arc February/March Issue 120

120 FEB/MAR 2021

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Down By The River Zenisk adds artistic materiality to Sandvika riverside promenade

PAUL TRAYNOR • LIGHT FOR LEBANON • PUBLIC SPACE LIGHTING FOCUS GREENLIGHT ALLIANCE • ZUMTOBEL VIVO II REVIEWED • DALI LIGHTING AWARDS

120 FEB/MAR 2021

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Down By The River Zenisk adds artistic materiality to Sandvika riverside promenade

PAUL TRAYNOR • LIGHT FOR LEBANON • PUBLIC SPACE LIGHTING FOCUS GREENLIGHT ALLIANCE • ZUMTOBEL VIVO II REVIEWED • DALI LIGHTING AWARDS

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Supplier Partners

Lighting Designer Partners

Supported by

Trophies created by

Organised by

In collaboration with

2019 WINNER

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Bamboo Pavilion, Taiwan

Chineh, Iran

International Presbyterian Church, UK

Under, Norway

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The Musicon Path, Denmark

Aurora Experience, Finland

Kaamos Aurinko, Sweden

Where The Rainbow Ends, France

2019 WINNER

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Biophilic Light, Netherlands

Winter Lights, UK

Pipien - Stoane Lighting

Eyeconic Range - Phos

STRUCTURES: Best Exterior Lighting Scheme Low Budget

SPACES: Best Landscape Lighting Scheme Low Budget

ART: Best Light Art Scheme Bespoke

STRUCTURES: Best Exterior Lighting Scheme High Budget

SPACES: Best Landscape Lighting Scheme High Budget

EVENT: Best Creative Lighting Event

PLACES: Best Interior Lighting Scheme Low Budget

ART: Best Light Art Scheme Low Budget

KIT: Best Lighting Products Exterior

PLACES: Best Interior Lighting Scheme High Budget

ART: Best Light Art Scheme High Budget

KIT: Best Lighting Products Interior

2019 WINNER

KIT: Best Lighting Products Decorative

VOTING IS OPEN: 1ST - 31ST MARCH With over 400 projects and products published online [d]arc awards is a great resource for lighting inspiration.

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Only independent designers and light artists are eligible to vote in [d]arc awards making it the only peer-to-peer lighting design awards. What’s more, everyone that votes automatically gets a free ticket to [d]arc night, the exclusive awards party.

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042 Paul Traynor Following his appointment as Head of Light Bureau, we sit down with Paul Traynor to talk about his career to date and his aspirations for the future.

Contents

FEB/MAR 2021 014 016 018 020 024 036 038 112 116 118 120 128 130

010

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

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040 Certification is Serious David Becker, Chair of the Certified Lighting Designer Commission, speaks to lighting designers around the world about the importance of gaining proper certification.

052 Ever-increasing Circles In the first of a series of articles, the GreenLight Alliance outlines its objectives for a more circular economy in the lighting industry.

056 Light for Lebanon Following last year’s devastating explosion on Beirut, lighting designer Manal Kahale has been working with Light Reach on Light for Lebanon, an initative designed to bring light back to the city.

082 Landmark Status Rogier van der Heide examines the extra efforts to which lighting designers need to go to effectively and sensitively illuminate our heritage monuments.

114 DALI Lighting Awards The inaugural DALI Lighting Awards, organised by the DALI Alliance and held in association with arc and the IALD, reveals its winners.

E x p l o r a

S P E C T R U M

With endless design possibilities and uniform colour changing covering the entire colour range, Explora Halo Spectrum by Hacel delivers powerful performance. Allowing engaging and imaginative concepts to be created, the elegant LED pendant is available in Midi (1236 Ø ) and Micro (1077 Ø) sizes bringing lighting to life.

Hacels range of innovative LED luminaires can incorporate the latest Bluetooth Low Energy control platforms, offering intelligent, revolutionary wireless lighting control.

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064 US Olympic & Paralympic Museum, USA The US Olympic & Paralympic Museum has been designed to showcase Team USA’s illustrious history in an inclusive and accessible manner.

Projects

FEB/MAR 2021

074 The Halfway House, UK Fusing architectural lighting with theatre and public realm lighting, Satu Streatfield and her lighting team created an immersive, all-encompassing scheme for site-specific theatre piece, The Halfway House.

084 Green Heart, UK At the centre of the University of Birmingham campus, a new 12-acre green space provides a welcome social and educational hub for students, with a perfectly balanced lighting scheme from Speirs Major.

092 Óðinstorg, Iceland Lighting designers at Verkís worked closely with Basalt Architects to create a seamless, integrated lighting scheme for Reykjavík’s new public square.

096 Sandvika River Promenade, Norway Zenisk has created a beautiful bespoke lighting solution that brings an artistic materiality to Bærum’s Sandvika River Promenade.

102 Public Space Lighting Case Studies A selection of manufacturers showcase how their products have been used to bring public space lighting schemes to life.

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EDITORIAL

Have your say...

Voting for [d]arc awards 2020 opens on 1st March...

Front cover: Sandvika River Promenade, Bærum, Norway (Pic: Tomasz Majewski)

Readers of our last issue may recall a fascinating article where I

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

spoke with Colombian lighting designer Cristina Gil Venagas about her recent research project, The Nighttime Traveller, in which she

looks at how lighting designers can improve the nighttime urban

environment for women after dark. Following on from this incredibly interesting study, we’ve decided to use this issue to look closer at

some recent examples of public space lighting in a special project

focus. Public spaces have become integral to the way that we meet

up and interact with each other as life under lockdown continues, so

creating the right lit environment is absolutely critical to ensure that these brief moments of interaction are more enjoyable. Throughout the focus, which begins on page 84, you’ll find some great recent projects from the likes of Speirs Major, Zenisk and Verkís.

Elsewhere in this issue, following the news that he has been named as Head of Light Bureau, I was priviledged to sit down with Paul

Traynor to look back on his career to date, and discuss his ambitions for Light Bureau moving forward. I’m very also happy to welcome

the GreenLight Alliance to the magazine. This new association was

formed with a mission to create a more sustainable, circular economy in the lighting industry, and inside this issue they share the first of a series of columns explaining how we can do just that.

In other news, I’m sure many of you are eagerly awaiting the 2020 [d]arc awards. The entry window has officially closed now (thank you to everyone who entered - you’re all amazing!), and voting is

scheduled to open on 1st March; so be sure to mark those calendars and cast your vote when the time comes! This issue features a

plethora of awards entries, but you can check out every submission on the [d]arc awards website.

Finally, it gives me great pleasure to tell you about [d]arc media’s

newest venture, [d]arc sessions. Officially unveiled at the beginning of the year, [d]arc sessions is a new series of exclusive and intimate gatherings for lighting specifiers and suppliers. The first of which

will take place at the Royal Mykonian resort in Mykonos, Greece on

5-8 October 2021. We’re very excited about it, and can’t wait to share more details in the coming months. Watch this space!

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

Former President of SLL, Liz Peck, dies aged 46

(UK) – Peck served as SLL President in 2015, during the UNESCO International Year of Light.

In January of this year, the lighting industry was shocked and saddened to hear of the passing of Liz Peck, Past President of the Society of Light and Lighting (SLL), former Secretary, and Fellow of the Society, who died at the age of 46.

A popular and highly regarded figure in the lighting industry, Peck was President of the SLL between 2015 and 2016, and was one of the key figures behind the internationally renowned Night of Heritage Light.

After encouragement from industry peers, Peck joined the lighting industry in 1999 in a customer service role at Concord Lighting.

Working alongside Mike Simpson, she moved from Concord to Philips, becoming a senior lighting designer and with Simpson’s encouragement, joined the SLL in 2003. During this time, she was undertaking the Bartlett MSc in Light and Lighting; she was awarded the Worshipful Company of Lightmongers Student of the Year in 2003, and graduated the following year.

In 2007, Peck established her own independent lighting consultancy, LPA Lighting, and worked on a number of high-profile, award-winning projects, such as Dover Castle, and more recently the Iron Bridge in Telford – a project that she worked on with current SLL President, Bob Bohannon.

In 2008, Peck was awarded the SLL Lighting Diploma, and prior to being elected to the SLL Executive Committee, was the Society’s Secretary.

Peck became SLL President in 2015, coinciding with the UNESCO International Year of Light – the third woman to take on the role and to represent the Society, its members and the lighting industry.

In her time as President, Peck was one of the instigators and project leads of the first SLL Night of Heritage Light. Embracing and celebrating the UNESCO International Year of Light, SLL members lit nine UNESCO World Heritage sites across the UK on 1 October 2015. Alongside Simon Fisher, Dan Lister and Rhiannon West, Peck led this national event, which gained international acclaim, going on to win the Event award at the 2016 [d]arc awards.

Rounding off the UNESCO International Year of Light, Peck travelled with SLL Coordinator Juliet Rennie to Mexico for the closing ceremony, where she spoke about the Night of Heritage Light as part of an international panel of lighting designers and advocates.

Following a move from Brighton to Leeds, Peck started the Northern Lights initiative, which gave an opportunity for “Light Minded” people in the north of England to socialise and discuss the topics of the day – part of Peck’s ongoing passion, support and commitment to the lighting community and those working within it.

Liz Peck (right) pictured at the [d]arc awards 2016, where the SLL was recognised in the Event category for the Night of Heritage Light, a project instigated by Peck.

On hearing the news of her passing, SLL President Bob Bohannon said: “I will not be alone in hearing the news of Liz’s passing with shock and immense sadness. She was a dear friend and invaluable colleague, and she will be widely missed. I was constantly amazed by just how many people knew her and her ability to make friends of the teams around us.

“But while mourning I want to celebrate the life lived for that is the Liz we all knew. Her humanity shone through, for example in the last few months she was volunteering as a deliverer for a Leeds food bank; it was hard work but she made people’s lives better. She was immensely proud to have beaten all the longevity odds after major heart surgery as a teenager.

“Her passion for the work of the Society of Light and Lighting was a driving force in her life and her work on projects such as Dover Castle and the Iron Bridge at Telford were widely recognised as being at the leading edge of our profession.

“We’ll miss you Liz.” Liz Peck 1974 – 2021

One of Peck’s most recent projects, Shropshire’s Iron Bridge, saw her gain plaudits across the lighting industry for the dramatic re-lighting of one of the area’s most iconic landmarks.

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www.cibse.org/society-of-light-and-lighting

Transmission Grimeton, Sweden Created by Aleksandra Stratimirovic, Transmission is a site-specific light artwork for the UNESCO World Heritagelisted Grimeton Radio Station in Sweden, commissioned by the Varberg municipality.

Grimeton Radio Station is an early longwave transatlantic wireless telegraphy station built from 1922-24 that has been preserved as a historical site. It is the only remaining example of the Alexanderson alternator - an early piece of pre-electronic radio transmitter technology.

Added to the UNESCO World Heritage List in 2004, it is considered an outstanding monument, representing the process and development of communication technology.

“I visited Grimeton Radio Station for the first time, in connection with this assignment, and was taken by the site’s industrial beauty and its ingenious history,” said Stratimirovic. “My first thought was to create a piece that highlights the greatness of the station’s imperceptible history. I wanted to add an unexpected element, a surprising moment, that is perceptible from

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long distances, that makes the radio station’s invisible activities visible in a poetic and inspiring way.”

The resulting installation, Transmission, consists of two laser projections mounted at a height of 127-metres, on top of one of the station’s colossal towers. Green laser beams make the radio station’s imaginary communication visible. Light movement in the form of varying frequencies transmits messages in slow rhythmic sequences, pulsating in Morse code.

Broadcasting messages of peace, friendship, love, equality, diversity, respect and hope, Transmission uses beams of light to convey words based on UNESCO’s work, which encourages international peace, universal respect for human rights and equitable and sustainable development.

Projections appear sporadically, once or twice a month, and are visible in the night sky over Grimeton Radio Station, and within a radius of a few miles. www.strati.se

EYE OPENER

Photography: Tomasz Zurek

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Drawing Board

Pics: teamLab

teamLab Reconnect Japan Art collective teamLab is to open an unprecedented exhibition this year, combining the experiences of art and sauna. With teamLab Reconnect: Art with Rinkan Sauna Roppongi, planned to open in March 2021, teamLab has been exploring a new way to experience art, while simultaneously unravelling the historical background of Japanese saunas, such as the rinkan-chanoyu practice (rinkan sauna and tea ceremony).

Running for a limited time of six months, the exhibition is comprised of a Sauna Area, a Cold Bathing Area, and an Art Submersion Area, where visitors can rest while immersing themselves in artworks. These areas are all interconnected to form a single, continuous experience in which visitors can “enter a sauna trance, immerse themselves in art, and reconnect with the world and time”.

The idea behind teamLab Reconnect is for visitors to “experience art in their finest mental state by entering a sauna trance”, the art collective described.

“When taking alternating hot and cold baths, visitors open their minds, experience ever-expanding physical sensations, and become one with the art.

Recognising that the mind, body and environment are the wholeness of their being, visitors are reconnected to the world and time.”

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According to teamLab, a “sauna trance” is an exceptionally unique neurological state brought about by alternating hot and cold baths. When entering this trance, “the senses sharpen, the mind clears, the beauty of the surrounding world comes into focus, and what normally goes unnoticed can be experienced”.

Through teamLab Reconnect, the art collective will unveil six artworks, including never-beforeseen pieces based on teamLab’s new art project, Supernature Phenomenon. This is a project that focuses on phenomena that defy the laws of nature and the resulting changes in perception itself. teamLab believes that when a person views this phenomena, such as the defiance of universal gravitation, this causes their perception to change, leading to a new cognitive experience that differs from that of everyday life.

Ever since Mifuneyama Rakuen Park in Kyushu established its award-winning sauna in 2019, teamLab has been exploring new experiences combining art and sauna through the exhibitions teamLab: A Forest Where Gods Live and teamLab Ruins and Heritage: Rinkan Spa & Tea Ceremony, all while unravelling the historical background of art and saunas. In teamLab Reconnect, visitors go even

deeper by entering the sauna, experiencing a “sauna trance”, and becoming immersed in the art.

Featured artworks within teamLab Reconnect will include Levitation. Here, a sphere will levitate in the space between the floor and ceiling, floating up and down as though transcending the concept of mass. The sphere falls to the ground and rolls away when people hit it, but if there is no external interference, it will slowly rise into the air again, as though restoring itself to its original state.

“Life can be thought of as an order of energy that is continuous with the external environment,” explained teamLab. “Since the existence of life can be thought of as a supernature phenomenon that defies the laws of physics, when an order of energy is created within the artwork space, the sphere transcends universal gravitation, violating physics as life does. The sphere slowly levitates, becomes suspended in the middle of the space, and floats up and down in the air.”

Another new artwork to feature within teamLab Reconnect is Proliferating Immense Life – A Whole Year per Year. This interactive, computer generated artwork pays homage to the lifecycle of flowers as they bud, grow and blossom, before eventually fading away. Created by a computer programme that continuously renders the work in real time, the interaction between people and the installation causes continuous change in the artwork: previous visual states can never be replicated and will never reoccur in this constantly changing artwork. teamLab Reconnect is scheduled to open in March 2021, and will run until August 2021. www.teamlab.art

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Coronado Bay Bridge USA A significant milestone has recently been reached in the journey to create a monumental new, signature artwork for the San Diego Coronado Bay region.

Three of the 60-metre-high overwater columns of the iconic 3.4km Coronado Bay Bridge were illuminated in November 2020 as part of an extensive, environmental, programmatic and design testing phase.

This large-scale mock-up represents an important step in bringing the collaborative efforts of artist Peter Fink of Studio Fink, lighting designers at Speirs Major, and engineers at Buro Happold to light.

The delivery of this monumental light project is being managed by a partnership between the Port of San Diego and the California Department of Transportation, which has jurisdiction over, operates and maintains the bridge.

A competition winning design, the bridge lighting has been designed to provide both cultural and artistic value, with a strong focus on environmentally sustainable design. The

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design seeks to illuminate the 32 bridge columns as a means of emphasising the role of the bridge as a nautical gateway, highlighting the dynamic connection between the San Diego and City of Coronado communities.

Intended to be the flagship of San Diego Bay’s economic and urban waterfront renewal, it will create an aspirational marker that the designers hope will denote a world-class waterfront.

Peter Fink commented: “Light for me as an artist is a cultural thing; not simply linked to the design of cities in only a functional manner but existing inherently as part of the light of people for whom this bridge was built.

“The realisation of this ambitious testing programme during the Covid-19 crisis has afforded a new context for the bridge lighting project. Standing as a community ‘beacon of light’, it celebrates the quality of resilience as an ocean gateway to the world, and the connectivity vital for future economic and social recovery.”

Mark Major, Principal of Speirs Major, added:

“Our collaboration with Peter Fink and Buro Happold began with our ground-breaking competition win. We are delighted that the Port of San Diego and California Department of Transport have continued to support such a major project despite Covid-19 to achieve this important milestone.

“The over-water test not only acted as a valuable proof of concept, but also allowed the team to properly evaluate the creative possibilities of the lighting scheme more fully whilst studying both the technical and environmental implications.

“Most importantly, it gave the local community a glimpse of the future. The test has proved the project can be delivered in a sustainable manner that brings positive benefits to San Diego and Coronado and their nighttime economies while minimising any harm to the ecology of the bay and its foreshore.” www.smlightarchitecture.com www.studiofink.eu

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Spotlight Grow Netherlands Artist and designer Daan Roosegaarde has unveiled his latest artwork, a sprawling, 20,000sqm piece entitled Grow.

An homage to the beauty and importance of agriculture, Grow appears as a luminous dreamscape of red and blue lights that wash like waves over an enormous field surrounded by darkness.

The artwork is inspired by science exploring how certain “recipes” of light can improve plants’ growth and resilience.

“Most of the time we hardly notice the huge areas of the Earth that are literally feeding us,” said Studio Roosegaarde. “Grow highlights the importance of innovation in the agriculture system: How can cutting-edge light design help plants to grow more sustainably? How

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can we make the farmer the hero?”

Grow consists of a design-based light recipe that shines vertically across 20,000sqm of farmland with leek (Allium porrum). Viewers experience the artwork as ‘dancing lights’ across the huge agricultural field. The light is poetic, and inspired by photobiology light science technologies, which have shown that certain recipes of blue, red and ultraviolet light can enhance plant growth and reduce the use of pesticides by up to 50%.

Alongside the stunning installation, Studio Roosegaarde has put together a film, which is available to view on the Studio Roosegaarde website, that shows the development of this luminous dreamscape and how the beauty of light can help plants.

SPOTLIGHT

Pics: Daan Roosegaarde

“Grow can be good for nature but also send hopeful light to people. It gives a new meaning to the word ‘agri-culture’ by reframing the landscape as a living cultural artwork,” the Studio commented.

Grow is part of the artist-in-residence programme of the Rabobank. Daan Roosegaarde and his team of designers and experts developed Grow over two years, informed by expert knowledge sessions at Studio Roosegaarde, Wageningen University & Research, Springtij Forum, and the World Economic Forum in Davos.

It is the first in a series of dreamscapes by Studio Roosegaarde that shows the beauty of combining art and science to create a better world.

Wiebe Draijer, Chairman of the Managing Board, Rabobank, said of the artwork: “It is really inspiring to work with an artist like Daan Roosegaarde on how to grow a better world together.”

