around, because there

the astonishing contrast with what’s happening on

“I’m certain that there are dozens of old city light

London or Paris or other cities that are based

have received the same kind of care, attention and

through it, you usually have the same feel on both

“It takes a curious blend of will, money, cultural

Indeed it is the remarkable nature of the project,

avoided somehow. Imagine doing this almost

light, the timeframe, or the combination of all

organisations all involved in it and protesting this

makes this re-lighting project – which has already

have a unique result.”

Merit – such a success.

to the Bund district, casting the landmark

the river front, all built within the same time

also paying tribute to their heritage status. And

because of the river,” said Garcia Carrera. “And I

Garcia Carrera believes that this helps to bring the

at night now, really conveys the idea of the Bund as

He explained: “The buildings bring their own

idea uniting these buildings. They’re distinct, but

architecture varies from building to building, but

them together is the lighting, and the lighting

a unified district.”

Stone concluded: “It’s a testimony to the power of

something that Stone feels makes the project

and you flew in and out of Shanghai, it would easily

a different way with bits of colour here and there,

but instead the Shanghai Bund is etched in your

another night of colour on somebody’s waterfront.

doesn’t tamper with the history. Instead, we’re

the world you can go and see it done quite so well at

and creating a waterfront for the people.”

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To create the warm, historic feel across the district with new LED fixtures, Fisher Marantz Stone kept the white light constrained to a CCT range from 1800K to 3000K - the variance in CCT allowing each building to shine in its own right, while still creating a sense of unity along the Bund.

lighting specified Color Kinetics ColorBlast Powercore gen4 Color Kinetics ColorGraze MX4 Powercore Color Kinetics iW Burst Compact Powercore Color Kinetics Reachelite iColor 100 Powercore Erco Tesis

PROJECT DETAILS Daiwa Roynet Hotels, Tokyo & Kyoto, Japan Client: Daiwa Roynet Lighting Design: I.C.O.N. Lighting Design, France Architect: Azusa Sekkei Architects, Japan

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façade lighting focus

The Concept of Context In illuminating the façades of three Daiwa Roynet hotels across Japan, I.C.O.N. paid close attention to each site’s context, creating a truly unique scheme for each hotel.

I

n lighting design, the old adage goes that no two projects are the same; that each has its own requirements, its own concepts and its own unique end result.

This was particularly apparent for Akari-Lisa Ishii, Director of

I.C.O.N. who has designed the façade lighting for three branches of the Daiwa Roynet Hotel chain across Japan. For these hotels, rather than create a

uniform scheme across all sites that would become synonymous with the

Daiwa Roynet brand, she instead drew inspiration from each hotel’s context

– whether this is geographical, historical, cultural, architectural or temporal context – to create something unique to its location.

The notion of context is something that Ishii believes is integral to effective lighting design, in order to avoid cityscapes from becoming repetitive and

boring. “Being bright or colourful is not a problem itself if it is an appropriate concept based on contextual research,” she said. “When you ignore the

context, you end up with a similarity all over the world. I love the exciting,

dynamic lighting in Times Square, in Shibuya, but if you only have this, it is going to be very boring. So I warn myself not to repeat the same thing everywhere in the world.”

The first hotel that Ishii was asked to illuminate was in Ariake, Tokyo. I.C.O.N. was appointed as the lighting consultant for the hotel by architect Azusa

Sekkei, who has worked regularly with the Daiwa Roynet hotel group. “At the first presentation to the client, their president admitted that he always

thought lighting was one of the key issues to create a hotel’s image, but he did not know how. Since that day, our close collaboration started, and the journey continues to this day,” Ishii explained.

The Ariake hotel is situated in a new district currently under development in

the Tokyo Bay Area – a district that was intended to be one of the core sites for the 2020 Olympic Games (now rescheduled to 2021). The hotel, which is adjoined to a shopping centre, is also at the crossing point of two major

railway stations, with a public concourse connecting the two stations. The

exterior lighting therefore needed to signify the nocturnal identity of both the hotel and the area, while providing a visual connection between the stations in a unique and interesting way.

www.arc-magazine.com

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1

1. The high-rise tower of the Ariake hotel is cast in a narrow beam of light that reaches halfway up the building, intended to emphasise its height.

2. Alongside the façade lighting, I.C.O.N. also illuminated the surrounding garden landscape by the Ariake hotel, using light and shadows to add an extra sense of intrigue and natural element amid the modern architecture.

3. The Ariake hotel includes a corridor that connects two railway stations. Here, Ishii used coloured indirect light to pay homage to the passing of the seasons, with different colours for each month of the year.

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3

“The architectural context is always very

etc. “Those who are passing by every day on this

interesting crossing notion of horizontal and

be stressed out, going back and forwards from the

design concept that I proposed to the client was of

them, to remind them of the passing of time and

the urban crossing point, the vista crossing point,

On the shopping centre, a large beam was

crossing point.

complex, while in the same way, landscape lighting

this particular project, so it was obvious for me to

effect, while complementing Azusa Sekkei’s

This is the ‘vista crossing point’. On the other

“I also tried to dramatise the entrance of the hotel

lighting on the great eave connecting the two

crossing point also became a featuring element, as

crossing point’.”

famous garden designer. For me, it was interesting

illuminated with a semi-custom type of Stanley

façade. The architecture is quite geometric and

one of the narrowest LED spots, and casts a strip of

green shadow was quite interesting.”

constraint for the façade uplighter,” Ishii

Roynet hotel, Ishii was asked to come up with

the façade, and the standard fixture from Stanley

branch. Working once again with architect Azusa

(equivalent or smaller) with a 3° narrow beam, so I

design – a conscious effort to differentiate the

version of it, incorporating six LED units instead of

inspiring for me”.

The “daily crossing point” came in illuminating

century, Kyoto is a city very rich in heritage and

Here, Ishii sought to represent the feeling of the

history for the hotel’s façade.

colour each month – cherry blossom pink in April,

the entrance of the hotel is located at the angle of

important, and the architect came up with an

concourse from one station to another, they might

vertical design,” Ishii explained. “The lighting

house to the office every day, so I wanted to help

a Light Crossing Point; this was broken down into

the changing of seasons,” Ishii added.

daily crossing point, feeling, green and time

magnified in white to express the continuity of the

“The geographical position is very important for

and exterior circulation spaces reinforce this

emphasise the high-rise building with lighting.

architectural design.

hand, the horizontal dimension was underlined by

with a special lighting treatment, while the green

buildings of the complex. This is called the ‘urban

the surrounding landscape was designed by a

The façade for the high-rise tower was therefore

here to play with shadows, casting them onto the

Electric’s LEDS Focus. With a beam of just 3°, it is

sharp, so to break this harshness with the organic

light halfway up the tower. “There was a space

After successfully illuminating the Ariake Daiwa

explained. “The limit was at 15cm from the front of

another lighting scheme for the brand’s Kyoto

Electric was too large. But there is no alternative

Sekkei, the hotel features a different architectural

requested the manufacturer to make a smaller

hotels, and one that Ishii said “was always very

nine.”

The former capital of Japan from the eighth to 19th

the corridor that joins the two railway stations.

history, and as such, Ishii wanted to tap into this

changing seasons via indirect lighting that changes

Situated across from the main rail station of Kyoto,

ocean blue in July, autumnal orange in October,

the corner building. Therefore, instead of

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2

1

1. The Kyobashi hotel plays homage to the grid-like layout of the neighbourhood with a cubic design, highlighted by the square grid of windows.