Roosegaarde added: “Grow is the dreamscape that shows the beauty of light and sustainability. Not as a utopia but as a protopia, improving step by step.” www.studioroosegaarde.net

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SPOTLIGHT

West Downs Campus, University of Winchester UK The University of Winchester’s West Downs Campus is a state-ofthe-art facility for learning and teaching, home to the school’s Digital Technologies, Computing, Business and Management programmes.

The contemporary £50m design by architects Design Engine includes a drum-shaped, 250-seat auditorium, art gallery, café, food hall, shop, library, social learning areas and teaching spaces.

The flagship development is among the first university projects in the UK to be registered to pursue WELL Certification – an accreditation scheme that recognises buildings that support and advance human health and wellbeing. Winchester is also the first university in the UK to secure Green finance for campus development, with a £30m loan from Triodos Bank, Europe’s leading sustainable bank.

With a number of sustainable features, including a combined heat and power plant, heat recovery systems, rainwater harvesting, a green roof and solar photovoltaic panels, the building is also seeking to achieve a BREEAM ‘Excellent’ rating.

Lighting for the new building was designed by Michael Grubb Studio, whose brief was to use light to create a welcoming environment that fosters wellbeing, celebrates the architectural characteristics of the building, and promotes use.

The studio therefore set out to illuminate both the interior and exterior of the site with a lighting approach more in line with hospitality venues than educational facilities. Working to remove excessive light, flat uniformity and a cold colour temperature, the team sought instead to create a warm and inspiring experience for staff, students and visitors.

The lighting scheme considered each space independently, in close collaboration with the architects, the client and design team. Michael Grubb Studio tested each type of luminaire on proposed materials and surfaces to ensure appropriate illumination both horizontally and vertically, to support the needs and use of each individual space.

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Combining efficient decorative and architectural lighting, each space is fully configurable via the lighting control system, to allow for change of use and atmosphere throughout the day. Areas such as the bar, café, lounge and dining room subtly adapt from functionally illuminated spaces during the day to warm and dimly lit, relaxed spaces for evening and event uses.

Devised into two zones, the functional Library ground floor combines intelligent and efficient, integrated lighting to bookshelves, desks and seating areas, with high level lighting to offer a brighter functional space during both day and night use. The first floor comprises relaxed seating and individual desk spaces, which support daylight use through sensors and the lighting control system to only use functional artificial lighting when required. Lighting dims for evening use, with lounge style lighting provided by integrated desk, wall and ambient architectural lighting.

The Auditorium, independently illuminated, is fully adjustable using preset and customisable scenes capable of providing functional lighting for lectures, dim lighting for events and presentations, as well as stage-only lighting for event use.

Outside, consideration was given to existing ecologies and the dimly illuminated context. The exterior lighting combines warm white light with feature window colour-changeable lighting. Lighting to the fourth-floor terrace provides an impressive backdrop for events, using low-glare warm white spotlighting, intricately integrated within the building’s brise soleil. Ground level lighting provides subtle low level, functional lighting to seating, steps and access routes, while concealed architectural lighting illuminates the feature courtyard planting, colonnade structure and entrance mural, creating an entrancing external experience that invites you in. www.michaelgrubbstudio.com

Wood and aluminium are a stylish and practical combination: the BEGA system bollards with extremely durable wood bollard tubes set the standard when it comes to quality and create visual accents. The Accoya ® wood, from sustainable forestry, enhances any area where the luminaires are used providing the pleasant feeling of warmth and a natural ambience.

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Das gute Licht.

For natural accents.

Pics: Crossrail

Paddington Station Elizabeth Line UK Paddington Station’s soon to open Elizabeth Line features an efficient, sustainable lighting scheme, developed by WSP. WSP has extensive experience working on mass rapid transit projects, including the London Bridge Station, in which it worked with Grimshaw Architects, and the lighting design team built on this experience when working with architects Weston Williamson on Paddington Station.

The new Elizabeth Line is housed in a brand new structure, adjacent to an existing Grade I listed structure. This was an integral element of the project, as all involved sought to create a symbiosis between the old and new, creating new features and connectivity while providing a recognisable civic presence.

Sacha Abizadeh, UK Head of Creative Lighting at WSP, explained the concept behind the new station’s lighting scheme: “Our lighting team’s initial scope of work for Paddington was the technical review of the concept produced by the architects, for which I was brought into at the detail design stage to develop the design, which included buildability, detail specification and coordinating with all stakeholders.

“We saw opportunities to develop the lighting concept to be more sustainable and efficient, with a reduced carbon footprint, as well as creating a more pleasant environment for all users, be they passengers or the station’s workforce.”

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Abizadeh and the WSP team sought to create a lighting design that was “manageable, sustainable and energy efficient, while architecturally pleasant and eliminating any glare and shadowing, bringing the station into the 21st century.” The design, instigated by Weston Williamson and developed in detail with WSP and 4D Lighting, for the concourse and platforms was a ‘lily pad’ style, which provides a decorative and functional motif throughout the passenger-facing areas.

The spun aluminium lily pads are bronze anodised to match the bronze cladding of the station, and incorporate perforations to provide vital acoustic absorption, such that the acoustics and the lighting work together to form a humane and comfortable experience.

Each pad provides direct lighting to the passenger space, as well as discreet uplighting to enhance the circular coffers and visually raise the soffit. Careful design of the lily pad also ensures that no light sources are visible, only the effects of the lighting.

The unique lighting system encompasses the architectural concept, structure, services and construction requirements into one simple design. The concrete structure of the floor slabs is exposed, as is the visual soffit; its dimensions complement the original Brunel station, and integrates the new station into the old while providing the station support structure. The soffit also incorporates cast-in conduit for all services, including lighting.

SPOTLIGHT

Alongside this, WSP used a lighting control system to maximise the use of artificial lighting in the underground station areas, optimising the spaces while avoiding over-lighting. “We also integrated the lighting within the station features and structure to create a unique visual identity,” Abizadeh added.

“The main challenge was in bringing the different lighting elements and performance requirements together within the space to achieve a balanced and uniform overall lighting solution. Iterative analysis and simulation techniques were used to create the optimum solution. We also worked closely with the lighting manufacturers to ensure the output LED luminaires were maximised.”

Having previously worked on large-scale infrastructure and transport projects such as London Bridge Station, Abizadeh and WSP were able to use the skills and experience to create a workable solution here. “I had to bring my knowledge of LED technology, rail safety and standards,” he said. “The selection of luminaires from London Bridge experience helped me to apply and modify the luminaire types and maintainability for Paddington.

“The technical requirements are generally similar, but with Paddington, clarity and collaboration was essential as different assets belonged to different stakeholders. This meant the lighting installation and electrical design had to comply with the

requirements and installation needs of different asset-owning stakeholders; these included Network Rail, who managed the main entrances and departures road standards; Crossrail, who were responsible for the main station; and Westminster City Council, which has control over the surrounding external roads and public realm area.

“Where required, the team ensured the correct luminaires were specified and on the asset owner’s approved material list to avoid potential confusion, reduce project risk and meet their maintenance criteria.”

Throughout the project, WSP worked closely with the architects and engineers, from the concept stage to completion, resulting in an allencompassing design that differs greatly from many underground stations.

Abizadeh concluded: “The outcome is pleasing and unique. I feel proud of the project and the lighting team’s input, not only for a sustainable and efficient design but to see how the station has come to life and thinking back to how much it has changed for the better for all, compared to how it was.

“The lighting brings Paddington in line with a modern 21st Century station where passengers and station worker experience is significantly improved, where the station is a place that they want to be.” www.wsp.com

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SPOTLIGHT

Pics: Tim Love

The Helix UK White City Place has opened the new year by unveiling a new interactive installation and creative space entitled The Helix, directly inspired by the structural spiral-like form of a DNA helix.

Devised by White City Place and created by Studiotech, the multimedia tunnel immerses those that pass through it in colourful lighting and sound.

The Helix is controlled by detecting motion passing in or around the structure, triggering built-in technology to transmute the light colour and ambient sound.

Constructed of recycled steel and measuring 12-metres in length, The Helix is located in the Central Avenue at White City Place in London, connecting the MediaWorks and WestWorks buildings. Office and laboratory workers, residents, retail occupiers and the local community are able to engage with the orange powder-coated structure to experience its everchanging and unique cycle of digital colour and sound.

The concept and design of The Helix draws inspiration from the innovative work undertaken by White City Place’s Life Sciences occupiers - Synthace, a team pioneering transformative ways of working

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digitally in biology; Autolus, a biopharmaceutical company developing next generation T cell therapies for cancer; GammaDelta Therapeutics, an immunotherapy company creating new approaches to treating cancer; Novartis, one of the world’s largest pharmaceutical companies, developing revolutionary medicines, as well as the neighbouring Imperial College’s White City campus.

The Helix joins White City Palace’s wider cultural programme, following the recent success of the playful pedestrian crossing and murals designed by French artist Camille Walala, as well as the colourful transformation of a disused petrol station on Wood Lane by international design duo Craig & Karl, and Richard Wood’s Holiday Home in Television Centre.

This latest digital installation will provide visitors the opportunity to experiment with countless moving light and sound sequences, bringing colour to the darker nights throughout the winter, with further plans to adapt and develop in the spring and summer of 2021. www.studiotech.co.uk

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SPOTLIGHT

Pics: Martín García Pérez

The Church of the Sacred Heart of Jesus Spain The construction of the Neo-Romanesque Church of the Sacred Heart of Jesus in Melila, Spain began in December 1901, but the church itself was not inaugurated until 17 years later, on 19 May 1918.

The building comprises a main body, with a basilica floor plan and a transept, distributing access towards the central and side apses. The central nave has a barrel vault with transversal arches, while the side naves each have groin vaults.

A renovation to the church’s electrical and lighting installations was carried out in 2019, prompted by the granting of aid by the Autonomous City of Melila.

The lead architect for the renovation, José Antonio Fernández of Chacel 8 Arquitectura, brought together several professionals for the drafting of the project and project management. Among them was Javier Górriz from DCI Lighting Design, for the new lighting design. Together they formed a multidisciplinary team to create a comprehensive church lighting renovation.

The church’s original lighting comprised obsolete light sources based mainly on metal halides, fluorescents and other discharge lamps, with high dazzle rates, high maintenance costs and high electrical consumption. The new lighting design sought to

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turn the artificial lighting into an additional element through which users or visitors could reinterpret the church’s architecture, feeling attracted by the light to contemplate the different architectural landmarks.

Using a range of fixtures from Reggiani, Linea Light Group and Lluria, care was taken by DCI Lighting Design to ensure the lighting was integrated into the architecture as a means of bringing out the effect of the light, while concealing its sources. When the light source itself is inevitably visible within the observer’s visual field, the luminaires have been equipped with anti-glare slats that improve visual comfort.

“The idea is to use light as if it were a brush to draw the different architectural lines, seeking the play of light and shadow, and thus emphasising any small details that could go unnoticed with the exclusive use of natural light,” said Górriz.

With a lighting control system based on Bluetooth technology, DCI Studio were able to create different lighting scenes, depending on the needs of the church, and control the lighting in any part of the temple from mobile devices or tables and wireless buttom interfaces. www.d-ci.es

#70Y E A R S Z UM TOB E L

A R C O S III THE FINE ART OF LIGHT

A M A S T ER P I EC E O F L I G H T I N G | D E S I G N B Y DAV I D C H I P P ER F I EL D A RC H I T EC T S | Z . L I G H T I N G/A RCO S

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SPOTLIGHT

Pics: Gert Jan Van Rooij

Het Licht van Jan Netherlands The light installation Het Licht van Jan (Jan’s Light) sits in an industrial traffic underpass near Amsterdam’s city centre. In the artwork, created by Matthias Oostrik, passers-by activate surging light projections that illuminate the narrow sidewalk and weathered walls of the underpass. These undulating projections echo Amsterdam’s history, recreating the reflections of sunbeams on the water, now replaced by artificial islands. To create the dynamic projections that move with the passers-by, Het Licht van Jan uses a surprisingly simple arrangement of steel grates and widely spaced lights.

Oostrik’s artworks enable new and unusual connections between people and their surroundings.

Using digital technology, his installations respond to visitors with changing light, video, or sound, allowing visitors to reshape their environment. His works in public space are often also functional, contributing to a sense of security and are designed to last.

An early and well-received example of his work is the Bijlmer Moodwall (2009), located in a pedestrian passage in Amsterdam. This interactive façade reacts to visitors with playful streaks of light that move alongside them. In the recent installation A Trail of Water (2020) in the Dutch city of Assen passing trains trigger a unique light composition: A waterfall of light cascading down over the concrete embankment and overgrown slopes of an overpass.

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Het Licht van Jan is activated by pedestrians who walk on the narrow sidewalks of the Kattenburgerstraat underpass. In the darkest parts of the tunnel, they trigger bright projections of light. On the aged tile walls, beams of light move along with the pedestrians, while on the sidewalk, waves of light gently sway towards them.

The projections, three on either side of the road, are created by shining a row of ultra-bright lights through a series of custom-designed grates. The shadows of the unique grates interact to create moiré patterns, producing entirely different effects on both the wall and the floor. In stark contrast with the existing warm, almost orange streetlights, the projections use cold white light.

Like so many places in Amsterdam, the underpass is located on a historical site, where several natural and constructed bodies of water existed before the railway was constructed on an artificial strip of land in the late 19th century. Het Licht van Jan brings back this past by reviving both the flow of water on the ground as well as the sunlight radiating through the railway tracks on the walls.

Het Licht van Jan was developed in commission by the City of Amsterdam and supported by the Amsterdam Fund for the Arts. www.oostrik.net

RENEGADE DESIGN Working across multiple creative industries, Renegade Design draws from various disciplines to create immersive, striking works of light. Here, we look at some examples from across its diverse portfolio.

London Philharmonic Orchestra - Autumn Season 2020 London, UK

London Philharmonic Orchestra Pics: James Wicks

Renegade was commissioned by Silent Studios to design a series of unique lighting schemes for 13 concerts on behalf of The London Philharmonic Orchestra for its Autumn 2020 season. Set in an audience-less Royal Festival Hall due to the Covid-19 pandemic restrictions, the shows were broadcasted weekly to a subscribing audience.

The unprecedented historical and physical context of these performances presented an opportunity to break from a traditional visual narrative, creating additional layers of communication through the incorporation of colour and drama. Renegade moved away from classic brown and beige hues, saturating each show with a unique character and identity.

The lighting aesthetic presented was bold yet intimate, echoing the visual codes of theatre and immersing the orchestra in a dimly lit, hazy, atmospheric concert hall.

Due to the lack of audience, the lighting could

be positioned in unusual places alongside the existing Grade I listed light portals, providing the freedom to bring the architectural features to life. Creating a dialogue with the surrounding backdrop of the London Southbank’s brutalist buildings at night, interior elements such as the organ, the empty seats and boxes were elevated to key sculptural features by the lights.

One challenge that Renegade had to face, was to utilise the Southbank Centre’s existing lighting inventory, which was distributed across their closed show spaces. This limitation was turned into an opportunity, pushing the studio to think outside the box focusing on changing the pre-determined role of each fixture for each individual concert.

Pushing the comfort zone of the performers, the director and the DOP, Renegade reached low levels of light creating an unprecedented feeling of intimacy, unconventional for the visual codes of classical orchestral music.

Anya Hindmarch - Circulus SS17 London, UK The circle provided the backdrop and inspiration for the Anya Hindmarch Spring Summer 2017 collection with the seemingly formulaic circular stage transforming into beautiful moving set with subtle colour changes.

Set in the imposing space of The Royal Horticultural Halls, Renegade worked on this large-scale installation with stage designer Stuart Nunn and show production company INCA. The longstanding relationship and creative bond between Anya Hindmarch and the team involved in the show design, consistently delivered impeccable results over the years.

Starting as a cap to the runway space, the ceiling rose to a fixed tilted canopy, internally lit using Chroma-Q’s RGBW linear batons. Throughout the show the ceiling acted as a diffused light box embracing the whole space and alternating vivid coloured hues with cool white tones.

The spiralled stage acted as the ideal surface for the light, allowing Renegade to throw long shafts of light enriched with shadow and textures. The lighting for the stage and the catwalk was installed around the perimeter of the show space, rigged inside 12-metre high truss totems. These LED wash lights from Martin Professional gave a soft, but bright output, whilst being small enough to conceal within the structures.

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Anya Hindmarch Pics: Neil Mason

SNAPSHOT

Paul Smith 50th Anniversary Show Paris, France

Paul Smith Pics: Paul Blind

The 50th anniversary show of the iconic British fashion designer took place in the historic music venue Élysée Montmartre in Paris. Renegade had already worked on several of Paul Smith’s catwalks over the years with show production company 6Up. Renegade was asked to design the lighting for different areas beyond the main catwalk space, including the dressing area within the theatre, which was then converted into to an elegant dining room designated to the guests’ after party.

The lighting scheme for the catwalk had to be bold and clean to enhance the collection, whilst being versatile enough to complement the striking visual content opening the show.

The bespoke video content was an homage to Paul Smith’s 50-year career and relayed highlights from his previous celebrated collections. Renegade presented a cool colour temperature palette for the catwalk next to rich blues and magentas for the pre-show, echoing the vibrancy and the established identity of the visuals.

In the previous three seasons, Renegade had used Arri Sky Panels as the overhead lighting system, which have now become a key part of the design identity of Paul Smith’s shows. This choice provided a signature, stylistic continuity albeit the lighting scheme being re-designed each season to seamlessly integrate with the new show ethos and layout. Lighting for the photographers was from Ayrton Khamsin’s, an LED profile fixture with four blade shutters, beautifully rich colours and perfect CTO/B for balancing with the overhead lighting.

In the backstage area, a sculptural installation lining the balcony of Arri Sky Panels was installed for precise colour temperature, matching the show lighting for both the makeup artists and dressers to work in.

After Dark London, UK Renegade developed a collection of temporary site-specific lighting installations articulating over different areas of Chiswick House & Gardens based on the ‘After Dark’ concept.

Challenging the traditional ‘winter light’ visual approach, this outdoor exhibition was conceived as an escape from the city, an immersive visual journey designed to enhance the almost mystical experience of wandering through nature at night.

Visitors could discover secret corners, light sculptures, temples and holograms whilst walking amongst secular trees and water streams.

A bespoke design was created for each area of the journey, responding to unique natural and sculptural characteristics that appeared within the landscape.

The diverse textures and reflective properties of the natural elements - such as wood and water - played a central role in the creative process, becoming an integral part of each individual installation, alongside the classic geometry of the architectural elements.

The exhibition opened with a timecoded lighting sequence on Chiswick House’s main building, accompanied by an original music score by Kasabian’s Serge Pizzorno. Bespoke neon was chosen over LED to create sculptures made of salvaged wood from local fallen trees, which were commissioned by the client.

Lasers were strategically positioned to pierce through smoke and branches and to create reflections on the water’s surface.

The gardens themselves were ever changing from the moment the project was conceived and the initial planning in Autumn; by the time the installation was completed in winter, the season altered the natural colours, density of foliage, water levels and humidity. Occasionally, Renegade had to re-imagine and adapt some creative concepts to follow these natural changes and respond to unexpected scenarios.

After Dark Pics: James Wicks

Renegade Design Renegade is a Lighting and Production Design Studio based in London and Brighton, founded by designer and creative director Nicholas Gray in 2005.

The studio operates internationally and across multiple creative industries including fashion, music, architecture, film and visual arts with a strong focus on innovative technical and aesthetic solutions drawn from different disciplines.

Renegade’s work includes complex sitespecific installations, highly produced fashion shows, stage design for live music and bespoke brand experiences.

The studio established its unique set of visual codes and distinctive design approach, hinging on the holistic understanding and integration of different creative languages.

Renegade is renowned for distilling scenic and architectural elements into each project, creating an end product encompassing high design and in-depth technical knowledge. www.renegadedesign.co.uk

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BRIEFING

Emma Cogswell arc catches up with Emma Cogswell to find out more about her new venture - The Skills Army, which has been established as a tool to help young designers find their way around the lighting industry.

How did you get into lighting?

I was incredibly fortunate to have been taught lighting by the illustrious Mary Rushton-Beales. Lighting was a module on my interior design course, and this was a catalyst into my lighting adventures. What started out as a six-week trial saw me catapulted to Dubai in the mid 90s, where we worked on some of the early shopping malls and hotels. For the next decade we saw the desert turn into a metropolis, I was captivated.

I also became interested in the effects of light on human health and the wider environment. This has since become a very hot topic with biophilic design assisting us to live and work in more healthy spaces for mind, body and productivity. In 2001 I was introduced to the IALD, which lead me to many new relationships. These became a rich source of inspiration as I met some of the worlds’ most famous architects, including Tadao Ando, Zaha Hadid, and Daniel Libeskind; not to mention being able to make friends with lighting nobility such as Charles Stone, Andreas Schulz, Rogier Van de Heide, Mark Major, Motoko Ishii and her wonderful daughter Lisa Ishii, and many more; each person explained their inspirations and passion for the job, it became infectious.

Can you describe your lighting career so far?

Fantastic! There can’t be many other jobs where no two days are the same? I am trained in architectural lighting but playing with lights at festivals and workshops has been a great way to learn. The privileges I have had are almost too many to mention, from lighting the Tower of London, to being at the top of a minaret at the Oxford Islamic centre.

It’s been a voyage of discovery. The last few years have seen my work change towards a more educational bias - taking part in light festivals such as Lights in Alingsås. I’m also incredibly proud to have developed the 100W challenge with Simon Thorp at LAPD and Stuart Knox of LED Linear, where teams were invited to light a whole house using only 100W. Being able to be part of the SLL Masterclass was also hugely rewarding and enabled me to brush up on my presenting skills.

What is the Skills Army? How was it created?

The Skills Army is the culmination of all my experience and an open invitation to all the people I have met along the way to share their wisdom. To enable others to gain insight, have confidence and feel prepared to take that next step in their career journey, in lighting and the built environment. It was created from a conversation with a young architect who asked if I was able to help with a series of skills, such as writing a CV, interview techniques, social media tips and effective networking. I set about gathering information and compiling a series of links to available resources, to help people find their way around the lighting industry, to encourage them to look at lighting as a possible career option.

What are your ambitions for Skills Army? What do you hope to bring to the lighting community?

My aim is to deliver an aspirational platform that excites and informs.

We need to show young graduates that there is an array of opportunity in the lighting industry. We now have a 50/50 men to women ratio - the new challenge is to open the doors to minority groups.

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Was it a difficult decision to set this up, especially in the middle of a global pandemic?

Absolutely not. This is a great time for innovation and opportunity, to energise young people coming through education or to reboot people that have a change of circumstance. The pandemic is much like a forest fire, devastation can bring new life and resilience. Now is the time to grasp the nettle and be thought leaders. This industry is an integral part of the wider built environment and we need to tell other professionals why lighting is so important.

Do you have a ‘Mission Statement’ or philosophy for Skills Army?

The philosophy is to take it one step at a time. Grow confidence and help others achieve. Armies aren’t one person, they are recruits, sergeants, generals, a framework that supports.

How can people get involved?

Anyone can get involved. The easiest way is to visit our website. From there you can follow all our social media channels, which give current references to events and happenings. The involvement has many facets, if you are a professional you can upload your profile, for free. If you are a manufacturer and have a project or product you want to shout about, contact us. Maybe you are a designer or educator and like to bring information out of the archive, send us the link. Do you have a job vacancy? Use our handy portal to fill that that role. We are open and flexible to support the industry in any way we can.

Since setting it up, what sort of reception have you had? How has the industry reacted to it?

Overwhelming support has kept us going, from a simple a post on LinkedIn. Massive thanks to Eve Gaut and the team at Parrot PR and Marketing for their expertise in PR and Marketing. Manufacturers have stepped up as early supporters including Erco, iGuzzini, Lumino, formalighting and finally thank you to the lighting design companies that have agreed to allow access to archived and current educational material: Leni Schwendinger, Paul Nulty, Mark Ridler, Mary RustonBeales, Christopher Knowlton, and Marcus Steffen to name a few.

The instant support from the industry associations SLL, ILP and LIA has been very heart-warming as well as multiple media providers.

What have you got in the pipeline for Skills Army? What can we expect to see from you in the near future?

We are looking forward to curating exciting and engaging events and making new relationships with the broader design communities. We are only at the beginning of building the Skills Army and welcome anyone who wants to lend their support.

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

I am an optimist. I know things will get better as we live through the pandemic and come out of the other side. This is a great opportunity for us to reimagine how we want to live our lives for the next generation. If we work together as an army we will build support and resilience. www.skillsarmy.co.uk

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Certification is Serious (but don’t just take my word for it) David Becker, Chair of the Certified Lighting Designer Commission, speaks to lighting designers around the world on the importance of gaining proper certification.

H

aving been involved with the Certified

Lighting Designer (CLD) programme from its stirrings, initially as a member of the

Certification Feasibility Task Force and in

recent years as Chair of the CLD governing Commission, I’ve had the pleasure in

various ways and at various times to present

the value and importance of certification.

We are kidding ourselves, deluded even, if we blithely think our vocation can forever skirt the norms and standards expected

of other professional services. Fellow Aussie, Andrew Jaques,

CLD and Director of Australian and German firm, The Flaming

Beacon, underpins the problem of the profession: “Certification is a much needed and important step for the maturing of our

young industry, one that would help architects and clients to have greater confidence in us as professional architectural lighting designers.” Luke Ellis, CLD and Associate IALD, and Senior

Lighting Designer at EOS Lighting in Vancouver, Canada also

recognises the need for professional recognition: “I saw CLD as

the epitome of assessment for our unique and global profession, which would justify our role in the AEC industry.”

“The significance of certification is the unassailable fact that a mature profession must be able to define competence within its ranks. Yet whilst this is standard practice in other industries, it eludes architectural lighting design.”

David Becker, Chair, Certified Lighting Designer Commission

Anyone Can Call Themselves A Lighting Designer

It’s simply untenable that anyone, without regard to talent,

aptitude or experience, can trade as an architectural lighting

designer. Sure, talented people eventually acquire a reputation, which defines their competency, but what about those who don’t possess talent? Isn’t that a risk to the profession? By

enabling unskilled people to masquerade as “professional”

lighting designers we promote the idea that anyone can do it and, therefore, it requires no expertise.

David Becker, CLD, Associate IALD Chair, Certified Lighting Designer Commission

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Vladan Paunovic, IALD, CLD and Creative Lead Designer

at Ramboll Architectural Lighting Design, from a Danish

IALD

perspective, states the need for a credential to offset the flimsiness

designers, assessed by lighting professionals and independently

guy who just sells gobos in an online shop or someone working in

CLD has no territorial limits and is designed as a global standard. It

of “lighting designer” as a professional moniker: “This could be a

manufacturing, with no understanding of design,” says Paunovic.

“These people are doing nothing wrong; they are just being creative to commercialise their business positions. CLD has brought an elegant solution to this problem.”

“We need for a credential to offset the flimsiness of “lighting designer” as a professional moniker.

This could be a guy who just sells gobos in an online shop or someone working in manufacturing, with no understanding of design..”

Vladan Paunovic, Ramboll Architectural Lighting Design Paunovic particularly likes the unpretentiousness of the CLD

concept; it gives the necessary recognition to individuals who can

demonstrate skill through their portfolio regardless of scale, project type or budget. Tejas Doshi, IALD, CLD and Chief Design Officer of

Light & Beyond in India, reinforces the need for certification: “CLD

differentiates me from others because in India every Tom, Dick and

Harry calls themselves a lighting designer whether they are qualified or not.”

governed by an autonomous commission of lighting industry experts. measures proficiency through written responses submitted by the applicant to a published range of questions supported by portfolio

evidence. Spanish lighting designer, Marta Coda, CLD shares: “the value of certification is huge… only if we make lighting design

serious with certification will it be recognised as a profession.”

Like all certification programmes, CLD requires continuing

education. Ta-Wei Lin, CLD, IALD of CMA Lighting Design from

Taiwan says: “CLD is a clarion call that our profession is as important as an architect, interior designer and engineer. It proves that I have

holistic knowledge of the practices of lighting design. It also means I have to keep educating myself with new information and training.”

At our fingertips we have CLD, a system designed to deal with an existential threat. By contrast, licensure seems not only

inappropriate for the needs of the architectural lighting design profession but a distraction and unrealistic in any foreseeable timeframe. Rather than a mandatory academic test, CLD is a

voluntary assessment process that asks the candidate to respond to a standard set of questions using their portfolio as supporting evidence. It’s a system that defines proficiency through proven

experience. No written exam can capture proficiency in practice or artistic merit.

Why Licensure Doesn’t Work For Lighting Designers

The Fight To Maintain Relevance

a discussion of licensure. However, the world of licensing is a

are in a fight to maintain relevance in an ever-evolving industry,

In some quarters, this unsustainable situation has promoted

dramatic step that would have consequences many designers do not understand. Licensure is a compulsory regime that would

restrict trade to a specified territory (that’s what licenses do) and

would require passing a mandatory test or examination. Rosemarie Allaire, FIALD, CLD of RALD in the USA and Vice Chair of the CLD

Commission, highlights problems with a licensing model: “In the United States, a license would need to be issued by 50 different states and 14 territories,” states Allaire. “What would be the

licence requirements? An exam? Experience? Who would decide?

Undertaking and coordinating this huge process would take years.

And what would be the costs to each state (and the individual)?

CLD solves this – it is a voluntary application not restricted to any particular jurisdiction. It’s a system of self-regulation developed

by the profession and assessment is undertaken by trained lighting

designers who understand the standards expected in the industry.”

Rachel Fitzgerald, CLD, IALD and Senior Associate at Stantec shines a North American light on the predicament: “Lighting designers

competing more and more with sales representatives and design/

build electrical contractors. Shouldn’t we have a metric for gauging if lighting designers are qualified and capable of doing this highly skilled work?

“CLD helps distinguish both myself and my firm’s lighting design services, demonstrating proficiency on the basis of evidence.

Certification is a true differentiator that can clearly identify qualified lighting design professionals.”

Other leading lighting designers around the world agree. Andreas Schulz, IALD, CLD and Principal of Licht Kunst Licht in Germany

conveys his enthusiasm for certification: “As CLD is the first global evidence-based assessment of proficiency in lighting design, I was

immediately convinced that I needed to be part of it. CLD is the basis to raise awareness and respect for our profession.”

In a licensed environment it would be illegal to practise as a lighting

The views above highlight a remarkable consistency of outlook

profession would have little or no control over, in terms of what

nature, only has currency when it achieves critical mass – there

designer without a license. Licencing would also be something our

constitutes competency and how it would be administrated – licences are typically managed by government appointed authorities, and all that that implies.

Created For Lighting Designers By Lighting Designers CLD is an initiative that steps into this void, a certification

programme that is voluntary, designed by architectural lighting

around the globe. But any certification programme, voluntary by must be a significant number of certified practitioners for the

system to have meaning and value. With a large representation

of certified lighting designers (CLDs) the credential will have real clout. Julia Hartman, CLD and IALD, Principal at Lightsphere in

Switzerland concludes: “the acceptance and recognition (of our

profession) can only work when we get a greater acceptance and awareness of CLD.” www.iald.org

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INTERVIEW

Head of the Table Shortly after he was named as Head of Light Bureau, arc sat down with Paul Traynor to discuss the career journey that led to this point.

T

he turn of the year saw the news break that

Paul Traynor had been named as Head of Light Bureau, returning to the top of the studio that he founded 22 years ago.

Established by Traynor in February 1999, Light Bureau merged with Scandinavian lighting

design consultants ÅF Lighting in 2017 – the

culmination of a journey that saw the practice grow from a small,

three-man team operating out of Battersea, UK, to an international studio of more than 100 designers.

It has been a long journey for Traynor, who despite not forming Light Bureau until the age of 32, has always held a fascination with light, dating back to when he was a child.

“I’ve always loved light. I remember I had a dartboard in my bedroom and it was really important to me to have the right light fitting,

with the right lamp source to illuminate it,” he said. “My dad was

qualified in the Royal Electrical Mechanical Engineers, and when we

were at home, he was always in the garage fixing stuff, making stuff.

So, inspired by him, I would take bits that were broken or thrown out, and make new things, and I made lights out of recycled things.

“I didn’t imagine a career in designing lighting in an architectural

sense, but I certainly felt that there was something that you could do creatively with light as a product.”

Indeed it wasn’t until his early 20s when Traynor, then working in

Electrical Engineering, became aware that lighting design was a career he could pursue after speaking to someone studying lighting at the

Bartlett School of Architecture at a Concord Marlin showroom party.

Before this, Traynor left school at 16 and took up an apprenticeship at

the project design office of Pfizer, where he worked as a draughtsman.

“It was a really fantastic time, the people in the project office were

very enlightened and very culturally aware,” Traynor recalled. “I felt a really good connection with them, they were really inspiring and

fun, and I realised when I was doing that, that it was an environment where I could imagine spending more of my time.”

Following his apprenticeship, a 20-year-old Traynor looked to pursue his other passion – photography – by applying for a Diploma in

Photography at Medway College of Design. However, the course was

full, so instead he moved to London, where he planned on working as a draughtsman for a year before applying the following year.

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1. At the Greenwich Low Carbon Energy Centre, Traynor and Light Bureau collaborated with British sculptor Conrad Shawcross on the lighting of the chimney, creating The Optic Cloak. (Pic: James D Evans) 2. Completed in 2007, the lighting for Farnborough Business Park pays homage to the site’s history - the former Farnborough Aerodome dates back to 1912, and Light Bureau sought to showcase the architecture of the Grade I and II listed buildings.

3. After forming Light Bureau in the late 90s, Traynor was quickly able to build up a strong portfolio of projects through relationships that he had built up with architects over the years.

4. Alongside his work as Head of Light Bureau, Traynor is also heavily involved in the educational sphere, knowledge sharing on the Hochshule Wismar Master’s course, and acting as a guest lecturer at KTH in Stockholm.

It was a decision that proved providential, as it

By the time Traynor finished his degree at

interested in lighting as a career path, leading to

lighting specialist at Aukett, an architect-led

“Working in Electrical Engineering, I became

in a lot more projects here, he was also getting

the point that I always wanted to do the lighting,

projects – a bonus for him, but a potential conflict

was during this time that Traynor became more that fateful night at Concord’s showroom.

really interested in the lighting aspects of it, to I wasn’t so interested in the other parts of the

job,” he said. “So I took a job at architects RMJM

calls from former colleagues to consult on lighting of interest for his employers. This, coupled with

Traynor meeting his future wife, who also worked

at the company as an interior designer, led to him

at Earls Court, and had a lot of smaller landscape

lighting firm.

During this time, Traynor also enrolled in a four-

good jobs, but only one of them was actually

in lighting working there, and I did a little project

projects as well. So I developed my skillset there.”

leaving Aukett to look for a role at a dedicated

“I did the rounds and was offered at least three

year, part-time course at South Bank University,

offering some sort of significant career path to an

chance to gain a decent qualification, and expand

“But within a few months, it became clear that

on his knowledge and skillset further.

“It was a fantastic course,” Traynor elaborated.

equity or partnership level, so I took that.” He said.

I had different limitations and obstacles placed

in front of me, because they were mainly active

“There was quite a lot about lighting on it, and I was

as design and supply. Working as a fee-based

too. But more than anything, it prepared me very

I decided I was going to have to go.

able to make a lot of my final year about lighting

well for becoming self-employed, because you have to be very resourceful to juggle a full-time job with

part-time study, and like any degree course, you’ve got to structure your time and your work really

carefully. So that gave me a lot of confidence in terms of how I could tackle my work.”

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multidisciplinary office. While he became involved

– Robert Matthew Johnson Marshall. I specialised

studying Energy Engineering. This gave him the

044

South Bank University, he was working as a

lighting designer was quite hard, so for that reason “But I had already done the rounds 10 months

before, trying other practices and seeing what they had to offer. I was pretty sure it wouldn’t have

changed that much, so I decided the only realistic opportunity was to set up on my own, so that’s what I did.”

Interview

“We’re very much about supporting the architectural and interior design objectives, coming up with something that is simple but beautiful, measured and considered, but not making it into a statement in its own right.”

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Paul Traynor

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And so, Light Bureau was born. From its inception,

coming lighting designer by the name of Paul Nulty.

portfolio of projects through relationships that he

Light Bureau, with the team expanding gradually

included projects such as Accenture’s headquarters

more projects, eventually reaching 12 people in

and a large ad agency at Greater London House.

fighting weight for us since then”.

Traynor was quickly able to build up a strong

had built up with architects over the years. This

in London, Sun Microsystems, BT in Sevenoaks, Despite this head start, Traynor said that his ambitions when establishing Light Bureau

From there things grew relatively organically for as the firm gained more momentum and won

2006, which Traynor feels “has been quite a good Indeed it was in 2006 when Traynor began to feel that he, and Light Bureau, had really “arrived”

remained relatively modest: “I wasn’t sure what to

on the scene. He recalled: “I was on a riverboat

was pretty much ‘I wonder whether if I set this up,

talking to Mark Major, and he was asking how

me, how will I do that?’ It was just a case of setting

‘well, you’re about the same size as us in London’. I

expect when I set up. There wasn’t a grand plan, it

will people give me work? If I need someone to help

cruise on some lighting industry thing and I was many people we had. I said 12 people, and he said

something up with an ambition for staying in

thought ‘wow, that’s incredible’. I hadn’t expected

However, after just two weeks, Traynor had to

“We also started getting big international projects

business more than three months or six months.” employ his first member of staff due to the rapidly growing workload. “At the time, you start off

that would be the case.

around 2006. We won a big master plan project in Moscow with KPF Architects and Lovejoy, which

as a generalist, so you’re designing, you’re the

was a really significant project that for me was

CAD, Photoshop and all of that,” he said. “But

and developed a reputation. We also won the

entrepreneur, you’re doing the invoicing, doing after a while you realise that’s an issue. If you

want to service your clients well, you need to get some help.”

This led to Traynor first recruiting a former lighting design colleague, and then his stepbrother, a

graphic designer, and eventually another up and

a great prize for having developed the business NATO headquarters in 2006 with SOM, which was another massive international project.”

Despite winning these larger projects, Traynor doesn’t believe that there was one particular,

stand-out project that put Light Bureau on the

map – instead he feels that the studio’s consistent

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interview

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1. Traynor speaking at PLDC 2019 in Rotterdam, Netherlands (Pic: Twelve Photographic Services, courtesy of PLDC and VIA-Verlag) 2. Taking influence from its location on the Cardiff Bay waterfront the façade of this multi-storey car park features an undulating form, designed to signify the washing waves of the bay. Light Bureau backlit this tensile fabric structure with a double run of fluorescent luminaires, creating a dynamic, striking visual.