2 & 3. Ishii brought a sense of movement to the façade lighting for the Kyobashi hotel, with the lighting playing through three dynamic scenarios.

4. Each window frame of the Kyobashi hotel is contoured by light emanating from a discreet fixture - iGuzzini’s Trick, which creates a sharp lit effect, without light spilling into rooms.

5. The façade of the Ariake hotel is uplit with Stanley Electric’s LEDS Focus spots.

With a narrow beam of just 3°, it’s one of the narrowest LED spots on the market.

6. The concept for the Kyoto hotel ‘Vibrant Light Poetry’, is inspired by traditional Japanese colours, original movements akin to candelight, and a diagonal composition inspired by local art.

7. Three different lighting ‘modes’ for the Kyoto hotel play with light and colour, with subtle movements that reflect the ‘urban rhythm’ of the city.

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3

4

emphasising the horizontal and vertical lines, Ishii

should change. For this, she went to the site and

through lighting. “In traditional Japanese

by in front of the hotel. Here, she noticed that the

present to give a kind of dynamism to the

more laid back pace, so she applied this rhythm to

From here, Ishii drew further inspiration from

“It was intention that we didn’t have very speedy

nobles wore very beautiful kimono. From the

to rest. Instead we have a very subtle change of

of kimono, and they established very sophisticated

don’t gaze at the façade, you don’t see that it is

colours in the kimono to express the seasonal

has a different expression, which gives it a

project, and I proposed three different modes of

In February 2020, the third collaboration between

combinations.”

this time in the Kyobashi neighbourhood of Tokyo.

the building, while anchoring it to its location

planning, going all the way back to the 16th

diagonally from the corner entrance to the sky. The

hotel dates back to European-style modernisation

coherence with the seasons; a discreet alternation

square, grid-like vocabulary of the area, the

‘daily’ mode with three tones of the same colour,

interior and exterior of the hotel. The exterior

All modes will have the same subtle movements,

approach and the grid of window frames that span

“The concept that I extracted was ‘Vibrant Light

Each window frame is contoured by light

movements akin to candlelight, and diagonal

Trick – which creates a classy light effect, without

entrance,” Ishii explained.

edged beam thanks to its special optical lens, so I

began thinking about how fast or slow the lighting

guestrooms at all. But in order to convince the

wanted to bring a dynamic movement to the façade

observed the movement of cars and people passing

paintings, this diagonal composition is very

area had a certain rhythm, where people move at a

painting,” she explained.

the lighting movement.

Kyoto’s heritage. “This was our capital, where the

changes, because this is a hotel where people come

Middle Ages, the noble women dressed in 12 layers

colours. It takes one minute for a full loop, so if you

colour codes by using different combinations of

moving, but every time you look at the building, it

changes. I took this as a specific theme for this

richness.”

lighting, using colours inspired by the kimono

I.C.O.N. and Daiwa Roynet was officially opened,

The lighting scenarios for the façade give a life to

The Kyobashi district is characterised by a grid-like

through a slow rise of energy, as light rises

century, while the architecture surrounding the

three different modes proposed by Ishii are all in

that began in the 19th century. Playing off the

between warm and cool white, a soft but colourful

architect came up with a cubic design for both the

and a ‘festive’ mode with three more vivid colours.

lighting was therefore guided by this cubic

and will be used according to the calendar.

across the façade.

Poetry’, using traditional Japanese colours, original

emanating from a discreet fixture – iGuzzini’s

composition inspired by local art to emphasise the

light spilling into the rooms. “Trick has a sharp-

After creating the initial lighting concept, Ishii

was not worried about light spill into the

façade lighting focus

5

6

7

client, we showed the effect through a mock-up. At

owner, they were astonished, because they never

architect prepared a window frame mock-up in

“Thanks to the lighting, each hotel’s presence is

unique effect to the client. Seeing is believing, and

context, thus its nightscape adds a specific

Ishii explained. She then added a sense of

anchored to its background in some way,” she

building to stand out further from its neighbours.

“The Ariake hotel, since it is in a developing new

Urban Rhythm’. Learning from our experience in

functionally and symbolically at night. Kyoto’s

rhythm in this project,” Ishii said. “This concept

previously sober and dim compared to the central

light, and elegant integration in architecture from

contributed to bring a modern feel to its

Integral to this concept were three different

light, while still being in perfect harmony in terms

movement of light up the building; the second sees

Since completing these three hotels, Ishii has

like a gentle urban heartbeat; the third is a

group, and is already in talks to illuminate two

moving at typical pedestrian walking speed, which

with many more still in the pipeline.

this business-oriented district of Tokyo, compared

communication between the lighting designer,

By taking a unique approach to each hotel, based

positive end result. She concluded: “It’s a great joy

urban composition, Ishii believes that the lighting

cooperative architecture firm with whom we can

location, particularly after dark.

good lighting project is surely a fruit of good

said. “Many of their clients arrive late and only see

www.icon-lighting.com

a very early stage of the lighting scheme, the

thought that their ‘main face’ was the night view.

which the fixture was integrated to present the

symbolically connected to its surrounding urban

at a glance, they were impressed and convinced,”

character to the neighbourhood while always

movement to the façade lighting, helping the

added.

“The concept for this hotel was ‘Light (e)motion in

quarter of Tokyo, became an urban ‘core’ visually,

Kyoto, I immediately wanted to talk about urban

added veritable colours to the area that was

contains underlining grids, a classy warm white

part of the city. In Kyobashi, the hotel certainly

the pedestrian perspective.”

prestigious streetscape with the movement of

dynamic lighting effects: the first a diagonal

of colour and intensity.”

the entire light levels dim up and down very softly,

remained in contact with the Daiwa Roynet hotel

movement of light from one side to another,

more hotels that are currently under construction,

Ishii noticed following some research was faster in

And she believes that the close collaboration and

to the more touristic old city of Kyoto.

architect and client, only helped in creating such a

on their local geography, history, culture and

to work with an understanding client and a

helps to create a bespoke branding for each

build a solid, mutual and continuous confidence. A

“The lighting creates their identity at night,” she

collaboration.”

the hotel by night. When they leave, they don’t

look back. When I reminded this fact to the hotel

lighting specified Ariake: Stanley Electric LEDS Focus Color Kinetics Color Reach Compact Powercore iGuzzini Laser Blade Panasonic NNY16919 Panasonic NNY24141 Panasonic NNY24392Z Panasonic NNY24397 Panasonic XY4130 Kyoto: Color Kinetics Color Graze Powercore Flos Li-Dia Endo Lighting ERS3139HA Kyobashi: iGuzzini Trick

www.arc-magazine.com

105

façade lighting focus

Pics: Jason Findley

Avenue of Light Illumination Physics developed a custom lighting scheme to illuminate Shanghai’s L’Avenue shopping mall.

L

’Avenue is a high-class shopping mall and a major

concept, the company stuck with its normal technical approach,

The visual information of the building contrasts that

that fit into the façade’s metal fins and butted end-to-end to

landmark building in Shanghai.

of traditional architecture; transom lines rise and fall

organically, while the façade of the tower is not rectilinear.

As the expression goes, the devil is in the detail, and in illuminating the façade, Illumination Physics had to pay close attention to the bold design, which required uncommon skills.

Illumination Physics was handed the basis of the design, and the manufacturers then had to make it better; more practical, more

buildable, and able to be integrated into the process of construction.

Fortunately, the lighting specialists were able to add their input to the metal design of the façade.

In the approach for this project, Illumination Physics say that it was positioned “someplace between artisans and mechanics”. One of

Shanghai’s most unusual façades, the lighting approach differs in

that the lighting systems became integrated into the structure as if they were an organic part of it, and not merely an afterthought.