3. The Twist, designed by architects Bjarke Ingels Group, saw a collaborative effort between Light Bureau’s UK and Norway teams. Here, Light Bureau created a sustainable lighting design that brings the optimum amount of light, exactly where it is needed, as part of a stunning overall design. (Pic: Tomasz Majewski)

3

output of user-focused projects, regardless of size, is what has

audience, the public realm projects are the ones that we probably like

“I wouldn’t say that there was a groundswell and there was one

That being said, Traynor added that throughout Light Bureau’s tenure,

projects, like NATO’s headquarters, but the kind of projects that we

tool for the architecture, rather than light for light’s sake.

ones, but ones where we’ve managed to bring our values very much

just looked good as a concept, it was always about how rigorously

helped them to stand out.

project that did it for us,” he said. “There have been significant

want to talk about and are proud of, sometimes, are the really small to bear.

“For instance, a project that we talk about a lot is the Yellow Pavilion,

doing the most.”

the overriding philosophy has consistently been to use lighting as a “As a core philosophy, it was never about making something that it was detailed. I think because of my background in engineering,

resolving designs and working things out in a high level of detail,

which we did with Hall McKnight in 2016. It was only there for

that was always really important to me.

translated our design ethics into the lit result were things that we

having a nice idea, but coming up with something that is essentially

Centre in Leeds – again, it’s quite simple, it’s quite small, and the

consistent. We don’t want to make lighting the thing about the

a month, but the design experience of that project, and how we

really enjoyed about that project. And then recently the Maggie’s

“Light as craft, as we say, and that very much comes out of not just quite interesting. And I think our approach has remained quite

reason for designing the building that way, and why we designed our

project. Instead we use lighting to find the thing about the project

that’s an important project because it’s a community project.”

supporting the architectural and interior design objectives, coming

lighting in a corresponding way, was because of the user. So for us, This focus on community-oriented projects has led Traynor, and Light Bureau as a whole, to enjoy public realm projects that can

that deserves to be lit, that should be lit. We’re very much about

up with something that is simple but beautiful, something that is

really measured and considered, but not making it into a statement

be enjoyed by many. Traynor cited the master plan of the island of

in its own right.”

project for him. “It was a very unique site where you couldn’t take

Bureau becoming one of the most well-established, highly regarded

Svalbard in the Arctic Circle as a particularly interesting public realm the principles of the master plan of another public realm scheme as with the local conditions, it was very specific, so we had to design principles around that specific case,” he explained.

When it comes to public realm projects, Traynor added: “We want

to play to a wider audience. It’s all very well working on an amazing private residential project, but it’s going to be one person or one

family who gets to enjoy that. For us, if we want to play to a wider

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This considered approach no doubt contributed enormously to Light lighting design practices in the UK, until October 2017, when it was announced that the firm was merging with Scandinavian lighting design consultants ÅF Lighting.

Traynor explained further how this merger came about: “I met Kai

Piippo [ÅF Lighting’s Head of Design] about 24 years ago at a PLDA meeting in Prague. He had set his business up shortly before. We

became good friends, and when we met at lighting events, we would

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always compare notes, and he had the same pain

organisation – there are more responsibilities, but

salaries, accounts and billing, management and

did improve.” And while the UK office remained

when you start a design practice. He struggled in

operating as a self-sufficient, separate business for

ÅF in 2013, which I was really surprised about.

of collaboration across the offices.

him about it, he said how frustrated he was. He

a limited way. What has been good is that there’s

Sweden, one of the best in Scandinavia, but I felt

explained.

Ford Mondeo. The lights go green and I put my

UK in the summer, but there was not so much

this Ford Mondeo sails past me’. He wanted to

parts of the project to Stockholm, just to deliver

support, and was allowed to focus on the creative

on projects from Oslo when they were overrun.

“Every time I saw him after that he was looking

work to others has been very successful.

he said that they were thinking of acquiring a

business kind of culture and start to find big

good way of getting into international business.

whole company objective.”

thought ‘if it’s worked for him, then this looks like

to Traynor at the time of the merger was its

Since the merger, which was finalised in October

formally knowledge sharing already on the

Light Bureau in 2019, Traynor feels that he has

lecture at KTH in Stockholm too, so for me,

very comforting about being part of a big

my future,” he explained.

points as me – things like managing staff and

a lot of the things that I was hoping would improve

admin, which is not really what you sign up for

relatively separate to the rest of the ÅF team –

the same way that I did, so he sold his business to

the past three years, there has been a strong sense

“I saw him at PLDC in Copenhagen and asked

“We want to go international, but we are doing it in

said ‘I had the best lighting design business in

been a strong cooperation between the offices,” he

like a sports car sitting at a traffic light next to a

“For instance, we were overrun with work in the

foot down but my wheels are just spinning while

happening in Stockholm, so we were giving

be somewhere where he got the structure and

the background work on that. We’ve also taken

part of the business and on design.

Sharing work between the offices and off-handing

increasingly relaxed and fulfilled, and in 2016

“But the plan now is to fully embrace that one

business in the UK, because they felt that it was a

international opportunities. It’s all about the

I was interested for the same reasons as Kai. I

Another area of ÅF Lighting that stood out

something that I could get involved with.’”

educational avenue, the ÅF Academy. “I’m

2017 and eventually saw ÅF Lighting rebrand to

Hochschule Wismar course, and do an occasional

noticed a difference, saying: “there’s something

knowledge sharing was a really important thing for

INTERVIEW

“The kinds of projects that we are proud of are the ones where we’ve managed to bring our values very much to bear.”

Paul Traynor

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5

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“One of the reasons that I was keen to get involved

was finding it difficult to make any meaningful

know if I wanted my role to remain the same as it

his first business, so he flagged me as someone

it was important to me for the sake of succession

“So I had a meeting, which turned into an

through without me being a blockage. It was also

job. My first reaction was ‘I don’t want to do it. I

something that was more central, and the ÅF

on working on projects.’ But having got over

“We implemented that at the end of 2018, and I

a great opportunity if I wanted to do something

giving lectures and doing design exercises. It was a

opportunities for me to tie the cultures together

very positive.”

really important.

Bureau recruited KTH Programme Director Rodrigo

and now 100 designers, but there are quite a lot of

strong structure and backbone to the programme.

local differences, I think it’s good to have local

pandemic, and Scandinavia recovers from a

think an overarching culture is really interesting, so

the forefront of his campaign in his new role as

Other aspirations for Traynor include addressing

The opportunity for this new role, a position

as more clients seek to become carbon net zero.

towards the end of last year, as Traynor explained:

to stop being responsive. We need to take more

on the role as Head of Light Bureau overall. But

these things, we’re not in a situation where we’re

vibrations business, Efterklang, and I think he

and this manifesto of our own so that when clients

with AFRY was that, getting into my 50s, I didn’t

headway with Light Bureau, as well as trying to run

had for the past 19 years. I wanted to develop, and

who could take over.

within the business that other people could come

interview, and I was surprisingly offered the

important to me that I could develop my role into

don’t want to become a manager, I want to carry

Academy seemed like a good way of doing that.

the initial surprise, I thought that this could be

started to travel around to the different offices,

that was more central, and it also opens a lot of

really good experience, and the feedback has been

between the offices, something that I think is

In a move to take the ÅF Academy further, Light

“There’s a lot in common between all of our offices

Muro on a part-time basis to develop and create a

differences as well. I’m not trying to iron out the

And while the world has been rocked by a global

identities and different ways of doing things, but I

recession, Traynor has the ÅF Academy firmly at

I wanted to start bringing those things together.”

Head of Light Bureau.

the increasing demand for sustainable solutions

previously held by Zlatan Idnert, came about

“I think we’re in a position now where we need

“I never had any expectations that I would take

steps forward so that when clients are asking for

Zlatan Idnert was also running AFRY’s sound and

having to look into it. We should have these values

1. As part of an overall lighting masterplan at Porto Montenegro, Light Bureau illuminated several signature landmarks, including The Crane, which serves as a key monument for the resort.

2. In 2002, Traynor worked with former colleagues at Aukett Architects to design the technical and aesthetic lighting of the conference, office space and public areas of the Diageo headquarters in London.

3. Traynor has regularly been involved with the PLDC conferences, delivering a number of lectures over the years. Here, he delivers a presentation at PLDC 2013 in Copenhagen.

4. At the recently completed Maggie’s Centre in Leeds, UK, Light Bureau looked to create a warm, welcoming lighting design that was complementary to the architecture of Heatherwick Studios, bringing a sense of comfort and relaxation to visitors in the process. (Pic: Hufton + Crow) 5. The Monument to the Fire of London on Pudding Lane required a delicate and sympathetic lighting design. As such, bespoke, low energy luminaires were sensitively integrated throughout, highlighting key architectural features while respecting the integrity of the historic landmark.

6. The Boiler House pavilion at Royal Holloway Univeristy saw Light Bureau use light as a means of presenting the architecture in an open and airy manner, accentuating the key architectural features of the site.

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Interview

talk to us, they have an understanding of what we

Looking to the future, Traynor believes that

things that we regard as important.

grounds in terms of its credibility as a standalone

and more responsible in what we do. I would like

This is thanks, in part, to the significantly

really has purpose, rather than something that

designers starting out now.

“I think now, with all the disruption surrounding

were available to me 22 years ago, there weren’t

of working, there’s a chance to rewrite the script,

that the lighting industry is in a good position

a really good opportunity.”

think that is because of the foundation laid by the

that is really important for Traynor going forward,

knowledge that we have now, and it’s way higher

approach is what it should be judged on, rather

“When I was hiring people 18 years ago, you

“A lot of people talk about the scale of the

background in lighting education, but now it’s

talk to one another about how many employees

become much more established and people are

we’ve got more people – I think that’s wrong. It’s

career that they’re getting into earlier. Where I was

good way, you’re doing good projects, the culture is

crude skill set, I think I probably would have been

more important to be good than to be big.

opportunity earlier.”

want to grow so that we can cover more territories

Light Bureau, Traynor will hope to use his position

we will grow, but we will only grow once we’ve

and positive approach for the lighting designers of

in a really good way and working really well as a

www.lightbureau.com

can do for them and how we would work, and the

lighting design as a profession will continue to gain

“I would also like to see us being more accountable

profession, or as part of a combined profession.

to see us doing more serious work, something that

increased opportunities available to young

makes someone’s project look pretty.

“When I look at some of the opportunities that

energy, sustainability, the pandemic and our ways

that many places where I could go and work. I think

and to be able to do that as Head of Light Bureau is

now because it’s become so well established, and I

Instilling this strong sense of culture is something

early protagonists. You take the level of skill and

as he believes that a company’s attitude and

than it was 20 years ago.

than its size.

wouldn’t expect to hire someone with a formal

business, but I don’t think that we should ever

quite unusual that you wouldn’t, because it’s

we have, and think that we’re important because

recognising sooner that lighting design can be a

much more important that you’re working in a

starting my business at the age of 32 with a fairly

really strong, the beliefs are all healthy; it’s much

better by 10 years if I recognised that it was a career

“I think because we’re a large organisation, we do

Nevertheless, as the newly appointed Head of

and open the doors to more marketplaces. I think

to foster a strong culture, healthy environment,

got a common direction and we’re doing things

the future.

cohesive unit.”

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One of the projects that Traynor is most proud of, the Yellow Pavilion, was created as part of the Irish Design 2015 initiative for the London Festival of Architecture.

Designed with distinctly different daytime and nighttime identities, Light Bureau used discrete, linear light sources to reveal the pavilion’s geometry against a glowing, saturated core. (Pic: Luke Hayes)

Ever-increasing Circles In the first of a series of articles following the activities of a growing number of sustainability practitioners within our industry, arc introduces the GreenLight Alliance: a new organisation with a mission to move towards a more Circular Economy.

A

s chairman of the GreenLight Alliance I recall

fondly regular evening discussions with fellow lighting designers and some like-minded

manufacturers, component suppliers and

clients turning into a more solid organisation in the second half of last year. Through our personal concerns and client requests for

information on products’ environmental impacts, we quickly reached a consensus on what we found lacking in our industry and how this should be addressed.

What?

“The stakes on climate change couldn’t be higher than they are

right now,” Biden’s climate envoy, former Secretary of State John Kerry said in January 2021. Every day evidence is mounting. The communities we serve are demanding change (a recent UN poll

concluded that 2/3 (even higher in EU, Canada and Australia) of

the global population consider it a “climate emergency” and would support significant changes). The Circular Economy is pivotal.

What do we mean by Circular Economy? The predominant economic

model illustrated in figure 1 is one of ‘take, make, waste’. This linear consumer model is known to be a large contributor to the climate crisis we find ourselves in the middle of.

Why?

The imperative on our industry to seek out the optimum balance

between cost, in-use energy, aesthetic and ergonomic designs is already accepted. There is some way to go, particularly when it

comes to harvesting the latest benefits of controls and sensors, but

this is territory we are relatively well versed in and able to quantify.

Emilio Hernandez, Chairman, GreenLight Alliance emilio@greenlight-alliance.com

052

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When it comes to the Circular Economy, understanding the impacts of embedded carbon, mineral finality, obsolescence avoidance and

Comment

Figure 1. RIBA design stages (Brief through to In-use) set out next to the Linear Economy and Circular Economy principles as they currently stand.

The process only enables a product orientated process such as maintenance, re-use and recycling. More engagement is needed between partners (contractors, designers and developers) to enable circular design considerations at briefing, design stages and their expanded uptake.

service logistics we are still in the foothills.

towards a metric that is universally recognised, trusted and sought-

legislation coming, like the Commission Regulation (EU) 2019/2020,

or any one country. Anything that can be done to accelerate the

There are some standards in place like the EN 4555x series and some which lays down eco-design requirements for light sources and separate control gear. There are some excellent independent

initiatives: the Lighting for Good Charter and the Society of Light

after. The clock is ticking. The issue is bigger than any one company

resolution of a common checklist and move to global adoption of the Circular Economy must be a good thing.

and Lighting’s Circular Economy Assessment Method (CEAM) in

What Can You Do?

name but two. But for lighting equipment and scheme designs, there

social media and email. Better still, engage as a GreenLight Ally.

their forthcoming Circular Economy Technical Memorandum to

is no single or agreed metric that one can direct a client, specifier, engineer or manufacturer towards. There is no universal measure that can be taken or a score of good or bad practice.

So how does this help a lighting designer illustrate to their client that a serviceable luminaire design is more environmentally responsible than one that isn’t? How does this help a luminaire manufacturer know if they should use the locally made plastic component or

the recycled aluminium one flown in from overseas? How does a

Facilities Manager know how to handle a luminaire at end of life?

How do they avoid replacing when they might upgrade instead? How does the end client demonstrate to shareholders or customers that

Get involved. At a basic level, as a supporter. Click and follow our Indicate your interest and join our forum. Regular meetings include

updates from specialists and industry bodies. Hear early on the latest news from movers in this area. Most importantly: share your own

experiences, your contacts, concerns and help us to shape the story.

Help us to get to the right destination as early as possible and make

the Circular Economy work for the lighting industry. It is an industry that collaborates better than many. We have an opportunity to do

some real good. Lead by example. Raise the bar. But there is work to be done.

they are building as responsibly as they can?

Our Mission Statement

possible, accelerate the creation of a broad, deep, rigorous and fair

lighting sector understand their role in adopting and promoting the

comradely exchanges between the different ongoing initiatives, even

We will work towards industry standards that are universally

raise awareness, to fact check and question. To stress test existing

discussion and education in circular lighting design & the circular

world. To applaud and promote vanguard examples and to be

www.greenlight-alliance.com

The GreenLight Alliance see its primary role being to aid and, if

The GreenLight Alliance will work together to help everyone in the

measure that can be universally applied. We envisage unilateral,

circular economy.

to nudge them where needed. To learn, collaborate and share. To

recognised, trusted and sought-after. We will also provide a hub for

initiatives, to scrutinise Circular Economy application in the real

economy.

watchful of cynical green-washing.

The goal is to avoid a drawn out, staggered and differing array of

metrics. Instead to ensure the best chance of optimising the journey

www.arc-magazine.com

053

comment

Figure 2. Different segments of the lighting industry working together toward a common goal.

The moment is now. Our industry is alive to the urgency.

Dave Hollingsbee, Stoane Lighting: “It’s leaning on an open door from a client point of view. We have recently had numerous requests for visibly worthy equipment. Not lm/w or Power Factor figures - customers that want to skip paint or have mismatched colours in order to convey to their clients that they put planet first. It’s vital that we seize upon this opportunity to drive genuinely better design and product and ensure it’s not just a brief era of lazy greenwash. “‘Visually honest, avoiding susceptibility to fashions and built to last. Designed for the Circular Economy’. This sort of mission statement should not be exceptional. It should be an assumption. No, of course we don’t suggest there is no room for fun and flair but never must we throw out equipment simply because its look went out of fashion.”

Greta Smetoniute, Michael Grubb Studio: “My grandmother was a geography teacher and a farmer. Since I was little she taught me about our intertwinement with nature and our dependency on its resources. She taught me to respect and to appreciate the world. During my career I’ve had the opportunity to learn about the ins and outs of the building industry, which currently go in the opposite direction to the system of nature.

I feel grateful to have had the chance to work alongside some clients in developing not only lighting products made from recycled materials, but also to establish a closed loop supply chain. I hope that, with the help of the GLA, we can share the experience learned so far and infect the world with circular economy buzz.”

Mark Ridler, BDP: “Having delivered a project that has the potential to be maintained sustainably, and at end of life, dismantled and reused, then someone at the end of the project needs to dismantle it and reuse it. There is no point having done all the spade work for it to be eventually binned. And this is a non-trivial problem.

There needs to be institutional will, not only in capital projects but in operation too.” (From SLL Light Lines Jan/Feb 2021) Hilde Sofie Olaisen, Zenisk: “The key approach to a more sustainable society is to reduce consumption.

I believe we need to aim for creating “classics”, that look good and are so pleasant and functional to use, that no one wants to exchange them or throw them away. Understanding the lifecycle and environmental impact of products is high complicated. The way impacts of, for example, raw material extraction is not communicated or talked about at all, is a warning sign. If one fixture can be kept in use for 10 years, instead of five, we can be sure to have halved its production impacts. That is a good and simple place to start!”

Carla Wilkins, Lichtvision Design: “Lighting designers are well placed between clients and the lighting industry, communicating with both to find sustainable solutions.” (From arc 119) Bob Bohannon, Lux Rapide & President of Society of Light and Lighting: “The Linear Economy model has two problems: one, it assumes we have infinite resources to extract; two, it assumes we can throw stuff away and that the earth has infinite regenerative power.

“We do this because this is what we have done for the last 200 years and because resources really did seem infinite. Importantly we do it because we don’t account for any environmental damage, without addressing that side of the balance sheet, it appeared to be the cheapest way to make and use products. To quote Mark Carney, ‘Why do financial markets rate Amazon as one of the world’s most valuable companies, but the value of the vast region of the Amazon appears on no ledger until it’s stripped of its foliage and converted into farmland?’

“We have to change this, thus in answering calls to ‘build back better’ I propose that lighting’s new mission will be Minimum Energy, Minimum Resource, and Maximum Comfort.”

Gé Hulsmans, eldoLED: “I fully support this initiative. Great to see that the lighting community gathers around lightening the impact on planet Earth, as resources are just not endless.”

Kevan Shaw, EFLA | KSLD: “Beware: If we are not watchful or engaged enough, a poor standard, a de facto proprietary accreditation will become established. An opportunity missed and potential millstone for all of us. As the knowledge and experience of us all in understanding the full environmental impacts of products we make, specify and use is growing and our knowledge changing, any standard must be flexible and regularly updated to reflect the changes in knowledge and the variation in market demand allied to other regulatory changes on this topic.”

James Morris-Jones, Lucent: “We’re really excited to see a coming together of likeminded professionals across the industry and with the work we have done over the last three years with ‘Lighting for Good’, have proven that with considerate design and careful selection of materials, it’s possible to make fixtures with a high efficiency and low percentage of plastic, which can easily be recycled and replaced during the lifetime of the luminaire or project.

“What we really need is for designers, contractors and end-users to challenge us on this and ensure this type of product isn’t niche or custom but becomes a standard.

We need to stop talking circular and start acting circular! As we have demonstrated, it is possible to deliver authentic, transparent and accessible circular lighting solutions today.”

Tim Bowes, Whitecroft Lighting: “We need to stop talking circular and start acting circular! As we have demonstrated, it is possible to deliver authentic, transparent and accessible circular lighting solutions today. To do this we believe in three key step changes: 1. Work with the supply chain to design and manufacture products to circular principles with third party accreditation; 2. Support the user to optimise the health and wellbeing benefits of light and ensure it is delivered throughout its life; 3. Through smart design and tools such as material passports the ‘circular hierarchy of re-use’ becomes the clear and obvious choice.

“To minimise the risk of greenwashing clients this has to delivered through collaboration, support and openness throughout the entire value chain.”

Matt Waugh, Michael Grubb Studio: “When working with project managers, we do ask what their intentions are for lighting equipment at the end of a project. We talk to clients about reusing, rather than disposing. This can help businesses form closer bonds with project teams and clients.”

Leela Shanker, Flint Collective NYC & Carbon Leadership Forum New York: “There is more to climate conscious lighting practice than reducing operational energy. To accurately measure the impact of lighting systems across their full life cycle, ‘embodied carbon’ needs to be included as a critical metric. We must work together to: identify gaps in data and policy; gather reliable information to facilitate informed creative and business decision-making; and adopt an internationally-recognised best practice approach to measuring and valuing our impact on our shared environment: built and natural.

“Momentum behind carbon conscious practice is coming from many sectors of construction. As a collegial, innovative, adaptable, global community, lighting has the potential to set a leading example in becoming a climate competitive industry.”

April Mitchell, Xicato: “At Xicato, we pride ourselves in creating quality products that offer complete end-to-end solutions that embrace today’s circular economy, however, there is much more work to be done. The GreenLight Alliance is a fantastic way to bring us all together with a single focus to provide a sustainable environment with industry standards for everyone at each step along the way, no matter the role of the organization/individual. We are in complete support of the GreenLight Alliance mission.”

This series will be curated by Roger Sexton of Stoane Lighting, roger@mikestoanelighting.com

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Right for Light Following last year’s devastating explosion in Beirut, lighting designer Manal Kahale has been working with Light Reach on Light for Lebanon, an initiative designed to bring light back to the city. She tells arc’s Sarah Cullen all about the project.

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ince the devasting explosion in Beirut in August 2020, which has been noted as

the most powerful non-nuclear blast on record, lighting designer Manal Kahale has been working relentlessly to bring

light back to the communities of the city to aid in its healing and repair.

arc Assistant Editor Sarah Cullen found out more about the

lighting initiative, Light for Lebanon, from Kahale and how

the journey to restoring power to the people of Beirut began.

Kahale first became interested in a career in lighting after

the desire to pursue numerous different career options as a

student. It wasn’t until a close family member sparked the idea of lighting that she investigated an education in the field. “In the 3,980 possible professions I wanted to pursue, none were loosely associated with lighting design. But that started to

change when my father began sharing article after article about how lighting design was making an impact on the world,”

explained Kahale. “The simplicity of it was so mesmerising.

You didn’t need a sea of concrete or a massive overhaul to

create something beautiful. All you need is a light and an angle.

“I went to a French school growing up in Lebanon, then to

the American University of Beirut for my Bachelor’s degree in Landscape Design and Eco-Management. After that, I went to New York City right away where I had applied to Parsons

[School of Design | The New School], hoping with every bone of my body to get in so I could be in the city of lights learning

about lights (as cheesy as it may seem now that I look back).”

After getting accepted at Parsons, during the summer between her two-year Master’s programme, Kahale worked a two-

month back-to-back window to gain more experience in the

lighting industry. It was during this time she was eager to “get

a sense of where I wanted to practice lighting after I graduated: in the US or in the Middle East”.

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women in lighting

“It’s only when you get into the world of design that you pay attention to the layers of design. Some of them, such as lighting, are an intangible aspect, malleable and adjustable to our wildest imagination.”

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Manal Kahale

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Her first work experience placement in lighting

playing with the idea of expanding the expertise in

interned for a month. Immediately preceding this

professional lighting design. They taught me how

was with Lumascence in Dubai where she

placement, she took an internship role at One Lux in New York for another month, before classes at

Parsons resumed. “Even if I didn’t have my answer yet, it made me feel good to have had a taste of

both lighting worlds as I finished my last year at Parsons,” she reflected.

After gaining her work experience in Dubai, Kahale understood that “Dubai had bigger plans for

itself than Beirut or any other Lebanese city, and it inspired me to urbanely modernise my home country someday as well.

“Honestly, it’s only when you get into the world of design that you pay attention to the layers of design. Some of them, such as lighting, are an

intangible aspect, malleable and adjustable to our wildest imagination. So, why not pursue a career that will help me materialise my imagination?”

Prior to her graduation at Parsons, Kahale became acquainted with Stephen Lees of HLB Lighting,

who helped her gain an insight into their offices

and work ethics. This was shortly followed by a job offer: “I quickly took the job at HLB’s office in Los

Angeles, where I spent four years with a great team working on over 25 projects.

“During my last year on the job, I was very lucky

having three mentors in the firm – Teal Brogden,

Tina Aghassian and Azusa Yabe – who each opened me up to new ideas and endeavours. I started

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the Middle East, where I knew there was a need for to study this kind of project, but circumstances made it that upon my return to Lebanon, the

revolution started and shifted my career path entirely.”

Kahale continues to receive help and support from

her mentors, including Aghassian’s involvement in Light for Lebanon as a fundraising ambassador.

“HLB is not only a high profile and reputable

studio, but also a school for lighting designers who wish to push the boundaries and improve each

other’s presence in the industry. Being my first

permanent position, it set the right benchmark for my future endeavours,” she explained.

Aghassian is also noted as one of Kahale’s top four lighting heroes she seeks inspiration from, not

just in professional circumstances, but in personal

too: “[She] is the heart. It’s all about the heart and

how far it can take you.” She also notes three other

female inspirations in the industry: “Teal Brogden: The feminine leader. Being around her is enough

to learn how to talk about lighting and how to earn respect as a woman. I still catch myself asking ‘What would Teal do?’.

“Azusa Yabe: The Brain. Watching her juggle

between life, work and still be on top of everything has always inspired me that we can have it all and still make the best out of it. And Nathalie Rozot: The Rebel. Challenging the normal attribution

1. As Kahale began rolling out the Light for Lebanon project across Beirut, she worked closely with the local fire department, installing solar powered streetlights in affected areas of the city.

2. Kahale and a team of volunteers who worked with the fire department. (Back L-R: Elizabeth Boulos, Ramzi Kahale, Mazen Deeb, Manal Kahale, Wael Ghawi, Sasha Abela, William Wehbe; Front L-R: Bilal El Hajj, Jad Mesheki, Ihab Farran)

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to the lighting world and showing me an entirely

trying to help residents feel safe at night without

needs as much attention.”

electric infrastructure, a collapsing economy and a

different world aside from the corporate one that The blast in Beirut last year that led to the

destruction of numerous buildings in the heart of

the city ignited a movement of younger generations to help those affected by the disaster. “The blast impaired the city’s electrical infrastructure and

plunged it into complete darkness after sunset,”

remembers Kahale. “It was only when I was heading down to Beirut along with all the young generations in Lebanon to try and save families, friends and

cultural heritage from the damage that I started

seeing young professionals create groups amongst themselves to give back to our country. This active

independent thrive we all felt inside inspired me to help out with lighting.”

As a direct effect of the loss of electricity, local

communities were facing safety and security issues, with citizens deprived of street lighting and public

space lighting as well as domestic interior lighting.

“I reached out to my former thesis professor at

Parsons, Nathalie Rozot, remembering how her

global charitable initiative Light Reach had supported communities in areas of disaster with a replicable solar lighting model. Within hours, we set-up to

collaborate on a new Light Reach programme - Light for Lebanon - to help revive Beirut.

“And ever since, we have been working full-time

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having to rely on a broken system, with a broken pandemic to top it all off.”

Using her educational experience, Kahale

incorporates all aspects of her Landscape and

Urban Planning techniques when approaching

new projects. “I like to look at the macro-scale

- analyse the context to create a solution unique

to the building, its community and the end user.

Then I get into the micro-scale, studying closely

the programme of the space, the wayfinding layer

as well as the materials and the different effects it

can receive, to finally proposing a layout that would make sense to the site itself, connecting fields involved in the project, in a uniform way.”

Light for Lebanon’s most immediate goal is to

procure solar lighting to residents directly affected by the explosion. In addition, solar streetlights

and solar security flood lights will be implemented in phases across the city’s affected areas. These

steps will help lay the groundwork for the team’s long-term plans for solar lighting products to be

repurposed and integrated into wider urban lighting masterplan initiatives and contribute to broaden the use of solar power throughout Beirut and in turn, Lebanon.

“We hope to achieve this by showing people that with all that’s going on, whether economically,

women in lighting

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“With all that’s going on, whether economically, politically or health-wise, there is always a solution to having a right for light.”

Manal Kahale

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politically, or health-wise, there is always a

on the ground in workshops or installations would

community involved helps create workshops that

have all our ducks in a row to take on a few different

solution to having a right for light. And keeping the allow residents to understand the models applied and hopefully replicate in other cities, making a larger impact when it comes to sustainable design and

economy solutions with a fossil fuel-free system.”

At the beginning of the initiative’s implementation in the community, Kahale noted their momentum

was slowed due to the lack of efficiency in the public sector, but once they yielded positive results, there

was something tangible to present to the residents.

“This helped us in picking up the pace of our

operations, as more and more neighbourhoods flocked to us for assistance.

“We measure our success by the number of smiles we put on people’s faces during hard times, and

we are fuelled by the potential positive changes to

come. We hope to lift 1,000 homes out of darkness

by Spring, paralleled by the objective we have for lighting up streets and entryways.”

Looking forward to 2021 and beyond, Kahale

encourages fellow lighting colleagues to support

the project, whether through funding or spreading awareness.

“We need all the support we can get to make it

happen with an impact. The biggest contribution would definitely be in helping us raise awareness

and funds. And after that, having individuals help

be something we would be looking for as soon as we locations in Beirut.”

Commenting on the current world of lighting design and her predictions for how the industry is moving forward, she said: “The lighting design world will become a necessity instead of a luxury.

“The complex layers of lighting will be changing

so fast, adapting to the world and the fast-growing

1. Kahale testing the solar floodlights in Ashrafieh.

2. Alongside the fire department, Kahale (left) worked with the military to help distribute solar lanterns to those in need.

3. One of the immediate goals for Light for Lebanon is to provide solar lighting for residents directly affected by the explosion.

4. Volunteer William Wehbe distributes solar, portable lanterns in Gemayzeh (Pic: Sasha Abela).

5. Kahale and a team of volunteers also delivered solar lantarns in Mar Mikhael (Pic: Tala Kahale).

technology. We will be going from IES to LTD plugins to fully immersive virtual reality programme

plug-ins. But this is the easy part in my opinion. The challenge would be standardising lighting design to

be able to cater with one set of progressing tools, the developed, as well as the underdeveloped countries.

“As lighting designers, we are mediators between what the end user wants and/or needs, and the

product demand; having the power to establish

trends. And the future seems to be heading towards a conscientious trend, hopefully (post 2020-21 disasters).

“The entire world has gone crazy, but crazy inspires

solutions and allows room for something new; this is what I am focused on.”

www.lightreach.net/light-for-lebanon @lightreachnet @lightforleb

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women in lighting

Still I Rise In preparation for International Women’s Day 2021, and its second anniversary, Women in Lighting has announced the launch of its inaugural WiL Awards. Here, they tell us more about the awards, and how you can get involved.

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020 was a year like no other. We

celebrate the things you achieved in 2020.

The Awards will launch as part of the WiL

never come our way before. We

to know and share them with the world. We

will be held on 8th March. The virtual event

schooled, we were unable to see our friends

did something special in 2020 under the

day to include three separate time zones.

take holidays. We dealt with illness and the

Supporters.

session, an Action session and a Social

had to deal with issues that had worked from home, we home

and family. We were unable to travel or

pandemic from our homes. We tried to keep our jobs and our loved ones afloat and also

They may be large or small but we still want want you to nominate people that you think categories of Achievement, Initiatives and Maybe it’s someone who supports you,

someone who inspires you, someone new to

- International Women’s Day event, which

will take place in three parts throughout the There will be an Inspiration session, a Project session to finish. The format will repeat in all three parts with different speakers. We have

ensure that our mental health didn’t suffer.

lighting, someone who had a great idea or an

changed our logo for this special event to

things in 2021.

and nominators can be from any gender

suffrage: purple, white and green.

We were inspired by this text from the

WiL project. Let’s get these special people

how to register can be found on the Women

Some of us are still dealing with the same But still we rose...

initiative that made a difference. Nominees

identity - as long as it fits the ideology of the

International Women’s Day 2021 website:

some recognition and together, acknowledge

own thoughts and actions - all day, every

Some of our ambassadors have agreed

“Individually, we’re all responsible for our day. We can choose to challenge and call out gender bias and inequality. We can

their achievements.

to create a panel to pick out some high

achievers, top supporters and favourite

choose to seek out and celebrate women’s

initiatives that we can honour in more detail.

an inclusive and more gender-equal world.

nominations to honour further, everyone

achievements. Collectively, we can create From challenge comes change, so let’s all choose to challenge.”

The WiL project continues to challenge but we also want to celebrate.

The WiL Awards are specifically to highlight the achievements of the WiL community

and its supporters. We want to seek out and

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Remember, although we will choose some

nominated is a winner. If you are nominated, you have made a difference in someone’s life and we celebrate you.

Tell us who rose above the challenges of

2020 and did something unique. Submit

your nomination online from 8th March International Women’s Day.

reflect the colours used to present women’s More information on the programme and in Lighting website.

www.womeninlightingcom

Pixy Authentically magnetic

PROJECT DETAILS US Olympic & Paralympic Museum, Colorado Springs, USA Client: The US Olympic/Paralympic Committee Exhibition Lighting Design: Available Light, USA Architectural Lighting Design: Tillotson Design Associates, USA Architect: Diller Scofidio + Renfro, USA Architect of Record: Anderson Mason Dale Architects, USA Exhibit Design: Gallagher & Associates, USA Photography: Nic Lehoux

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project

Olympic Spirit The recently opened US Olympic and Paralympic Museum has been expertly designed to showcase Team USA’s illustrious history in an inclusive and accessible manner. Lighting designed by Available Light and Tillotson Design Associates helps to create this inclusive atmosphere.

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1. The US Olympic & Paralympic Museum is wrapped in more than 9,000 folded, anodised, diamondshaped aluminium panels, each unique in shape and size. Tillotson Design Associates illuminated the façade in a soft light, allowing the building to glow against the Colorado landscape.

2. Rather than using big washes of light, Available Light opted for large numbers of “small paint brushes of light”, to effectively direct light where it was needed, without intefering with the exhibits themselves.

3. In the atrium space, Tillotson Design Associates hoped that the brightly lit walls would help to emphasise the building’s fluid architectural shape.

4. In instances where the exhibits feature video projection, the lighting designers at Available Light worked to create a complementary scheme that would not interfere.

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S

ituated at the base of the Rocky

anodised, diamond-shaped aluminium panels, each

and Paralympic Museum is a

wraps four overlapping, petal-like volumes that

Mountains in Colorado, the US Olympic

unique in shape and size. This aluminium “skin”

monumental tribute to the efforts of the

spiral around the internal structure. Each metallic

United States’ Olympic and Paralympic athletes.

panel is animated by the extraordinary light quality

designed by Diller Scofidio + Renfro Architects, with

and shade that give the building a sense of motion

Associates, will act as an anchor for Colorado

This is complemented by an artificial lighting

a new axis bridging the city’s downtown district to

were brought on board by Diller Scofidio + Renfro.

Inspired by Team USA’s inclusive values, the

Design Associates, explained the design concept for

nation’s achievements in both Olympic and

challenged the design team to create a connection to

accessibility in mind - its dynamic, spiralling form

Beautiful Park as extensions of the museum site.

continuous path. This structure and form means

unique form of the building, we knew we wanted the

in the world, ensuring visitors with and without

also knew we wanted the building to have a subtle

This experience, with 20,0000sqft of museum

recognisable nighttime presence while also being

lighting design by Available Light - looks to

site.”

competition through the lens of the athletes who

path through the exterior site, which resulted in

exhibit design team that the experience will “forever

team sought to make the path seamlessly blend with

dedication, motivation, determination and sacrifice

they faced.

Externally, the museum is a glowing, angular

the view from Vermijo Ave, across the site and to the

Spanning 60,000sqft, the inclusive, accessible site

in Colorado Springs, producing gradients of colour

architectural lighting designed by Tillotson Design

and dynamism.

Springs’ new “City of Champions District”, forming

scheme created by Tillotson Design Associates, who

the America the Beautiful Park.

Megan Trimarchi, Senior Associate at Tillotson

museum is the first to be dedicated solely to the

the building’s striking exterior further: “The brief

Paralympic Games, and has been designed with

Vermijo Ave, the bridge, and the America the

allowing visitors to descend the galleries in one

“After seeing the selected façade material and

that the museum ranks amongst the most accessible

building to have an overall soft glow at night. We

disabilities can share the same common experience.

lighting effect, resulting in an iconic and

exhibits designed by Gallagher & Associates - with

mindful of the relatively dark context around the

immerse visitors into the intensity of high-level

The continuous ramp also doubled up as the egress

have trained, competed and won. It is hoped by the

very specific light level requirements, as the lighting

change people’s perception and appreciation for the

others on the site – one of the main challenges that

that all Olympians and Paralympians share”.

“The architect also had a strong desire to maintain

structure comprised of more than 9,000 folded,

mountains beyond. This meant keeping certain

project

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areas clear of light poles, so pole locations

Sculpturally this is where the spiralling

employ very low light levels. The

make this happen.”

space, so we wanted our lighting to

level dimming to achieve the required

façade detailing lent itself to a soft

“We also wanted to conceal fixtures so that

“For a museum like this with such an

found that the aluminium panel façade

was visible and not the fixture itself. This

that there are different lighting practices

softly floodlit from a distance, so we

because the walls are sloping in two

enjoy collaborating with other teams, and it

mast poles on each side of the museum to

atrium walls are highly visible from the

Available Light to bring this project to life.”