The structure of L’Avenue was highly problematic for Illumination Physics, because of the need to account for wind loads and the

unstable nature of what would essentially be a flexible stratum of

plastic that would need to be bonded to the aluminium. Access to the LEDs for maintenance was also a problem with this approach, as was the ingress of water and grime.

Therefore, while Illumination Physics kept the essence of the visual

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which requires that the light fixtures be self-contained components form a continuous display with no visible joints. Each and every

fixture would be completely sealed against the elements and easily removable for maintenance, should the need arise.

Illumination Physics’ Peter Kemp and Simon McCartney worked

alongside Janine Dettki, a façade engineering designer from Josef Gartner in Germany. They collaborated around a virtual drawing board to create L’Avenue’s façade design.

One issue that they encountered was when they discovered that

every fin on the L’Avenue façade is a different length. As the task of creating many different custom lengths of fixture was impractical,

the manufacturers therefore explained to the building owners that they had set a pixel size of 100mm, so that the lengths could be

changed to 500mm, 600mm, etc. The team agreed on a compromise

that ensured there was no need to create endlessly varying lengths of the modular lighting system.

Illumination Physics is well versed in custom fixture design, so the complex bill of quantities could be accommodated within a factory designed to develop prototypes and technical products.

L’Avenue is equipped with an Illumination Physics control system, which includes all software and hardware. www.illuminationphysics.com

eldoLED Webinar

Mastering The Human Centric Lighting Experience With eldoLED

Hosted by:

Gé Hulsmans | eldoLED Paul Drosihn | DALI Alliance January 14, 2021 | 2 PM GMT | 9 AM EST

façade lighting focus

Pics: Alessio Tamborini

Exalted By Light The operational headquarters for the Port of Genoa, Ponte dei Mille is cast in a magical light that pays homage to the site’s heritage, thanks to fixtures from L&L Luce&Light.

W

hen you arrive at the Port of Genoa, you are immediately

while remaining glare free for the people who pass under the

tales of mercantile life during the Middle Ages, when the

To meet these requirements, Stra 3.0 fixtures were selected with a

surrounded by reminders of its history, imbued with

porticoes and use the space every day.

powerful maritime republics dominated the waves. An

bespoke outer casing, designed with a slightly larger trim so that

atmosphere of romantic adventure conjures up fantastical scenes of

they could be adapted to the pre-existing cutout holes. Nighttime

The port remains a vibrant crossroads, a meeting point for

groups – with 14° and 30° optics – directed toward each pilaster. With

embarkation point for huge transatlantic liners and maritime

15mm thick tempered extra-clear glass, Stra 3.0 guarantees impact

also the last point of contact with the mother country for countless

with anti-vandal screws for their protection, precisely because of

fortunes in the Americas.

The lighting design further included the supply of RGBW fixtures for

headquarters for the cruise terminal. This building, completed in the

were selected with a glass cover and an AISI 316L stainless steel

melded with a Baroque-inspired design that is visible in the

positioned. The Moby P family of projectors is remarkable for the

up of three constructions characterised by a portico on the ground

maximum impact, scratch and corrosion resistance, while the body,

of the dressed stone of Classical architecture. The building details

dissipate heat very effectively and to protect the projector from any

Luce&Light fixtures strikes their surfaces.

31°x64° elliptical optics, were installed along the edge of the lower

by Studio Luce, the lighting specialist division of Gruppo Sacchi. The

are directed at the propeller, creating splashes of coloured reflections

in the central flowerbed, from which a huge ship’s propeller rises,

light to be selected for the two basins to create ever-changing scenic

purpose. The client required the building’s façades to be lit from

www.lucelight.it

everyday life from yesteryear.

lighting tests led to the choice of a fixture with two adjustable optical

exchanging a diverse breadth of human experience. Now it is an

an AISI 316L stainless steel trim treated to prevent corrosion and

transport, and a departure point for summer holidays, but it was once

resistance and is drive-over up to 5,000kg. The fixtures are also fitted

Italian emigrants of the past who departed these shores to seek their

their highly exposed urban location.

The maritime station of Ponte dei Mille is now the operational

the central fountain. For the two circular basins, Moby P projectors

1930s, recalls the rigour and rationality of Neoclassical architecture,

bracket with graduations so that the light emission could be precisely

decorative curves and reliefs of the pediment. The structure is made

robustness of its materials: the 12mm thick glass screen ensures

floor punctuated by white stone pilasters and columns, in imitation

made of thermally conductive technopolymer, has been designed to

become even clearer when evening falls and the light from L&L

corrosive substances present in the water. Moby P 1.1 fixtures, with

The station was the subject of a recent lighting project carried out

basin; Moby P 2.1 were chosen for the upper basin. Their 62° optics

project involved the courtyard’s three sides and the large fountain

that define the fountain. A touch panel allows different shades of

transformed into a sculptural reminder of the setting’s nautical

effects, producing a truly magical atmosphere.

existing lighting points in a way that highlights the walls uniformly

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façade lighting focus

Pics: Moritz Hillebrand © Erco

Second Skin Swiss property company SPG’s Geneva headquarters have been cast in a serene glow, with fixtures from Erco highlighting the building’s new architectural features.

T

he headquarters of the Swiss

workstations, as well as an improved energy

concealed from view, are mounted in the gap

Geneva gained a new ‘second

however still maintains a certain level of

45mm in some places. “Only the light effect,

offset glass fins as part of an extensive

out to the picturesque surroundings – the

observers,” explained Simos.

During the day, these shade the building and

possible.

high lumen-output and extremely narrow

climate for the workstations. While at night,

building with an unmistakable, elegant

and IP67 protection. Based on a catalogue

unusual and prestigious character within the

the contours of the building gain a

and 30cm were developed with six or nine

developed Erco LED façade luminaires.

illuminated, transparent shell and the edge

correspond to the dimensions of the glass

workplaces was a central factor for the

To realise the special effect of the façade at

and intermediate spacing. The housing

Originally built in the 1970s and consisting

Simon Simos as “the nocturnal signature

match the silver-anodised fixing brackets of

replaced the old glass façade with new

architects worked hand-in-hand from the

A narrow spot beam characteristic provides

layer consisting of almost 2,900 vertically

project during its early design phase, and

impacts onto the glass fins printed with

and squares. This ‘second skin’ envelopes

developed custom outdoor luminaires for

to create the almost unreal effect of the

that lends the building contours a blurred,

interplay of the façade luminaires with the

Simos explained: “Depending on the

from inquisitive views from the outside.

model with a size of several metres.

a type of blurring. The building seems to

protection during the day, and shade the

ultimately installed on three levels across

www.erco.com

property company SPG in

efficiency within the building. The building

between the glass fins, with a width of only

skin’ of light and vertical

permeability, and views from the interior

not the luminaires, should be visible to the

refurbishment.

mountains and Lake Geneva – are still

Erco ultimately supplied two variants of a

create high visual comfort and a good indoor

The new glass façade provides the

outdoor luminaire with a milled aluminium

the glass shell lends the building a highly

and representative character. At night,

product, variants with lengths of both 20cm

peripheral urban context, thanks to specially

blurred appearance behind the discreetly

LEDs configured in series. These two variants

Improvements to the quality of the

of the building appears to upwardly dissolve.

fins, which vary in terms of depth, height

refurbishment project.

night – described by project lighting designer

colour of the luminaires was also modified to

of eight floors, Giovanni Vaccarini Architects

of the building” – lighting designers and

the fins.

triple-pane glazing, and also added an extra

very beginning. Erco was brought into the

narrow grazing light that slightly laterally

aligned glass fins screen-printed with grids

lighting engineers from the manufacturer

small white squares. These reflect the light

the office block in a type of haze of glass

the new glass façade. The light effect and the

façade at night.

indistinct quality, and protects the interior

printed glass fins was tested on-site using a

viewing angle, an optical illusion is created,

The applied glass fins provide solar

A total of 290 LED façade luminaires were

dematerialise at dusk.”

offices, ensuring high visual comfort at the

the building’s eight storeys. The luminaires,

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07/12/2020 11:02:22

PARQ Life Using fixtures from KKDC, Bo Stieber Lighting Design has created a dynamic, yet mature lighting scheme for the façade of The PARQ, a new commercial workspace in Bangkok, Thailand.