“The challenge was that the site boundaries

the space.

stretches across three floors, visitors take an

locations, so we had to get creative. In some

washer track heads mounted on the

spiralling sequence of galleries takes them

street lighting poles.”

straight down despite the sloping mounting

Paralympic Games, while a number of

worked very closely with the architect

also helped minimise views into them while

to try their hand at the various training

given the freedom to come up with their own

walls. The effect is a truly magical space, and

through over the years.

striking piece of architecture. Trimarchi

The atrium was also an area where

New York studio explained the lighting

light fixtures into architectural details

that of Available Light, who developed the

“Because of the very nature of the Paralympic

architecture rather than the light fixtures, so

Trimarchi explained further how the two

was to create a world-class visitor experience

detailing, is essential.”

cohesive lighting experience: “We had

and accessibility techniques and guidelines.

Tillotson Design Associates worked on the

transition zones between public space and

also interested in creating an environment

continued: “We wanted the atrium to be the

our lighting required a sensitivity to the

the high energy and intensity common to the

and heights were constrained in an effort to

architectural forms culminate to one central

architectural lighting required excellent low

Closer to the building itself, the unique

emphasise that.

flexibility on site during programming.

illumination, as Trimarchi explained: “We

when looking up, only the light on the wall

extensive exhibit component, it is typical

material captured light beautifully when

was particularly challenging technically,

working on different aspects – we always

arranged LED floodlights mounted to high

directions and the upper ceiling of the

was certainly a pleasure working with

achieve this effect.

gallery floor viewing platforms overlooking

On entering the museum space, which

and areas within key views limited our pole

“For this reason, we used individual wall

elevator to the atrium’s “peak”, where a

cases, we even mounted façade floodlights to

clerestory windowsills so that we could aim

through this history of the Olympic and

Trimarchi and the Tillotson design team

surface. Tucking the fixtures up in this spot

interactive exhibits give visitors the chance

throughout the project, although they were

still allowing the light to spill down the

methods that Team USA athletes have gone

schemes that would complement such a

we are really proud of how it turned out.”

Ted Mather, Principal of Available Light’s

continued: “Our designs typically integrate

Tillotson’s lighting design overlapped with

concept for the sprawling museum spaces:

whenever possible, so the emphasis is on the

lighting for the museum’s exhibition spaces.

movement, one overarching goal of the client

working closely together, particularly for

studios worked together to create one

presented with state-of-the-art inclusivity

Alongside the remarkable building exterior,

several discussions, mainly about the

The US Olympic/Paralympic Committee was

lighting for the interior atrium. Trimarchi

gallery space where our scopes meet. All of

that was uplifting, inspiring, and reflected

heart of the project with brightly lit walls.

adjacent exhibit spaces, which typically

best athletes in the world.”

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project

“We wanted the building to have a subtle lighting effect, resulting in an iconic and recognisable nighttime presence.”

Megan Trimarchi, Tillotson Design Associates

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Available Light therefore hoped to design a

create a scheme that was suitable for the

clean, bright white light throughout – with its

integral” to the wider building design. “Diller

height, etc, while using saturated colour in the

daylight into the exhibit spaces and allowing for

and excitement”.

Colorado landscape,” Mather continued.

brought to life, mainly through crisp and clean

uplifting. Creating an environment that gracefully

“Because many artefacts were light sensitive, we

video projection was used, or light sensitive

and tight beam spreads; by creating contrast with

challenging, but was ultimately very successful.”

reflective of the power of sport, was made possible

building’s angular structure and constantly

Accessibility was also a key parameter for the

that such unique geometry made his job harder, he

taken by the lighting designers to ensure that the

demand your best effort, and force you to come up

environment. This was done, Mather said, by firstly

“It’s Occam’s Razor – find the simplest way to

“Objects and graphics always reflect light and

done the right thing.”

angles, consequently we are sensitive about where

the building architects to create a lighting system

directed away from where visitors’ eyes are likely

unfolding exhibit design, while they also

a lower level – in a wheelchair, for example – had

integrating lighting into exhibits where possible,

Throughout the project, Available Light worked

building infrastructure did not align with the

Associates, as well as Diller Scofidio + Renfro to

As Mather described, the museum space comprises

lighting scheme that created “the appearance of

exhibition spaces, while also remaining “highly

connotations of honesty, transparency, truth,

Scofidio + Renfro had a strong interest in bringing

periphery to emphasise passion, diversity, energy

views to the outside and the extraordinary

Mather continued that this inclusive concept was

“The interiors were meant to be light, airy and

application of colour and angle. He explained:

transitioned from daylight to darker areas where

used a limited number of fixtures, at sharp angles

artefacts were displayed, was complex and

the background, the impression of intense light,

This challenge was complicated further by the

without causing undue damage to the artefacts.”

shifting angled ceiling planes. While Mather felt

project as a whole, and as such extra measures were

added: “But like a lot of great art, challenges

lighting was tailored to a more inclusive, accessible

with very thoughtful solutions.

being “aware of this critical point of view”.

solve a complex problem, and you’ve probably

cause glare when viewed from certain incident

Mather explained that Available Light worked with

a fixture is located, so the resultant glare is

that was flexible enough to accommodate the

to be. In this case, the point of view of someone at

collaborated with Gallagher & Associates on

to be regarded as a high priority.”

particularly in instances where the geometry of the

closely with exhibit designers Gallagher &

exhibits.

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1. In many instances, Available Light integrated lighting into exhibits, particularly in locations where the geometry of the building infrastructure did not align with the exhibits.

2. Throughout the project, Available Light worked closely with exhibit designers Gallagher & Associates, as well as architects Diller Scofidio + Renfro to create a scheme that was suitable for the exhibition spaces, while remaining “highly integral” to the building design.

3. The overarching goal in the design of the museum, both architecturally and in the lighting design, was to create a worldclass visitor experience presented with state-of-the-art inclusivity and accessibility techniques and guidelines.

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“It is about using a large number of small paint brushes of light instead of big washes. Those smaller strokes allow us to direct focus to what is important.”

Ted Mather, Available Light

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project

1. Tillotson Design Associates found that the aluminium panel façade material captures light beautifully when softly floodlit from a distance.

2. An integral component of the lighting design was for it to be in keeping with the inclusive and accessible nature of the museum.

For Available Light, this meant being aware of incident angles and resultant glare, with the point of view of people at lower levels - for example, wheelchair users - regarded as a high priority.

3. The building’s angular structure and constantly shifting, angled ceiling planes provided a challenge for Available Light when illuminating the exhibition spaces. But while the unique geometry was a challenge, Mather believes that such challenges can lead to more creative, thoughtful solutions.

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a range of light sensitive artefacts, as well as

into fewer trips. It also greatly delayed the site

matters for the general exhibit lighting, however,

followed months after the interior was finished

overcome this. “Control is key. It is about using a

Despite these unforeseen constraints, both

instead of big washes. Those smaller strokes

were able to create a combined lighting scheme

surfaces, control light levels on artefacts, and

museum, and the building itself.

high level of lighting control brings a sense of

effects evolved over time, our initial objective of

As with any project from the past 12 months, the

exterior and brightly lighting the central atrium

completed at a very unusual time in our history,

through to the final design,” said Trimarchi.

have been able to work and interact with each

both inside and out, which was our primary goal

This was certainly no different for Available Light

Mather added: “I think we were quite successful

their own struggles in working through the

effectively supported the content. The spaces

“The impact we felt was mostly on executing the

distinct in character. The balance between

worked in shifts from 2pm to midnight for focus

exhibit elements is refined and graceful.

end of the day, we would take photos of our

architectural and exhibit design teams challenged

comment, since they were not yet on site. That

thinking designs that brought all our skills and

a night, since the camera sees light very

required to execute the design truly honoured the

what it looks like in person, not the way a digital

www.availablelight.com

areas with video projection. This can complicate

and façade lighting portion of the project, which

he explained how the design team was able to

due to delivery delays.”

large number of small paint brushes of light

Tillotson Design Associates and Available Light

allow us to strategically avoid video projection

that showcases both the exhibits within the

direct focus to what is important,” he said. “This

“While the detailing and execution of the lighting

drama and gravity to the moment.”

softly lighting the striking structure from the

US Olympic and Paralympic Museum was

as the genesis of the spiralling form carried

with Covid-19 impacting on the way that all of us

“The lighting emphasises the architectural form,

other.

for this project.”

and Tillotson Design Associates, who each had

in creating a sense of drama and energy that

pandemic.

flow well visually, but different galleries are

final on-site design work,” Mather said. “We

artefacts, projection surfaces, graphics, and

to reduce overlap with other contractors. At the

“Necessity is the mother of invention – the

progress and email them to the client for

us with innovative technologies and forward-

required Photoshopping about a hundred pictures

talents to bear. The coordination and cooperation

differently than your eye – I would adjust them to

Olympic spirit!”

sensor sees light and colour.”

www.tillotsondesign.com

Trimarchi added: “Covid certainly complicated

our final punch listing and focusing, which ended up being done remotely and condensing our work

lighting specified Alphabet/Ledra Brands Zeta750 Bega 7068 Bega 77639 Bega 88064 Bega 99853 Birchwood Lighting Kelsey BK Delta Star Chroma-Q CHCONE100RGBA Erco Optec ETC Source 4 Mini LED Feelux Monorail track with spot and flood system Gammalux GB34 Ganton GT12 Ganton GT56 Ganton PR16 Ganton PR26 Juno Lighting Pendant track Juno Lighting T844 track head LED Linear Hydra Linear LED LF Illumination 9801 Litelab Jewelers Series AR111 Lumenwerx SQUPD Luminii RGBW Tape Light Lumisheet Donbu Lightec LLP12 Luxam LED track Luxam Mini fixture track head LSI Pendant track LSI Recessed track LSI 260 track head LSI 230 track head Martin Rush MH Beam FX Pinnacle Converj Prescolite A2LED PRG/RHA RHA-LED.P.120 Selux Avanza 600 Soraa SR111 Targetti Keplero Mini Zoom USAI B4RAF USAI F32FC1

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073

The Halfway House Fusing architectural lighting with theatre and public realm lighting, Satu Streatfield and her lighting team created an immersive, all-encompassing lighting scheme for the site-specific theatre piece, The Halfway House.

A

lthough the link between theatre

Shows and performances are developed using

design is a well-worn path, with many

runs months of dance, improvisation, role-play

lighting and architectural lighting

in the architectural lighting design

world starting their careers in stage lighting, it is rare that the two typologies overlap in one all-encompassing project.

This was the case for Satu Streatfield and her team

when it came to illuminating The Halfway House, a

‘devised theatre’ techniques, while Ayllon also

workshops and theatre games with performers in situ to gradually develop their characters and the

narratives. Research into the history of the site, its urban context, and past uses and users, heavily

influences the role-plays and the narratives. This means that the story is tailored to, and emerges

site-specific, immersive theatre piece that was

from, the building and its history. In the case of

campus on Southampton Row in Holborn, London.

much of the conceptual, physical and logistical

devised and staged in the old Central Saint Martin’s The piece was created by Persona Collective – a group of creatives led by theatre director Rocio

The Halfway House, Covid-19 inevitably drove

aspects of the performance too.

The narrative for The Halfway House revolved

Ayllon – who were invited by arts charity The

around three storylines – The Porter, The Maids

at their Koppel Project Campus, which was

Halfway House, a fictional hotel. The building and

Koppel Project to develop and stage a theatre show conceived as an experimental, cross-disciplinary education and arts facility in the former Central Saint Martin’s college.

Ayllon established Persona Collective in 2017 as a

not-for-profit community interest company that would serve as a vehicle for creative practitioners from design, art, photography, film-making, music and theatre to collaborate on cross-

disciplinary, site-specific theatre projects. The collective seeks to involve local communities, including both amateur and professional

performers, in co-creating its shows, while also using buildings and spaces that are either

overlooked or at risk of slipping from living memory.

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and The Resident – each unfolding in the titular its residents are stuck between two worlds,

paralysed by nostalgia and slipping into real and fabricated versions of their past, but equally

seduced by and drawn into the absurdly ill-fitting and new reality of a ‘luxury’ hotel, which is in the process of being constructed but already feels extremely makeshift, seedy and tired.

The three storylines run concurrently, overlapping as audience members follow each story in and around the building.

Streatfield explained further how the lighting concept for such an immersive, interactive

performance was created: “The piece was site-

specific, so lighting-wise the first thing we did was

spend a lot of time in the building, exploring inside

project

PROJECT DETAILS The Halfway House, London, UK Client: The Koppel Project Lighting Design Leads: Satu Streatfield, UK; Jack Wates, UK Lighting Design, Operation & Technician Team: Laura Arroyo, Gaia Crocella, Steve Lowe, Luciana Martinez, Tom Wheeler, Alice Wilson, Thomas Blackburn (The Storm Room) Show Director: Rocio Ayllon, UK Photography: Karolina Burlikowska & Finn Boxer

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1. The site-specific show transformed the former Saint Martin’s College into an immersive theatre, staged around a hotel known as the Halfway House.

2. The show began on the surrounding streets, and utilised a lot of the existing public realm lighting, along with architectural and theatrical lighting elements that were hired, donated, or purchased second hand from eBay. 3. Audience members followed three separate storylines throughout the building, in many instances observing scenes through windows.

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and out, sketching, photographing and filming it

juxtapositions not only for the designed lighting

labyrinthine place and, during our first couple of

through the workshops.”

she said.

lighting team kept their ideas “pretty loose and

made – that we found in some of the rooms and

particular ideas in the knowledge that they could

no lighting at all, or glary bulk-head lights that the

such, Streatfield sat in on performance workshops

their building works. But even those spaces were

around with basic effects of light and dark, colour

place was a real Frankenstein’s Monster of

the performers would respond”.

building itself as a real character and major

involved just playing and improvising with light as

From here, Streatfield started to formulate rough

[Ayllon] and our photographer, Karolina

even arrived ‘on set’. One of the key elements that

art, photography, music, architecture, and in

both interior and exterior lighting.

mindset, atmosphere-wise, as the narratives

down onto the street that we really wanted to make

Most of the real lighting design work, Streatfield

involve scenes both inside and outside, with views

process, once the narratives had almost taken

realms.

and following the performers through their scenes

was the light spilling into the historic Lethaby

building upon those early ideas inspired by the

streetlights pouring through windows and filtering

lightscapes emerged in parallel, feeding off and

these all formed really important inspirations and

exciting way to work – listening to the soundtracks

at different times of the day and night. It’s a huge,

effects but also for certain narratives that emerged

months there, it was almost completely empty,”

In the early design process, Streatfield and the

“The lighting effects – both natural and man-

minimal”, not getting too attached to any

corridors were already beautiful. Other spaces had

change as the stories and characters evolved. As

construction company had introduced as part of

to gauge the progression of the narrative and play

really inspiring because they were so jarring – the

and focus “to see if they felt right, or to see how

atmospheres, details and styles. We saw the

“It was a very fluid, iterative dialogue and really

protagonist in the show.”

part of the workshops,” she recalled. “Rocio

ideas for the lighting, before the performers had

Burlikowska, would feed us references from fine

she sought to incorporate was the combination of

particular cinema, to get us all in the same kind of

“There were really striking views from the building

started to take shape.”

use of, so we decided early on that the show should

continued, came towards the end of the workshop

between exterior and interior, public and private

form. “At that stage, it was really about watching

“One of the most inspiring existing effects on site

to develop and refine the lighting concepts,

Building from Southampton Row. The light from

existing architecture and context. The sound and

in through trees, car headlights flashing past –

supporting each other. It was a really inspiring and

project

“Dressed in black, wearing our face-masks, hiding in doorways and glancing at stopwatches, it sometimes felt more like taking part in a heist than doing theatre show lighting.”

Satu Streatfield

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in situ, even without any performers, was a

in the historic, listed Lethaby building that

character of light that could emerge.”

almost intimidating,” Streatfield continued.

really powerful catalyst for envisaging the

Throughout the performance, the variety in

scenes and storylines called for a broad range

of lighting scenarios, some relatively natural,

became that landmark and common

“It was so spectacular that it really

narratives unfolded.”

demanded a lot of love.”

The Storm Room was conceived as an

and others more abstract or ethereal.

artificial lightning storm that would occupy a

dialogue and were conceived as more overtly

Lethaby’s iconic glass dome as a “mediator

“Some scenes involved very little or no

dreamlike spaces, with light creating an

amorphous perception of space and evoking characters’ moods or echoing the

movements,” Streatfield explained. “In

others, we kept the lighting very naturalistic and still, putting all the focus on the performers’ subtlest expressions, movements and dialogue.

“In other rooms, we started with

unremarkable-looking light from familiar sources, which would then be oddly

juxtaposed or begin to distort somehow to give that sense that everything was a bit

off-kilter and unstable. A makeshift hotel

room was lit with floor-standing lamps, but these were supplemented with fill-light filtered through a fan, which we slowed

down at points to give the light a subtly-

central space in the building, positioning

between body and storm”. “The concept was to produce a piece of magical realism as a

place in which a storm was forever raging.

The immaterial characteristics of the storm – rain, thunder and lightning – would

become permanent features of the room,” Wates explained.

The “storm” was designed to give the sense that it was continuously moving –

approaching, departing, and climaxing in moments where lightning would strike directly overhead. The lightning, and

associated thunder, was programmed with a randomiser to ensure that each strike was unpredictable, so that no one – actors or audience – could predict when it would strike.

“The Storm Room was a really important

nauseating, shuddering quality.”

part of the show,” continued Streatfield. “It

was the Storm Room, a stand-alone light and

space, but also be visible from other rooms

The central focal point of the performance

sound installation created by fellow lighting

designer and light artist Jack Wates. “On our first visit to the campus there was one room

creating landmarks. The Storm Room

we found so beautiful and magical that it was

needed to be a really powerful, immersive

and corridors around the building complex.

“In urban design we refer a lot to Kevin

Lynch’s ideas about mental mapping and

reference point, around which the different The Halfway House as a performance

spanned across the building and surrounding

streets, with a myriad of locations and spaces that needed illuminating. This variety meant that the performance became one of the

most “logistically complex” projects that

Streatfield has worked on. Add on top of that a very small budget, and the impact of

Covid-19 and it became a very challenging experience.

“In all there were around 35 different spaces to light, some with a number of different scenes and transitions,” Streatfield

explained. “The campus is large and its layout complex. It has been disused for years, so some rooms had no existing

lighting in them, and others just had a single or no working power outlets. Our theatre

lighting technician/designer, Steve Lowe, did an amazing job running cables and getting lights where we needed them.

“We had to be very resourceful and creative with the existing lighting. We started by going through every space and filtering,

blacking-out, shielding and re-directing

existing lighting to transform those spaces

without having to add any new lighting at all.

We then added accents where needed, and

designed a lot of the spaces that the audience

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077

project

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wouldn’t necessarily walk though, but would

applications were also used, from existing public

building, seeing them through windows or slightly

theatre lighting.

“We then put our main resources, equipment-

coherent show is something that Streatfield feels

would spend more time, and some of that kit had

we engaged people from different lighting

full use of it.”

different experiences and understandings of

wasn’t possible for the lighting to be pre-

“It wasn’t straight theatre, because there was no

any scenes requiring lighting transitions needed a

course all the tech, cues, transitions and response

plain sight, dressed as a member of the cast, and

was an immersive, promenade show, but we

“All of the lighting operators had their own

we were working within a very strong, existing

with some staying put and operating one or two

“Principles of architectural lighting – including

scene to another via back routes and stairs to avoid

became crucial in creating a strong sense of space

“Every show would open with two of us

Streatfield added that the building’s urban context

box on the corner of Southampton Row and

show opens in the street, where public

the building, we would have about three minutes to

the flashing lights of police cars and ambulances

opposite side of the building, ready to light another

This then extended for scenes inside the building

hiding in doorways and glancing at stopwatches, it

spill-light through windows from the surrounding

than doing theatre show lighting.”

Utilising the surrounding urban lighting, along

also meant that a multitude of different lighting

building, proved to be essential, as the lighting

nevertheless experience on their route around the

realm/urban lighting, to architectural lighting and

open doors.

However, fusing these various typologies into one

wise, into the main scenes where the audience

came “very naturally”. “Aside from the fact that

to travel between rooms during the show to make

backgrounds, there was a demand for each of these

On a technical level, the location also meant that it

light,” she said.

programmed for each performance, meaning that

clear stage, backstage and auditorium, but of

lighting operator in situ – sometimes hidden in

to narrative needed theatre lighting sensibilities. It

other times hiding under tables or in corners.

weren’t working with a blank, black-box space –

choreography and timelines through the space,

architectural context.

rooms throughout, and others ducking from one

Richard Kelly’s elemental qualities of light –

crossing the audience’s path,” Streatfield recalled.

and context.”

spotlighting a character on the street, by the phone

also became an integral part of its character. The

Theobalds Road. As soon as the audience entered

streetlighting and the passing lights of traffic and

pack up and quickly and quietly rush to the

became fundamental components of the lighting.

scene. Dressed in black, wearing our face-masks,

as well, with lighting designed around that

sometimes felt more like taking part in a heist

environment.

The various elements and locations of the show

with what existing lighting there was within the

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1. As lighting wasn’t able to be preprogrammed for each performance, any scenes requiring light transitions needed a lighting operator in situ - either dressed up as cast members or hiding behind furniture, to illuminate the scene.

2. The central focal point of the performance was The Storm Room, a standalone light and sound installation created

by Jack Wates.

3. Because of a minimal lighting budget, Streatfield and the lighting team had to become very resourceful, utilising existing lighting where possible, and only adding accents where needed.

project

team had an incredibly small budget to work

wonderful virtual sketchbook of initial ideas,

were either donated or, as Streatfield explains,

collages and music compositions, all based on

crew’s homes, eBay and even Poundland”.

historic texts and research.”

from Enliten, who donated a lot of colour and

the show was able to go ahead. And while the

fanciest bit of kit we used – an ETC D60 – as well

with the audience after each performance,

without which we would have had very clunky

very positive feedback.

“One of our brilliant producers and lighting

she said. “Many commented on really enjoying

works at Shakespeare’s Globe, so they very kindly

buildings. One man and woman were moved to

fittings. Stoane Lighting and iGuzzini also very

However, at the moment there aren’t any plans

and old samples and donated various luminaires,

measures are eased, and due to the site-specific

“I also bought an old 2000W follow-spot, which

show will be transported to another venue.

stand and spare lamps, which I was pretty

from the place, the performers involved and the

Alongside the minimal budget for lighting

it won’t be repeated,” Streatfield concluded.

implemented in March of last year severely

volunteered hours by a fantastic team, and we

show. Theatre workshops had to be moved

it. We did film each route and scene, however, so

film several hours of footage on site on the eve of

open it up to a much bigger audience. Rocio is

videos and tasks that participants could respond

spin-off for one of the show’s characters too.

our ways of working and try to devise site-

but we will have to find a suitably interesting

mean the group collectively built a rather

www.personacollective.co.uk

with. A large portion of the lighting fixtures used

videos, dances, films, photographs, texts,

“borrowed, bought and scavenged from cast and

these video-glimpses into the site and various

“We owe a real debt of gratitude to Paul Simon

It’s all the more impressive in that respect that

diffusion gels and blackwrap. He also lent us the

production team was not able to properly meet

as several Alpha Pack Zero 88 portable dimmers,

Streatfield revealed that they did receive some

transitions.

“A lot of people said it was like being in a film,”

operators, Alice Wilson, knew someone who

the way the show allowed them to experience the

lent us some filters and redundant tungsten

tears, which I think was a big compliment.”

kindly had a rummage through their warehouses

for a repeat performance when lockdown

lamps and components.

nature of the narrative, it’s unlikely that the

we nicknamed Mable, for £90 on eBay, including

“The show’s narrative and scenography emerged

chuffed with!”

very particular circumstances of the pandemic, so

equipment, the lockdown measures

“It was a huge amount of work, with hundreds of

hampered the planning and development of the

were gutted that relatively few people got to see

online, while show director Rocio Ayllon had to

there will be a film released this year, which will

lockdown, just so the production team could post

also hatching plans for a short film – a kind of

to. “It was a very difficult process – to reinvent

“There will be another new show eventually too,

specific theatre, without being on site. But it did

venue first…”

080

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The show culminates with the spectators walking out onto a stage to find the cast members sitting in the audience, observing them.

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210115_Publicite_Technilum_MondoArc.indd 1

15/01/2021 17:19:46

Landmark Status Rogier van der Heide examines the extra efforts to which lighting designers need to go to effectively and sensitively illuminate our heritage monuments, with some striking examples.

S

ome call them “monuments”, others say

“heritage” or simply “historic buildings”.

Either way, they are part of our cities and

villages and they link our understanding of the present to our collective memories of the past.

Monumental buildings form a critical part of

the cityscape. They are often beautiful to look

at, they provide your city with uniqueness, charisma, and character, and many of them still function remarkably well, making them a testimony to sustainable building.

Those historic structures, that simply seem to have been there

forever, are important for a city to make its citizens feel at home, to

create destinations and navigational beacons, to get attached to and to be fond, or even proud of. Who will ever forget the expression of

devastation on the faces of the eye witnesses when the Notre Dame

of Paris was on fire? For many people, a piece was ripped out of their

heart and it was not the cathedral that caught fire, but a whole nation.

The economic relevance of monumental buildings is obvious, too. In European cities – the capitals of the “Old World” after all – historic buildings form a key attraction. A major experience that delights tens of millions of visitors in every city, every year. Their images

– by day and night – are broadcast all over the world on Instagram

and in the digital photo albums of people everywhere. Chances are

slim that Apollodorus of Damascus – the architect of the 2,000 year old Pantheon in Rome, would have thought of that! Good historic buildings may change their function over time, but they remain relevant. It is this relevance that deserves great, imaginative

illumination, so those structures can perform their much-needed role in today’s society.

Fortunately, there are more and more lighting schemes of historic

buildings that recognise all of the above. Lighting that links historic

buildings to their environment rather than detaching them. Lighting

that is like a narrative, telling you what you see, by highlighting details and unexpected elements of a façade. Lighting that demonstrates

respect to a building that has been watching the city grow and change, and that proudly endures, and stands the test of time.

Eleftheria Deko’s lighting of the Acropolis is a fine example of that.

Though it was featured in much greater detail in the previous edition of arc magazine, it is worth mentioning again that Deko’s lighting is fantastic.

The iconoclastic poet Kostas Karyotakis wrote in 1920: “The

Acropolis, as a queen up there, wearing the scarlet sunset...” If you have visited Athens you’d agree it’s nothing less than that.

To me, the Acropolis tells the story of civilization. What better could the lighting designer do than connecting the Acropolis’

most important building – the Parthenon – to the city of Athens

as it is today? And how she did! By lighting the rock that elevates the Parthenon over the city, a genius gesture that is intuitively

understood by all. The result of unconventional thinking, but more importantly, of a profound understanding of the nature, the story, and the cultural relevance of the monument at hand.

Another recent example of outstanding lighting of a historic site

is Charles Stone’s illumination of the historic façades of the Bund waterfront in Shanghai. A collaboration between Fisher Marantz

Stone and Uno Lai, the scheme aims to be “light for the people” as Stone explains it. What he means is that while the lighting clearly

shows the history of the site and its 1930s façades that all remarkably survived, the whiter light firmly positions the Bund in the future of Shanghai. The lighting designers also wanted to show the different kinds of stone of the 27 façades, and reveal those through subtle

shifts in colour temperature. It is light that tells a story: the story

of a harmonious waterfront, where delicate differences contribute Rogier van der Heide, Lighting Designer (Pic: Erik Hijweege)

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to a holistic approach, as a juxtaposition to the “visual density”

and chaotic cacophony of the Pudong district that is for many of us “Shanghai as we know it”.

Comment

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1. The Palais Hansen in Vienna, Austria. Here, van der Heide praises the lighting design by Dan Hodgson of acdc, for bringing an “incredible subtlety” to the façade, without it becoming lost in the wider streetscape. (Pic: Faruk Pinjo) 2. The monumental re-lighting of Shanghai’s Bund district by Fisher Marantz Stone pays homage to the classic 1930s façades with a warm white light that “juxtaposes the visual density and chaotic cacaphony of the Pudong district.” 3. Designed by Eleftheria Deko, the new lighting scheme of the Acropolis of Athens is an excellent example of lighting being used respectfully to showcase the cultural significance of landmark monuments. (Pic: Gavriil Papadiotis) 4. By creating a “less monumental” lighting scheme for the Netherlands’ Rijksmuseum, van der Heide’s lighting scheme better embeds the “building image” of the museum into its wider environment. (Pic: John Lewis Marshall) 5. The beautiful façade of Milan’s “Palace of Post” received a makeover from Niteo, highlighting its intricate details and revitalising the building as it was renovated into a Starbucks.

These two projects demonstrate that the lighting of historic buildings

beautifully. And moreover, just like their previous function, their

effort to learn, and to discover the true meaning, function and role of

The Milan “Palace of Post” has a gorgeous façade, and the lighting

lighting engineers and project managers. And once you understand,

contrast and sparkle, to give the building a makeover after it became

to the imagination of the viewer. That is the magic of great design:

say: I have been rejuvenated! It’s anti-aging at its best. It requires

is not about floodlights and wall mounts but all about making an

the building at hand. Poets and historians will get you further than you’ll decide what to emphasise, what to tell, and what to leave up to show just so much that the viewer wants to discover more. Our experiences are fuelled by curiosity.

new role is most likely not forever anyways.

by Jason Edling’s Niteo from Seattle plays with theatrical tricks, with worn out by its long service for the Italian Post. It is as if it wants to a great sense of detail and again, a profound understanding of the client and the role the monument plays in society.

When we illuminated the façades of the National Museum of The

An even better example of such a redevelopment is perhaps the

detail, using less colour, creating lower contrast and embedding the

who designed it as a hotel for the World Expo of 1873. Two years

The building’s night time appearance has become more welcoming,

neo-classical façade, the Palais Hansen has defined this part of

Netherlands (the Rijksmuseum), we shifted to revealing greater

“building image” much better in the Museumplein environment.

Palais Hansen in Vienna. Named after its architect, Theophil Hansen, later, it was converted into an apartment building. Being a purely

less monumental if you like, and truly a destination of everyone and

the “Schottenring” avenue. The government sold the palace to

the end of the 19th century. The fact that other European fine art

original Greek-inspired splendour.

for everyone – much like how it was intended when it was built at

museums of that time used to be palaces that put private collections on display, while the Rijks was built on purpose, with public money

Kempinski, who committed to renovating it and emphasising its With a lighting design by Dan Hodgson of acdc, the façade obtained an incredible subtlety without disappearing from the streetscape.

that funded both the building and the collection, is truly remarkable.

The monochrome lighting – that actually leaves many areas of the

presents itself at night. That’s how a governmental strategy some

the trademark of Kempinski. It works out perfectly on this classic

And it is more than worth interpreting in the way the building 130 years ago inspires a lighting design today.

Buildings and their purpose change over time. An important trend is the refurbishment of existing buildings, giving them new, often

commercial, purpose. Think Milan-Post-Office-becomes-Starbucks.

Despicable? Not at all!

Often, these commercial investments are the only way for historic buildings to survive these days. Many of them are restored

façade in dimmed illumination – symbolises understated luxury:

façade. The statue of Nike – the Greek goddess of victory – at the top of the façade receives a well-deserved highlight, telling the story of Hansen’s inspiration, that he got when he worked in Athens.

The lighting of historic façades and buildings is great fun, but a great responsibility too. It is like Howard Brandston said: “when you start to have an awareness of the world, it is a richer experience”. www.rogiervanderheide.com

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PROJECT DETAILS Green Heart, University of Birmingham, Birmingham, UK Client: University of Birmingham Lighting Design: Speirs Major, UK Landscape Architect: Churchman Thornhill Finch, UK Photography: James Newton

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public space lighting

Heart of Grass At the centre of the University of Birmingham campus, a new, 12-acre green space named Green Heart provides a welcome social and educational hub for students and faculty, with a perfectly balanced lighting scheme from Speirs Major.

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1. As part of a desire to “maximise opportunities for serendipitous encounter”, the lighting design sought to create clear and intuitive circulation routes, together with areas of light punctuation providing atmospheric places to congregate and socialise.

2. The highest lighting intensities occur on the primary pedestrian and cycle routes, at the many changes of levels across the park, with lighting from Lumino integrated into handrails and balustrades.

3. Alongside providing wayfinding lighting on the pathways and staircases, Speirs Major illuminated select trees and foliage with iGuzzini’s Light Up fixture, emphasising the natural character of the site.

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n the built-up environs of a

Part of the overall design concept for the

essential for planners,

serendipitous encounter”, creating a space

university campus, it is

architects and designers to

linger and spend time outside of class.

switch off from the every-day stresses of

helps to facilitate this approach: “We made

faculty can find time to relax, recharge, and higher education. The University of

Major explained how the lighting concept

sure that circulation routes were clear and intuitive, and punctuated these with

striking new 12-acre public park that

atmospheric places to congregate and

campus with student residences.

The new Library Square’s central lawn is

Churchman Thornhill Finch, with lighting

combines with the lighting of the main

connects the school’s historic Edgbaston Designed by landscape architects

socialise.”

surrounded by a glowing halo of light that

designed by Speirs Major, the new green

circulatory routes to make the interlinking

“promoting interaction between students,

tertiary routes cut through the darker

space was created with the ambition of

staff, visitors and other users” to create a

“safe but pleasing ambience and identity”.

spaces of the park legible after dark. Softly lit centralised pockets, with strong highlights

to objects such as benches and architectural

Lighting was a key pathway to achieving this,

features.

Major, explained: “The concept was to

darkness, that creates a sense of drama and

as Mark Major, Senior Partner of Speirs

achieve a sensitive and sustainable balance of light and darkness across this important social and educational hub, facilitating

freedom of movement while enabling richly varied opportunities for interaction and outdoor learning after dark.”

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where students and staff would wish to

create break-out spaces where students and

Birmingham offers this in Green Heart, a

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space was to “maximise opportunities for

The result is a delicate balance of light and ambience, while also allowing for aspects such as wayfinding and security.

“We employed a carefully considered

hierarchy of light intensities, managed

through the lighting control system, to

ensure safe passage and a good sense of

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public space lighting

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1. The 12-acre green space connects the University of Birmingham’s iconic Edgbaston campus with student residences.

2. Aubrilam’s light poles have been fitted with WiFi, enabling 100% internet coverage across the site so that it can be used as an academic space as well as an area of relaxation, while lanterns and projectors from Thorn and Meyer provide sufficient general lighting.

3. In the darker landscaped zones of the park, routes are revealed through lowlevel, linear lighting.

4. Alongside the general pole lights, additional architectural lighting flourishes come courtesy of fixtures from Stoane Lighting and Simes.

5. The lighting equipment throughout the space has been scaled accordingly to reflect the character of the different elements of the scheme - light poles range in height from four to 12 metres in height.

security, while enhancing the character of the

University Square to the south of the site,

energy consumption,” Major continued.

With the project spanning across 12 acres, Speirs

landscape, protecting its ecology and minimising “The highest lighting intensities occur on the

primary pedestrian and cycle routes, and at the many changes of level across the park,” added Philip Rose, Associate Partner of Speirs Major.

“The bridge features integrated balustrade

lighting, creating a dramatic lit effect on the bridge floor. Concealed lighting within the handrails

highlights the staircases and selected pathways, and creates the halo effect to the sloping grass

banks that surround the central lawn – which acts as an additional area of informal social and study space.”

Meanwhile, located at the top of the sloped bank between the new Library Square and existing

University Square, the retained and relocated

heraldic shields have been lit as a feature, using ground recessed lights.

The scheme by Speirs Major also emphasises the site’s natural character. Glowing tree canopies announce the primary pedestrian entrance

gateways, while rows of illuminated trees frame

the views from the amphitheatre, creating a sense of enclosure. Further key trees are uplit in the

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facilitating social encounters beneath them.

Major worked very closely with the landscape

architects and the wider project team to ensure

that there was a “seamless integration of lighting into the wider design of the campus”, while

creating a sense of coherence and consistency throughout the park. “With the sheer scale of

Green Heart, it was important to determine what to illuminate and what to leave unlit,” added

Major. “This allowed us to develop a targeted

approach that focused on supporting access and

routes, along with defined areas of dwell space.”

All circulation routes, planting and “areas of encounter” are lit in a consistent colour

temperature – a warm white 3000K that evokes a

relaxing character akin to an outdoor living room.

The only exception is the water feature’s cascades, which are enhanced using a tonally

complementary, cooler white light.

The choice of lighting equipment itself reflects the character of the different elements of the scheme, as Rose explained: “The hierarchy of light

intensities is consistently applied sitewide, and the mounting heights of the lighting equipment are

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similarly scaled. The main routes adjacent to the

sense of security after dark. Major continued: “The

10-metre timber columns, with multiple spotlights

that provides a highly legible, safe and attractive

university buildings have taller, eight and

to help reduce the quantity of columns overall.

“For the internal pedestrian routes, four-metre

timber columns provide a more human scale and a natural aesthetic that complements the park

design. In the darker landscaped zones, the routes are revealed through low-level light only.

“The use of timber for these columns allows them to be more sympathetic to the landscape also,

which helps to make it feel less like an urban or regeneration project.”

The scheme also enables 100% internet coverage across the site, so that it can function as an

academic space as well as an area of relaxation.

This technology was incorporated into the lighting columns, helping to reduce clutter. “Innovation

was also incorporated into the project by installing the 13sqm Pavegen, just before the bridge,” Rose added. “Here, footfall actually powers the USB charging points at the nearby workbenches.”

Indeed the efforts made by both Speirs Major and

the wider design team have contributed to creating a communal space that is both pleasing on the eye, interestingly and creatively lit, while retaining a

overall impression is one that is well-considered, after dark environment – simple and elegant.”

While Speirs Major has worked on numerous public realm and external lighting projects, the lighting

designers commended the university for creating

this new, green space in the middle of the built-up academic setting.

“It was brave of the client after building a new library and demolishing the old building that,

instead of redeveloping the site with a further

building, they chose to retain and develop a large, open landscape,” concluded Major.