C

reated as an environment to promote wellness, The

to feature, the crown lighting needed to achieve a certain required

workplaces that facilitate an enhanced quality of life.

504 fixtures. Because of the building’s LEED certification, the light

PARQ in Bangkok, Thailand, delivers commercial

The office spaces are LEED certified, and supported by

complementary and vibrant amenities, including a curated retail offering to match everyday needs.

Designed by P&T Group, the ambition for The PARQ is to reconnect

busy urban lives with nature – biophilic design principles that satisfy the inherent human needs to be embraced by natural elements are incorporated throughout. This includes natural light, healthy air, natural materials and green spaces.

While offering plentiful natural light throughout building, The

PARQ’s façade features a dynamic lighting scheme, created by Bo Stieber Lighting Design and utilising fixtures from KKDC.

The initial concept for the lighting design was to achieve a soft

media façade capable of displaying some simple media or graphics to convey messages to viewers, with seamless design, where the façade lighting is concealed within the architecture itself. The intention

was for the façade to be “mature”, with static colours as opposed to any colour-changing lighting, while also standing out from its surrounding buildings and environment.

Building on this design concept, the lighting also needed to accentuate the architecture of the building.

The highlights of the façade are the top crown and lower podium

battens. For the top crown, where the soft media façade was intended

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pixel and pitch. Here, KKDC supplied its MoMo Cluster and MoMo source’s efficiency needed to be qualified as power consumption

levels were restricted. In the end, power consumption for the crown lighting is two thirds of the standard KKDC product model.

The podium however, proved more challenging for the lighting suppliers, as the design intention was to create a full, dynamic

movement of light in a single colour, while concealing all hardware, including any cables, cable trays or equipment. KKDC opted for the

Tayo Micro Spot in this instance. Each single fixture on each batten of the podium had to therefore be controlled individually, with no

connecting cable between each batten. Instead cables only run inside the batten to a remote hub.

While the crown of the façade features messages and graphics, displayed through light, these are complemented by some soft

movement on the podium, creating a lively environment, while staying true to the “mature” goal of the lighting designers.

“From our perspective, we are proud to work on such a graceful

design, and we think we provided exactly what the designers were looking for,” said KKDC. “Even without any colour-changing

fixtures, the façade has a lot of potential, and we’re working with the building management to explore the full potential of the façade.” www.kkdc.lighting

façade lighting focus

Welcome to the Show With lighting courtesy of LED Linear, the South Entrance of Messe Düsseldorf now creates a welcoming space for attendees to congregate.

W

ith a new lighting scheme designed by

off by an aluminium frame. After dark, the fabric

Jurek Slapa has created a prestigious

more clearly visible.

German practice Köster, local architect entrance for the South Entrance of the

Messe Düsseldorf.

Situated on the banks of the Rhine, with a view of the city, the new-look entrance extends towards the river. Standing 20-metres high, supported by 19 slender concrete columns, the 7,800sqm entrance consists of 94 rhombuses made of

a fibreglass fabric on the upper side. On the

underside, a translucent polyester fabric allows daylight to shine through. Depending on the

weather, this membrane roof offers protection from either the rain or the sun.

At 170-metres long and 93-metres wide, the

South Entrance offers plenty of space for guests of trade fairs and congresses to gather outside. The roof also combines several different functions, from the forecourt to the light-filled foyer and the new exhibition hall, while also integrating

the neighbouring CCD South Congress Centre.

The result is a sensitive transition to the existing architecture. The rhombus-shaped fibreglass

cushions give it a lively structure, which is closed

is illuminated, and its exciting materiality is even More than 1,500 LED Linear fixtures, each two-

metres long, form the basis of the rhombus shape.

The colour temperature was deliberately chosen to be 4000K, and the IP67-rated fixtures used

include the latest LED luminaires from LED Linear, including the Hydra LD10.

The sophisticated lighting concept convinces

with its enormous luminosity. Depending on the

event, mood lighting or lighting scenes can also be programmed.

The complex cabling management, with a simple pluggable solution, was the responsibility

of Wieland Electric, and the project had an installation time of just three weeks.

Following completion, the next steps for the

project will involve the installation of steel sheets to optimise the current lighting concept, which will additionally convert the light into indirect

light, illuminating the membrane of the roof even more homogenously.

www.led-linear.com

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Pics: Aatu Heikkonen, Inspiroiva Creative

Life Lines A dynamic, artistic lighting scheme from Lighting Design Collective, implemented with Audico Systems and Schnick Schnack Systems, brings the façade of the new Nova Hospital in Jyväskylä to life.

T

he Nova Hospital in the city of Jyväskylä, is among the

been taken into consideration by investing in modern automation.

hospital in the country to be built in the 21st century, it

a patient-oriented approach was a core focus when the lighting for

largest hospital projects in Finland. The first central

is also the country’s largest public investment. Situated

in the Kukkumäki area of the city, the hospital was completed in late 2020.

Nova represents a new kind of hospital architecture and state-of-

the-art hospital technology in Finland. The cost of the new site, and its equipment, has been estimated at around €500million, and the hospital’s lifecycle has been calculated to be 100 years.

With a surface area of around 106,000sqm, most of the hospital’s facilities are reserved for special care use, while the rest is for

Jyväskylä’s primary health care. The function of the hospital has

been divided into four parts: the hot hospital, the office, the hotel

and support functions. The hot hospital includes operating rooms,

emergency rooms, intensive care and diagnostics. The office area has reception rooms and nursing staff workspaces, while patient beds

are located in the hotel. Laboratories, equipment maintenance, the pharmacy and logistics are located in the support functions.

Jyväskylä has officially been appointed as Finland’s “city of light”,

which was a strong factor in why the hospital has also been equipped with high-quality lighting. For example, energy consumption has

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This is reflected in lighting that works through motion sensors. Also, patient rooms was designed.

Externally, a noticeable feature is the hospital’s metal façade.

Lighting Design Collective (LDC) designed the artistic lighting for the

metal sections of the façade, with Audico Systems responsible for the technical implementation of the lighting.

The façade lighting is intended to be an element present in the everyday life of the hospital, emphasising the exterior of the

hospital, and bringing the façade to life calmly, with themes of

nature and water. The light is intended to soften the view of the hospital, especially after dark.

The façade’s lighting elements were executed with the Custom

Outdoor Profile System from Schnick Schnack Systems. LED profiles are equipped with RGB colour mixing and 100mm pixel pitch. Each column is driven by one output from System Power Supply, and a Pharos VLC series controller was used to do pixel mapping from Skandal Technology’s POET media server video output. www.audico.fi

www.ldcol.com

façade lighting focus

Theme Hotel CLS LED utilised its Revo fixtures to cast bold lighting onto the façade of Europa Park’s new Krønasår hotel.

I

n May of 2019, the new Europa Park hotel Krønasår was

officially opened. Based in Rust, Germany, Europa Park

is the second largest theme park in the whole of Europe.

The four-star Krønasår is modelled on a natural history

museum, and is the sixth themed hotel for Europa Park. Alongside

276 themed rooms, the hotel displays a range of unique and historic artefacts, while guests are welcomed by a mystical and imposing skeleton of a huge sea snake.

Dutch lighting manufacturer CLS LED was approached to illuminate the façade of the hotel, paying tribute to its classical design.

A range of CLS LED’s Revo fixtures – Basic, Inground and Micro – were used to light up the hotel’s façade, alongside various other public spaces within the hotel.

Extremely compact and IP67 rated, the Revo fixtures are ideal

for illuminating façades, gardens, landscapes, art objects, accent

lighting, and all other applications where a compact fixture with a surprisingly high light output is required.

CLS-LED worked with local distributor Becker-Lichttechnik, and by

doing so, the two were able to combine their respective strengths and qualities in order to offer Europa Park the best possible lighting for the new Krønasår hotel. www.cls-led.com

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Empathic Design While the adoption of ‘Human Centric Lighting’ looks at the physiological impact of lighting, what about its emotional impact?

Communication Consultant and kindness advocate Bronwen Rolls asks if lighting designers can take a more empathic approach?

I

was waiting to receive results of a medical test

in a brightly lit, cold, windowless corridor a few days ago and, as the adrenaline and cortisol

pulsed through me I realised it wasn’t the results that were making me feel so extremely anxious, it was the environment I was sat in that was

compounding it. Bright, cold overhead light pulsed

about and reflected and bounced of every white surface, flickering and

agitating the space. I began to think back to all the people I have spoken

to in lighting about its effect on our wellbeing and I realised that whoever had designed this specific space – or more likely had not – had never themselves had to wait for a medical test result. Or, worse still they

had been through the exact same scenario, but had not then used their

understanding of how people feel in that moment, in that environment, to improve their design.

This got me to thinking: are feelings too subjective for lighting design to consider? Should or could lighting be empathetic? Could it care more? I want to start a discussion about this.

2020 was unprecedented, a genuine game changer for pretty much

everyone around the world. When any seismic shifts happen things can go either way. We adapt, we innovate and we move forward or we falter and panic, make rash decisions and we ultimately stop functioning.

Observing the changes in society reminded me of the changes I have seen in the lighting. LEDification and digitalisation were light’s revolution.

It was a massive disruption to everything, one that removed certainty

and created shareholder unrest. What has followed are years of teetering uncertainty, of how to adapt, innovate and move forward.

When faced with the potential of LED technology and digitalisation, I

think it has been too overwhelming, too competitive, driven too hard by

the “let’s make it - because we can” reflex. It has seemed that for over a

decade everything was prefixed with ‘Smart’, whether it was or not. Then we had connectivity - your lights could tell your fridge to tell your TV to send you a WhatsApp message saying that you needed to buy milk, and this service wasn’t cheap. In contrast to the smart/connective drive we

saw the rise of Human Centric Lighting, #Betterlight, healthy light and

an awareness of our own circadian rhythms. People were standing up and demonstrating intelligent scientific evidence that light affects us, that

lighting manufacturers and designers have a responsibility to consider the people they illuminate in relation to their physical and mental wellbeing.

But, despite all this incredible potential nothing so far seems to have

given lighting the equilibrium it needs to be confident again. I am not for one minute suggesting I know the answer because no one does, because there isn’t one answer. What there is, however, is a chance to reframe how light uses all its potential, and that is where I believe the idea of empathy and caring comes in.

A few home truths for you: user adoption of light as a service model is

slow, a lot slower than the industry predicted or hoped. The requirement for smart projects is few and far between. Design projects are under

increasing pressure to deliver as budgets become smaller and now we all face a possible recession. Light as light will always be the priority, and

that is it. Lighting is still considered just that by the masses: a source of light. But maybe those in lighting seem to have forgotten this? Maybe

lighting needs to revisit its roots and address light not only as a smart or

intelligent service or product, but also as a vital source that could be more caring, could be empathetic.

The shared unrest and sometimes suffering experienced in the recent months has brought with it a collective moment of kindness. The Bronwen Rolls, Founder, The Doing Collective

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antidote to human suffering is always human kindness. We, as a society

have begun to look around and realise that we are all in the same boat and

Comment

The lighting for the University of Sheffield concourse, designed by Arup, seeks to re-engage people with formerly unloved parts of the university campus. By taking an empathetic approach, Arup has used lighting as a means to tun an underused area into a new outdoor social space that is safe, inclusive, and attractive. (Pic: Midi Photography & Arup)

with that shared understanding we have become empathetic. Empathy

So, then we went on to the subject of Human Centric Lighting. I wanted

term in design and some businesses for decades. Multiple pioneers

or should lighting tackle the emotional situations of people?

created formulas to follow in order to design user focused items that

design for daylight first because there is an aura with natural light that

What I’m considering is can this now understandable tool of empathy

light source and its use introduces a dynamic aspect to light, which is

empathetic, but also care? After all, there is more to being human

(for example in deep plan workspaces), HCL may help the human body

it’s how this person is feeling in a lit environment. In lighting we are

and sense of vitality that daylight brings is not replaceable by HCL

I wanted to explore this idea and get a few more experts to discuss it

spatial variation and contrast are techniques one can use to stimulate

could comment with confidence on the role of empathy in built

Of course, emotions are extremely subjective so there might not

There is research into empathy and built environments - architecture

emotional understanding of their clients, the use of Empath

So, I went to a lighting expert who is known for her ability to care

“In my view, experiencing architecture is multi-sensory: it is as

“Light is fundamental to our social infrastructure as it connects people

play. Light characterises a space through the quality, colour and even

and expressions; and it enhances people’s experience and encourages

like a scene in a play or film. Most importantly, it warms the human

the start of the creative lighting design process.

features of architecture cannot. This interaction of light is how we

understand how people would use and interact with the space we are

is properly recognised by designers and embedded into the design

I went on to ask Lam about what she believes to be the advantages of

I believe the conversation has just got going, so too has the design

“We need to understand the intrinsic relationships people have with

where it could take light and lighting design I also don’t know, but I

embracing empathy in design is to unlock the emotive potential of

associated with empathy is a potential way improve lighting designs,

atmosphere and manipulating the sense of space.

in the industry again.

health and wellbeing, which in turn impacts our performance,

them, but maybe this is the year lighting starts to care more.

intuition with evidence and knowledge to create lighting solutions that

www.thedoingcollective.com

now has visible, tangible value to a lot more people. It has been a buzz

to know is HCL as it stands today enough (circadian/mood support/etc)

of design and innovation adopted user observance techniques and

“We need both. At Arup, our lighting design philosophy is always to

meet unknown user’s demands. They used empathy as a tool.

artificial light can never replicate. Daylight is inherently a variable

create a new generation of lighting designers who are not just

tuned to our circadian system. When interior daylight is inadequate

centric, it’s not the lamp, it’s the person. It’s not circadian rhythms,

stay aligned with the natural world. However, the lighting quality

on the right path, aren’t we?

as a technological solution alone. Using layers of light to create good

with me. However, not one university or research centre I approached

visual interest and enhance sense of wellbeing.”

environments or lighting. It’s just so subjective, too subjective maybe?

be a simple answer, but could lighting design benefit from greater

focuses on it, and has done for a while - but not yet in light or lighting.

Consultants for example...?

about the people she designs for. I spoke to Florence Lam of Arup.

much about ‘feeling’ as it is about ‘seeing’ and light has a key role to

with space. Light has the ability to convey atmospheres, ambiences

absence of light, which provides context for the architecture, much

social interaction. Therefore, empathy needs to be considered from

soul through interacting with the subconscious in ways that other

“As lighting designers, we need to undertake contextual research to

make sense of places and our experiences; it is important that this

designing, as well as how light engages with the architecture.”

process throughout.”

empathy and caring more when creating a design:

work and the research. Where this conversation will go I don’t know,

light, which can be both personal and emotional. The advantage of

do know that empathy, caring, kindness and understanding that is

light in narrating a space. It directs movement and attention, creating

manufacture lighting solutions and create that balance that is needed

“We also know that light can also impact our physiology, physical

2021 comes weighed down with the expectations and I hate to add to

behaviour and mood. We therefore need to balance any empathetic

Join in the debate. What is your experience of empathy in lighting?

are not only beautiful and inspiring, but safe and healthy too.”

www.arc-magazine.com

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Complete Control After a fascinating workshop session at [d]arc room livestream, David Morgan checks in with RCL to take a closer look at the DRX1 range, and the iPad-based RCL Control system.

I

t is unusual to find a lighting company founded by an engineer who wrote and published a

successful series of books on how to gain entry to medical and dental school. Joe Rustonâ&#x20AC;&#x2122;s

engineering degree from Cambridge University and experience as a Weapons Engineer in the

Royal Navy probably also helped when building

Remote Controlled Lighting ( RCL ).

Based in London, RCL currently shares facilities and staff with

sister company Precision Lighting and both companies focus on the specification lighting market. RCL grew out of a custom product request to Precision Lighting in 2001 for a remote controllable

motorised lighting system for ballrooms. The group has grown from two to 34 employees since 2001 with more than 100,000 fixtures installed worldwide.

The self-evident benefit of being able to aim and focus projector

luminaires without the need for cherry-pickers, scaffolds or ladders

has become more important due to increasing workplace health and safety legislation. These requirements have significantly increased the costs of manually aiming multiple luminaires in larger spaces.

Conversely, the production costs of remote-controlled luminaires have fallen as the various enabling digital technologies develop, which in turn has widened the market opportunity.

Although the first recorded example of remote-controlled,

motorised lighting dates back to the 1920s, RCL has developed and

refined the concept. The most recent launch is its state-of-the-art RCL DRX1 range.

This new range includes options for remote control of all key

functions including movement â&#x20AC;&#x201C; pan and tilt, dimming, colour

temperature control and focus so that, once installed, there is no need to touch the luminaires except for maintenance.

David Morgan Associates, a Londonbased international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting.

Email: david@dmadesign.co.uk Web: www.dmadesign.co.uk

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The DRX1 range includes a wide variety of options for light engine type, including both COB and high-power LEDs, lens type and control protocol.

To accompany the new luminaire range, a new control system has been developed, appropriately named RCL Control. While earlier

DAVID MORGAN

RCL systems were based on wired DMX, which is still available as

tuneable white light engine, the beam angle options are 14° and a

a low-power mesh networking technology developed for all kinds

The DRX1 range offers lumen output of up to 1,474 lumens with

of companies including Apple, Samsung, Nest and others and is

The variable focus feature uses the LensVector liquid crystal lens

– an important requirement for this type of motorised luminaire.

without increasing the size of the luminaire. The technology,

original RCL hand controller, it seems likely that most projects will

University in Quebec City, Canada, aligns liquid crystal molecules to

via WiFi to the RCL Mediator, which can control up to 200 luminaires,

field, the nature of the lens, and therefore the illumination effect,

the same space, at some point in the future. The user-friendly RCL

The control system includes a very neat scene setting capability so

select a setting for very fine control of dimming, colour temperature,

scenes stored in a memory within the luminaires as well as centrally.

and the control system is two-way so that the actual position of the

within the same space to help reduce commissioning time. The

own on-screen interaction mode. Beam angle control is achieved via

integral laser pointer, when pairing them to the RCL Control light

joystick and jog wheel interfaces. Colour temperature is controlled

It is understood that the development of the DRX1 range and the

The DRX1 sample kit I was given to test was well presented and

years by the joint RCL and Precision design team, with Joe Ruston

set to both narrow and wide distributions. The colour temperature

Apparently, the reaction to the DRX1 range and the RCL Control

controlled from 0.1% up to 100%. The colour temperature ranges

positive, particularly the ease-of-use design features of RCL Control,

Beam angles for the DRX1 range with a fixed colour temperature light

this market area.

beam angle ranges from 8° to 16°, 5° to 55° and 10° to 55°. With the

www.lensvector.com

an option, the new system is based on the wireless Thread protocol,

variable 15° to 54°.

of IoT products. Thread has so far been adopted by a wide variety

centre beam value of up to 56,646 candelas.

understood to be highly secure and to have a very fast response time

system; this produces a zoom lens without any moving parts or

While all functions on individual luminaires can be controlled by the

developed by Dr. Tigran Galstian and his research team at Laval

be controlled by the iPad-based RCL Control system. The iPad links

a shaped electric field to create a digital lens. By changing the electric

and the plan is to be able to control luminaires from other brands, in

can be manipulated.

Control interface has some nice features, including the ability to

that individual luminaires and groups of luminaires follow pre-set

beam angle and position. The communication between the luminaire

Luminaires can be programmed by multiple iPads and controllers

luminaire is displayed as it moves. Different functions have their

RCL hand controller is used to identify individual luminaires via it’s

a pinch to zoom action on the iPad, while movement is controlled via

plan, which also simplifies the whole process.

via a slider.

RCL Control system were largely undertaken in house over several

worked without any problems. The beam quality was good when

providing the driving force behind these projects.

mixing was also effective across the range. Dimming is finely

system from customers and lighting specifiers has been very

from 2200K up to 4000K.

and they are both likely to help the company to prosper and grow in

engine range from 4° to 34°. Adding the LensVector gives variable

www.rclighting.com

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Holiday Specials

A look at some of the latest products and innovations to hit the market from across the lighting industry.

Vivo II Zumtobel A versatile platform for all architectural requirements, Zumtobel’s new Vivo II has a host of accessories to meet the demands of today’s spotlight world. Suitable for ceiling heights of up to 10-metres, this powerful, ultra-flexible luminaire enables brand, product and space presentation tailored to the target group and application. Vivo II has three different optical systems - highly efficient reflectors for powerful accent lighting with minimal glare, high-precision lenses for exact light distribution without any light scatter and a manual zoom lens for flexibility. www.zumtobel.com

ZTA.50 Stoane Lighting ZTA is an idea that embodies the core values of Stoane Lighting. Equipment is designed to last, to be repaired, upgraded, and eventually recycled.

The range is structured around a modular approach allowing for interchangeable and adaptable specs. Stoane Lighting commit to carrying out this repairability and upgradeability for 25 years, and can do this with full confidence due to its largely local resource ecosystem and designed-in repairability. The simple aesthetic should preclude waves of fashion undermining its circular economy ethos. www.stoanelighting.com

Overlap Illumination Physics A project required a new family of aimable linear fixtures with varying lens and power options; allowing a continuous homogeneous and curved illuminated footprint to be produced by a noncontinuous plot of compact 300mm fixtures – an economy in cost and energy. The lens and power options allow the designer to overlap the beams exactly without using expensive continuous linear lighting. The illumination Physics Linear Graze Overlap Mono, DC, CV – DMX is the answer at just 7.2 watts each. www.illuminationphysics.com

DUALdrive 20W LED Driver eldoLED eldoLED’s DUALdrive 20W LED Driver allows you to maximise the human centric lighting experience and compose the exact shade of white at the right intensity level with excellent dimming performance. The perfect tunable white shades — achieved with DALI2 DT8(Tc) and eldoLED’s intuitive LightShape colour temperature and intensity control technology — complement retail products, support office productivity and create a welcoming atmosphere in a hospitality environment. www.eldoled.com

Trigon Lumo Tubo Trigon is a triple-arm LED luminaire with an innovative and simple shape – typically suspended horizontally but also wall and ceiling mounted. It is an individual lamp as well as a modular system – connected in parallel and optionally with an additional light profile-connector allowing the shift of surfaces by 90°. Then it creates an extraordinary network of connected luminaires with a breath- taking effect on a large-scale advertising and other applications. www.lumotubo.pl

FL20 Family Siteco The wide beam floodlight is characterised by outstanding asymmetry and individual light distributions. With its four sizes: mini, micro, midi and maxi, the high lumenoutput Floodlight 20 is extremely flexible in application. The design as a wide beam floodlight with 0% light spill up to a 15° upward inclination guarantees maximum glare control and the avoidance of light emission. Optimised thermal management and the high protection rating (IP66) enable reliable operation even under adverse weather conditions. www.siteco.com

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new products

Legatus Viso 2 2F Bright Special Lighting Legatus Viso 2 2F magnetic 48V track system is a new, flexible system to design lighting.

An extruded brass tracklight equipped with the latest LED technology connects and powers via a magnetic core.With this magnetic fixation, luminaires can be installed, repositioned and switched in the profile easily, without the need of any tools.

Different types of connection modules and luminaires provide maximum flexibility in projects that run along walls, ceilings, or a combination of both. Creativity should not be limited through situations. www.bright.gr

DALI Enhanced Solutions Lumascape Lumascape has announced the enhancement of DALI to its range of façade and architectural lighting solutions. This new feature offers best-in-class performance for any façade lighting application. With DALI control, Lumascape’s architectural luminaires offer more than premium LEDs, optics, and thermal management. Users get the most robust, reliable, and easy-toinstall luminaires in the industry, now with additional opportunities for power and control. www.lumascape.com

LED Light Sheet Applelec Created to bespoke specification, Applelec LED Light Sheet is a UK manufactured light panel. Removing creative restrictions, Applelec LED Light Sheet is an extremely versatile LED unit, helping to push design boundaries and enable unique and inspired lighting features to be achieved. Delivering superior illumination, Applelec LED Light Sheet is a highly reliable light panel and has built a reputation as the go-to backlighting solution within the design industry www.appleleclighting.co.uk

Madrix Aura Madrix Madrix Aura provides amazing capabilities for dynamic lighting. It is the central stand-alone controller for simple recording and largescale lighting control. Run sophisticated light shows and effects independently from this energy-efficient unit with fully customisable scheduling. Designed for continuous operation, it was built to meet the different needs of today’s illumination projects. Made in Germany, it is the powerful yet compact playback unit for creative LED lighting. www.madrix.com

LD155 LightGraphix The LD155 900lm adjustable uplight from LightGraphix has received a technical upgrade, with the addition of black rimmed glass and increased light engine options. Designed for interior and exterior applications, the LED optic rotates 360° and can be tilted at set increments up to 25°, to give designers ultimate flexibility. A removable inner bezel allows quick onsite adjustments with no need to remove the product from the mounting surface. www.lightgraphix.co.uk

Custom Outdoor Profile System Schnick Schnack Systems No two outdoor projects are alike, each one presents different requirements. That’s why Schnick Schnack Systems’ UL-listed and CE-approved Custom Outdoor Profile System offers not only the most current cutting-edge technology, but also promises enormous variability: U or H shaped, housing colour, individual length, pixel pitch, colour of potting and mounting options - there are thousands of possibilities, no matter your requirements. www.schnick.schnack.systems

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Case study

21st Century Broadcasting Zumtobel has helped to create a modern broadcasting environment at the new studios and headquarters for BBC Wales.

Z

umtobel luminaires have made

interiors. In terms of lighting, colour

Available as a spotlight and wallwasher,

sustainability credentials of the

some areas of the site, due to the nature of

accented lighting with wide coverage.

an important contribution to the new digital broadcasting studios

and office headquarters of BBC Wales. The

manufacturer has provided a wide selection

of featured and functional luminaires for the project, helping to make an inspiring and creative statement throughout the site.

The BBC Wales headquarters, located in

central Cardiff, is an impressive, modern digital broadcasting house, and contains

workspaces for more than 1,000 people, as well as radio and TV studios.

The large facility has a full-height atrium

that is configured as a â&#x20AC;&#x2DC;public streetâ&#x20AC;&#x2122; at its base, and stretches upwards across fivestoreys. The floorplan is predominantly

open plan, with only 30% of workspaces

as traditional fixed, sit-down desks; the

remainder range from high-stool bench workspaces to less formal upholstered

seating in more relaxed areas. Acoustics are constantly manipulated to support the function of the space in question,

and battens and panelling feature in the

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rendering was an important consideration in the operational side of the building.

To fulfil the brief, Zumtobel worked closely with the BBC and its design team, which

resulted in a specification of a wide range of the manufacturerâ&#x20AC;&#x2122;s fixtures. For the

reception area, Slotlight Infinity, Ondaria, Vivo and Arcos luminaires were installed.

Slotlight provides a continuous vein of

light and is available in a choice of lighting and control gear options that deliver a truly integrated, low-energy solution.

Ondaria is a family of circular ambient luminaires with an ultra-thin profile,

direct/indirect distributions, and excellent detailing. Optical lens offerings include

the Luminance-Reducing Optic (LRO) for

office environments, and soft Opal Optic for multiple applications.

Vivo LED spotlights stand out thanks to their high colour rendering index and extremely uniform light distribution, while the Arcos

LED spotlight system makes an impression

through minimalist design and clear shapes.

it provides a consistent balance of finely Ondaria has also been used to illuminate

the corridors throughout the building, while variations of Slotlight Infinity, including

bespoke variants of Slotlight in criss-cross and rectangular patterns, illuminate the modern, open-plan offices.

Supersystem and Ondaria have also been installed in the breakout areas, while

Supersystem was used in the tea-making area. The kitchens have been illuminated using Clean cleanroom luminaires, with emergency lighting provided by the

strikingly elegant Puresign luminaires.

For the meeting rooms, Panos Evolution

downlights with a 4000K colour temperature provide an outstanding light quality and consistently excellent colour rendering (CRI>90).

Elsewhere, the combination of Panos

Evolution and Supersystem illuminates the radio studio, while Supersystem is used in the BBC Wales meeting rooms. www.zumtobel.co.uk

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CASE STUDY

Bright Stars Lighting fixtures from Hacel further enhance the inclusive, imaginative ethos of Bidfordâ&#x20AC;&#x2122;s Bright Stars nursery, illuminating the school in a vibrant and stimulating manner.

B

idford Bright Stars is an all-inclusive

Micro modules in varying lengths were randomly

learn, and features creative LED

To further enhance and support the nursery ethos

nursery redefining the way children

lighting designed and manufactured in

colours to produce bespoke luminaires for the

focuses on developing imagination through

both aesthetically and technically. Infinitas Micro

inspired learning and play, the new building was specifically designed to provide inspiration and

project, delivering artistic LED products equipped presents superior photometric performance and exceptional lumen outputs alongside maximum

stimulation. Each classroom was created to suit

energy efficient functionality.

that children are proud to be part of and provide a

for general lighting. Small in size, but powerful in

The environment is bright, vibrant, and

remarkable function and capability. The luminaires

the age of its occupants; forming inventive places strong basis for their ongoing education.

In support, Hacelâ&#x20AC;&#x2122;s Midi downlighters were utilised performance the Midi recessed downlighter offers

encouraging; all the elements you need to

feature precision die cast and injection moulded

Hacel was at the forefront in producing artistic

The project was completed in a very short period,

stimulate and make learning fun and inclusive. custom colour luminaires offering high

performance, energy efficiency and uniform

construction with discreet detailing.

taking just 18 months to design the building,

progressing into detail and build. Luminaires

lighting to enhance and support the architectural

designed and manufactured by Hacel contributed

Upon entering the nursery, the exclusive

building that has been produced. The desired

surroundings.

Explora Halo LED pendant by Hacel is artistically displayed. Offering direct and indirect lighting,

the luminaires were displayed in different sizes

to create a dramatic, inspiring, and sophisticated focal point. Throughout the nursery, the concept was characterised by colour. Individual Infinitas

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of stimulation, Hacel matched a selection of RAL

the UK by Hacel.

With the Bright Stars philosophy in mind â&#x20AC;&#x201C; which

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suspended at different heights to dramatic effect.

to and supported the outstanding, creative

outcome has been achieved above and beyond

expectations and Bidford Bright Stars nursery is set to ensure children thrive in such an encouraging and enhanced environment. www.hacel.co.uk

Studio 14 is open. rbb rearranged their studio in the 14th floor of the rbb-Fernsehzentrum in the city center of Berlin, Germany. Intended to be a studio as well as a club, a restaurant, an eventlocation and a large scale meeting room, the Studio 14 invites people to be closer to heaven. Depending on the purpose of the room furniture and the lighting can be changed between fun and functional.

Our rgbw-tiles D50 are used in clusters to lighten the room with an outstanding lightquality and to connect the ceiling to the sky.

Pieces of Heaven stay connected schnick.schnack.systems /SchnickSchnackSystems @schnick.schnack.systems 2020_12_Arc Magazine_ILDS_150x210.indd 1

#LEDmadeinGermany #LEDplayedinBerlin

Photo by KOY + WINKEL FotograďŹ e 17.12.2020 12:08:38

ADVERTISERS INDEX Acevel...............................................9

formalighting................................ 33

Lumascape.................................... 95

Alto................................................. 29

GVA Lighting....................................8

Madrix ........................................ 125

Applelec....................................... 111

IALD............................................... 46

Proled............................................ 37

arc TV........................................... 129

Illumination Physics..................... 75

Radiant Architectural Lighting........127

Bright Special Lighting............... 127

Insight............................................ 67

RCL................................................. 41

Climar.......................................... 123

Intra Lighting................................ 17

Schnick Schnack Systems.......... 125

CLS-LED............................................6

Jonathan Banks Photography... 126

Seoul Semiconductor.................. 99

Colours.............................................7

KKDC.............................................. 23

Siteco................................................2

[d]arc awards.............................. 4, 5

LED Linear................................... 132

Stoane Lighting............................ 85

Eldoled......................................... 107

LightGraphix............................... 131

Targetti.......................................... 11

ELR............................................... 109

Lightly Technologies.................... 97

Unilamp......................................... 35

Erco................................................ 13

Ligman........................................... 27

Wibre........................................... 103

Feelux............................................ 71

Lucifer Lighting............................. 15

Zumtobel..........................................3

ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK

Radiant is operating normally now, with the production team back in Highgate. We are delivering orders but lead times may be longer than usual due to supply chain delays. Let us know if you need any information or samples and we will respond as quickly as possible. Stay safe.

Sandvikslykta, Norway Lighting design and luminaire design by Zenisk Winner of â&#x20AC;&#x2DC;Best special productâ&#x20AC;&#x2122;, Nordic Lighting Design Awards 2020 Photo by T.Majewski, Fovea Studio www.radiantlights.co.uk

arc ad Dec2020-Jan2021.indd 5

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+44 ( 0 ) 208 348 9003

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Water Effect Light System IP65 Exterior DMX controlled, dynamic LED effect lighting system Water Effect Light fixtures with custom light-engines and dynamic lit effects, run by integral DMX-controllers, were incorporated into the Zenisk-designed luminaires david@radiantlights.co.uk

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All products designed by

14/12/2020 17:08:52

of e tim ge* Event DIARY t n a ct cha e r or t to c c es bje t a u ll d n. S A E: atio T O lic *N ub p

Event Diary Industry events to note in your diary for the months ahead.

[D]ARC AWARDS Spring 2021 (DATES TBC) London, UK

INTEGRATED SYSTEMS EUROPE 1-4 June Barcelona, Spain

LED MIDDLE EAST EXPO 26-28 August Cairo, Egypt

www.darcawards.com

www.iseurope.org

www.ledmiddleeast-expo.com

LIGHT SYMPOSIUM WISMAR 10-12 March Wismar, Germany

GILE 9-12 June Guangzhou, China

PLASA 5-7 September London, UK

www.lightsymposium.de

www.guangzhou-international-lighting-

www.plasashow.com

exhibition.hk.messefrankfurt.com

INALIGHT 30 March - 1 April Jakarta, Indonesia

LEDUCATION 17-18 August New York, USA

EUROLUCE 5-10 Sepember Milan, Italy

www.inalight-exhibition.net

www.leducation.org

www.salonemilano.it

LEDTEC ASIA 21-23 April Ho Chi Minh City, Vietman

LEDFORUM.21 19-20 August São Paulo, Brazil

BIEL 8-11 September Buenos Aires, Argentina

www.ledtecasia.com

www.ledforum.com.br

www.biel-light-building.ar.messefrankfurt.com

LIGHT 19-21 May Warsaw, Poland

STRATEGIES IN LIGHT 24-26 August Santa Clara, USA

ARCHLIGHT SUMMIT 21-22 September Dallas, USA

www.lightfair.pl

www.strategiesinlight.com

www.archlightsummit.com

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THE BACK PAGE BUCKET LIST Curated by

#18 mldlab / Lisa Marchesi “Planet is a word that comes from the Greek and means wandering star.”

Margherita Hack

What: The light of sunset that filters through the clouds and envelops the archaelogical site after a rainy day.

Where: The 15th-century Inca citadel Machu Picchu, located in Perù and one of the new seven wonders of the world. The exact spot to sit: near the Temple of the Sun, waiting for a rainbow.

How: Visit without technological tools. Take only a compass, a good book and a travel notebook to write thoughts and make sketches.

When: During the winter solstice, when a flickering light gradually illuminates the city at dawn, making it even more majestic. Then wait until sunset comes, followed by night and the stars.

Why: Because archaeology is our history and our culture and admiring it during the rising and the sinking of the sun connects us to our past.

Photo: Tranquilidad, Machu Picchu, Peru

by Sebastian Tapia Huerta on Unsplash

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www.mldlab.com

Photography: Gavriil Papadiotis (www.gavriilux.com)

Project: Kimpton Fitzroy Hotel London Lighting Design: Lighting Design International Visit www.lightgraphix.co.uk for more info

Products: LD10238, â&#x20AC;&#x2039;LD151, LD51, LD56