“Historically, there was an intention to create a formal open space in the middle of the campus,

however the old library did not allow this. Green Heart reinstates the original 1920 axis that runs north to south, and opens up the campus, providing a unique public green space.” www.smlightarchitecture.com

lighting specified Aubrilam timber columns Helvar Lighting Control System iGuzzini Light Up Lumino Vector Meyer Monospot LED projectors Simes Mini Lobby Professional Simes Mini Skills Square Stoane Lighting Bespoke Indehandrail Module Thorn Avenue D LED Lantern

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Everything in its Right Place Lighting designers at Verkís collaborated closely with Basalt Architects to create a seamless, integrated lighting scheme for Reykjavík’s new public square, Óðinstorg.

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iterally translated as Odin’s Square, Óðinstorg

However, the lighting strategy from Verkís was not of

of the Icelandic capital of Reykjavík.

for the night, whereby lighting was based on the elements

is a new public space introduced to the heart Previously mostly used as a parking lot, the

square is the end result of an urban design competition, in which Basalt Architects and lighting designers at Verkís sought to regenerate the square so that it could fulfil its true potential as a liveable urban space.

The design team proposed that this space would place a special emphasis on winter and darkness – owing to

Reykjavík’s location as the northernmost capital city in the world. This meant that the nighttime scene was

integral to the design concept, both architecturally and in terms of lighting, from the very beginning.

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illumination, but rather a “more holistic vision of this area composing the urban and landscape design, with fixtures

becoming integrated into these elements where possible.

The purpose, Verkís believe, is to create an inviting atmosphere, even in inclement weather.

Darío Núñez Salazar, Lighting Design Leader at Verkís, explained the lighting concept further: “The idea is

always to create the most adequate atmosphere, while being coherent with the architecture and landscape

concept. In this case we tried to minimise the use of light poles or luminaires that are perceived just as an added isolated element.

public space lighting

PROJECT DETAILS Óðinstorg, Reykjavík, Iceland Client: The City of Reykjavík Lighting Design: Verkís, Iceland Architect: Basalt Architects, Iceland Landscape Architect: Auður Sveinsdóttir, Iceland Urban designer: Edda Ívarsdóttir & Anna María Bogadóttir, Iceland Photography: Darío Núñez Salazar

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1. The lighting for the square was developed in close collaboration with Basalt Architects, as it was the intention of the design team for the lighting to be an extension of the urban and landscape design.

2. Lighting throughout the square is very minimal, with luminaires and light poles incredibly discreet, where used.

3 & 4. As part of a deliberate move to reduce the number of visible luminaires in the square, Verkís used a range of integrated and embedded fixtures from iGuzzini and LightGraphix in the various landscape elements, such as handrails, seats, ramps and bollards.

“We rather wanted the light to flow ‘naturally’

luminaires, that don’t compete with other urban

light poles and luminaires would have to be as

The design competition for Óðinstorg was

with the future changes that the city of Reykjavík

Architects were commissioned by the City of

the city. We wanted to bring light to the area,

the square in 2018. With the project completed in

from the landscape features. And if really needed, discreet as possible. This is also to be coherent

is making regarding the master lighting plan for without luminaires.”

As the square sits in the middle of a built-up area,

Reykjavík to further develop a detailed design for

2020, Núñez Salazar said that the rapid turnaround time was a slight challenge for the lighting design team, but it didn’t hinder an otherwise enjoyable

precautions had to be taken to ensure that any new

“As with many other things in Iceland, things

these buildings. “That’s why it was so important to

good time. Especially since most of the concept

lighting wouldn’t become obtrusive or invasive to

project.

needed to be done quite rapidly, but we did have a

avoid new outstanding visual features,” he said.

work was done during the competition phase,” he

character to take form by itself, and then it was all

“I don’t remember this project as a much-suffered

“We wanted to give some room for a natural about using the new landscape features and

finding every opportunity to integrate light.”

said.

one, at least for the lighting. Perhaps the electrical plan was a more complicated story, as during the

As such, the lighting designers called on recessed

project we had to switch from conventional

iGuzzini, which were embedded into benches,

also needed to be future-proofed.”

or integrated linear fixtures from LightGraphix and handrails and steps. This decision, Núñez Salazar believes, allows the light to “flow through the landscape and architectural or landscape

features,” while avoiding “conventional” luminaires.

Where needed though, area lighting was solved by discreet poles fitted with iGuzzini’s Palco InOut

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launched in late 2015, while Verkís and Basalt

Núñez Salazar was keen to include the surrounding buildings within the scene, but as such, extra

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elements.

lighting controls to smart systems, and the project Various future-proofing methods were

implemented by Verkís; all luminaires are digitally addressable to allow for future connectivity.

Meanwhile the current programming setup runs

different scenes depending on the season and time of day.

Throughout the project, Verkís worked very closely

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“We wanted the light to flow naturally from the landscape features... We wanted to bring light to the area, without luminaires.”

Darío Núñez Salazar, Verkís

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with Basalt Architects – a practice that is

a special character to the square: “I think

light in its work. This meant, according to

everything now feels in its right place. The

of respect to qualified lighting designers”.

to the square, without taking too much

whatever you want though. They have a clear

the area. Even though this was a significant

well known for knowing and thinking about Núñez Salazar, that the architects “give a lot “That doesn’t mean that you can do

vision, not really about the final lighting solution, but about the experiences they

once we finished tuning all the light sources, integrated lighting brings a special character attention from the things already existing in transformation for the space, things feel like they belong there.”

want to create, and then they are open to

Although completed in the midst of the

lighting designers.”

have become integral to facilitating mental

concept stages right through to completion,

feels that Óðinstorg is no exception. “This

hearing the ideas or thoughts from the

This close collaboration, from the initial

Covid-19 pandemic, open-air, public spaces health and wellbeing, and Núñez Salazar

is an aspect that particularly stood out to

square was meant to provide a welcoming

lighting from the very start. “It is a

a transitional space,” he said. “I have walked

Núñez Salazar, as was the attention paid to completely different story when the architects and urban designers start

atmosphere both as a place to mingle, and as around it in darkness before and after the

restrictions, and I would say that even now

discussing the nighttime vision from the

that it could look a little ‘empty’, the lighting

installation merely needed to illuminate the

again happen there for the better.

very beginning, and not left as an space during the night.”

This approach has resulted in a space where lighting feels like an integral part of the design and a key aspect of the intended

ambience, rather than an afterthought that was retro-actively implemented.

Núñez Salazar added that the lighting brings

features inspire optimism that things will “I know that many other things will not

change back after the pandemic. I just hope we don’t take a step backwards and become

again afraid of the night and darkness. Even

so, I believe this square will always invite you to stay a little longer.” www.verkis.com

lighting specified iGuzzini Palco InOut iGuzzini Platea RGBW iGuzzini Underscore LightGraphix LD42 LightGraphix LD170

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PROJECT DETAILS Sandvika River Promenade, Sandvika, Norway Client: Bærum Municipality Lighting Design: Zenisk, Norway Architect: Dronninga Landskap, Norway Photography: Tomasz Majewski

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public space lighting

Riverside Walk Lighting designers at Zenisk have created a beautiful bespoke lighting solution that brings an artistic materiality to the Sandvika riverside promenade in Bærum, Norway.

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1. Zenisk opted for 12-metre-high lighting columns to provide functional light to the promenade with precise and shielded beams.

2. Low-level lighting was used to bring focus and attention of the pedestrians to floor level in a move to enahnce their experience through the space.

3. Integral to the deisgn was the custommade Sandvikslykta bollard - developed with Hadeland Glass and Rebel Light, the bollard operates both as a functional light source and a light art object.

4. The original proposal was for the Sandvikslykta to be placed in the most prominent part of the promenade, but the municipality decided to extend its placement to cover the whole stretch of the river.

5. A key priority was to keep the space clutter-free from excessive lighting columns, instead giving the promenade an “exclusive warmth”, with just the necessary amount of functional light.

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ocated just outside Oslo, Norway,

“Our main goal from the beginning was to enhance

Sandvika river at the meeting point of

the new promenade, revealing it as one continuous

Bærum is situated on either side of the a fjord. Sandvika Municipality has

recently increased its focus on urban quality and

decided to develop its riverbank into a recreational promenade that will allow locals to take full advantage of the surrounding nature.

The public space project was opened for entries to landscape architects, lighting designers and

engineers, with entries evaluated on a point-based system: a third of points evaluates the team’s competence and previous portfolio of work,

another third goes to the understanding of the project brief and the final third is given to the budget proposal.

Lighting design firm Zenisk was awarded the

project, along with Dronninga Landscape practice, a firm it has previous experience and a good

working relationship with, after submitting its initial lighting proposal in 2016.

arc caught up with Kristin Bredal, Director of

Zenisk, to find out more about their involvement in the promenade development and the customdesigned light fixture created for the project.

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the materiality and quality of the wood decking of space and visually separated from the rest of the area,” she explained.

“Keeping it clutter free from lighting columns was

also a priority. The idea was to give the promenade an exclusive warmth and give the necessary functional light for the street.

“Creating a new, comfortable and pleasant

pedestrian experience in this fragmented space interrupted by many bridges was the main idea behind all the design solutions,” she added.

For the general lighting, the team suggested using 12-metre-high lighting columns, which provided functional lighting, both to the street and to the

promenade, with precise and shielded beams. In

order to balance the look, Zenisk added a low-level mounted glowing bespoke fixture, that would

“bring focus and attention of the pedestrians to the floor level and enhance their experience

through the space”. Furthermore, Bredal noted

that it was easy to hold a good balance of light in

the area due to a lack of competing light interfering from neighbouring installations.

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Bredal and her team was encouraged to design

To start off with, the team created a 1:1 model

lantern of Sandvika.

study the shape and size. Based on this model,

a custom fixture inspired by the historical “We have a long and good collaboration

history with Dronninga Landscape. They not

only respect our ideas, but they encourage us to be brave and inspire us to create. Having

their support is precious to us, and what true collaboration and teamwork is about. We

interfered with each other’s disciplines all the time during the concept phase, with ideas and feedback, and this elevated the design, blends the disciplines on top of also being great fun.

“This custom bollard [the Sandvikslykta] is

in-between being a functional light source and a light art object,” she explained. “The initial concept was to have the light twinkle

constantly like a flame of a candle. Dark

winter days are long in Norway, but so are

bright summer days. We wanted this to be a jewel that also sparkles in daylight. This

meant designing the light source inside hand blown crystal glass to catch the twinkle from the LED inside and the sparkle from the sun and daylight outside.”

of the lantern from wood and plexiglass to

they progressed to a 3D render to adjust and finalise the design.

Together with Rebel Light, Zenisk developed a special DMX LED luminaire from Radiant. The

luminaire has 16 LED light sources in different colour temperatures distributed over four DMX channels.

“Apart from a construction that needs to be

sturdy and available for maintenance, a lot of consideration went into the proportions and

shape. We wanted a timeless, stylised shape to enhance the effect of the light and the crystal.

“When the first conceptual drawing was made, Hadeland Glass and Rebel Light were chosen for further collaboration based on the input

solutions they offered. Handblown glass with air bubbles captures the light from the LEDs with varying colour temperatures,

programmed in a dynamic scenario with DMX controls.”

The original proposal for the scheme had

incorporated the Sandvikslykta to be placed in

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public space lighting

One of the main objectives for Zenisk was to “enhance the materiality and quality of the wood decking of the new promenade”, revealing it as one continuous space that is visually separate from the rest of the area.

the most prominent part of the promenade, but it

analysis phase, giving them options to evaluate,

placement to cover the whole stretch. “This gave

exploring how the act of seeing and feeling safe is

make the best use of it along the whole

our sense of belonging and identity,” explained

sizes, we were able to integrate it all nicely with the

For this particular project, she reflected on the fact

was decided by the municipality to extend its

us a great opportunity to explore how we could promenade,” said Bredal. “With two different

landscape and furniture design, giving the whole promenade a rhythm, enhancing the experience

competent and understanding client in the Bærum

granted to realise the Sandvikslykta design true to

are gone and it is pitch black and wet, or white with

“We feel very fortunate to have had the chance to

and power of light, and the freedom they were its original design concept.

snow, you need that little spark, twinkle or glow

work on this great project. Norwegians are big on

Norwegians are light deprived during winter, so we

nature. However, this does not always happen in

crave it both physically and mentally.

“As a general note in regard to lighting and the

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that they were particularly grateful to have a

winter, Bredal clarified that it is important to have

that gives you visual stimuli and an experience.

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Bredal.

municipality, that comprehended the importance

well-designed outdoor lighting. “When the leaves

Erco Beamer Erco Compact downlight Erco Compact wall wash Lightconstructor Solid Cluster Radiant Architectural Lighting Water Effect 150 Lighting System

so closely connected to our social behaviours and

through it for pedestrians and cyclists.”

Given Norway’s long spells of darkness during the

lighting specified

showing them what each layer of light does and

outdoor activity and spending time outside in

our cities, which still have a lot of potential in the dark, where public space is mostly used for

pandemic, this winter lighting was high on the

circulation,” she said. “There is a change

lots of temporary installations all over the cities.”

opportunities within the urban fabric. Our hope is

municipalities agendas all around Norway, with

Typically, challenges teams face when working on projects with new clients include ensuring the

client is able to clearly understand the vision and see the whole picture of a potentially brave and bold concept. “We find that the best way is to include the client as much as possible in the

happening in our cities, with more dwell time

that by activating this promenade with special

lanterns in the dark, we will encourage residents to spend more time here and make it their own space,” she concluded. www.zenisk.no

THE DIFFERENCE IS IN THE DETAIL High-power product updates We have introduced a series of new LED engines, refreshed our datasheets with more performance data, in addition to adding black trim glass and new machined finishes to uplights. Further in-house paint finishes are now also available across surface mounted products.

Visit www.lightgraphix.co.uk for more information.

Pics: Tomasz Majewski

Rest and Relaxation Along the E6 highway in Norway, Light Bureau and Tehomet have collaborated to create an inviting, enjoyable rest stop at Strandlykkja.

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he E6 is a one of Europe’s main highways,

variation and visual stimuli increases wakefulness

southern tip of Sweden at Trelleborg, into

road authorities sought to increase driving safety by

stretching more than 3,000km from the Norway and through almost all of the

In line with this, light Bureau has, since 2008,

need for rest stops, and while these can often be

encompass lighting of scenographic elements and

unwelcoming, unpleasant spots, this is not the

case in Strandlykkja, approximately 70km north of

been developing roadside lighting solutions that visual roadside “events”, in addition to purely functional elements.

Oslo, where Light Bureau and Tehomet - a Valmont

The overall concept for this road lighting design is

enjoyable.

characteristic features along the motorway – both

housing neat and comfortable facilities, the

rhythm, while drawing attention to the pulse of the

company, have created something much more

Characterised by a series of red, igloo-like “pods”

called “Pulse”, and it involves the illumination of

natural and man-made – in a move to create a natural

Strandlykkja rest stop is more akin to a scene from a

journey through the landscape. The aim is to provide

On the rampart between the rest stop and the

mind refreshed and in the right frequency, but also

science fiction movie than a rest stop.

road, an avenue of massive wooden poles has been

installed, itself becoming a landmark for travellers,

the road user not only with stimulants to keep their to improve traffic safety and facilitate road user

anticipation for landmarks such as tunnels, bridges

while adding an attractive element to the harsh

and mountainous terrain.

Each of these poles is inclined at an individual angle,

to good lighting of the fairways, with an emphasis on

Nordic landscape both during the day and at night.

creating the shape of a fan, while also following the

meandering highway between the surrounding fjord and mountains.

The Strandlykkja rest stop is part of a wider

lighting concept developed by Light Bureau, which stretches 100km from Oslo’s Gardermoen airport

to the municipality of Biri. Research has found that

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including “eventfulness” in any road development.

country, to the Arctic Circle and Nordkapp.

Such a long stretch of road will invariably have

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and concentration in drivers; as such, Norwegian

In rest areas therefore, special attention was also paid comfort through attractive lighting. This was done through the use of lower lighting levels in central parking areas, giving the impression of a calmer,

less bright space. Similar attention has been paid to

reducing glare for road users, without compromising on the lighting on entering and exiting these junctions.

public space lighting

At Strandlykkja, Tehomet’s sturdy, 12-metre wooden poles line the edges of the rest area. These are equipped not only with Erco LED spotlights to provide general illumination to the space, but also

with DMX-controlled LED Matrix luminaires that bring an added accent lighting.

Embedded within the poles themselves behind 10 glass mirror

windows, this accent lighting proved a challenge for the design team, as each pole had a cross section of just 420x420mm. The distance

of the source from the mirror surface was critical, as the uniformity of the light distribution in the area required a sufficient distance

from the mirror surface. Eventually, the decisive millimetres were

introduced by installing the LED matrix luminaires in a customised metal sheet structure. This brought added benefits as it allows the entire element to be replaced in the event of a fault.

At dusk, the accent lighting repeats the rhythm of the road user

as they pass by, in line with Light Bureau’s “Pulse” concept, while

from a distance, it creates the illusion of the sun setting behind the mountains.

The column structures are aimed at a long lifecycle and maximum service interval, taking into account the demanding conditions of

the site. In its material choices, the client took into consideration, amongst other things, the stresses caused by the proximity of

the water and the busy highway. In the case of the wooden poles,

strength-graded glulam (glue-laminated timber) was selected as the

raw material to ensure a longer service interval. The steel parts of the columns were also hot-dip galvanised and painted according to the

requirements of the most severe environmental stress class defined in the standard.

Part of the general lighting in the area was implemented with LED spotlights mounted on six-metre-high poles made of brushed

stainless steel. Red LED lights were also installed on some of these poles to accentuate the bright red colour of the comfort facilities.

“This project holds a special place in my heart and I am very proud

of the result,” said Morten Jensen of Light Bureau Norway. “We have used only the best materials and it has been great to both design the lighting and the massive wooden poles. We have created a unique

experience for those driving by and a place to rest and enjoy nature.” www.valmont-woodenpoles.com www.lightbureau.com

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public space lighting

Moments of Calm Fixtures from ADO Lights bring a sense of calm in the heart of Dijon, illuminating the Cour Bareuzai area.

C

our Bareuzai is situated in

An LED-Voute in combination with an LED-

ensemble of carefully renovated

travelling to the next courtyard. Light lines

the heart of Dijon. It is an courtyards and mansions

from the 17th and 18th centuries, in which

Chapman Taylor created 2,300sqm of spaces for retail, catering and offices.

The architects also brought a little greenery into the city centre with their ideas. From a turbulent and busy street you enter a quiet

courtyard through a passage designed with plant walls, illuminated with ADO Lights’ LED-Hayat fixtures. The luminaires have

been equipped with lamps that support and facilitate growth.

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LightLine illuminates the way for passersby integrated into the floor can also be found, which elegantly enhance the contrast between the old building and modern architecture.

ADO Lights’ LED-Drainlight with wall

washers have also been integrated into

façade drainage channels, which let the

walls of the mansions shine in the courtyard, creating an additional atmosphere. www.ado-lights.com

LIGHTING WATER

Conrad Maldives Rangali Island Lighting Design: Bo Steiber Lighting Design, Singapore Photo: Sebastian Posingis, Adam Bruzzone

Your water will shine constantly at the highest level.

More at www.wibre.de

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PIONEERS IN IP68-LIGHTING U N D E R WAT E R L I G H T I N G | E X T E R I O R L I G H T I N G

20.01.21 16:09

public space lighting

Sport For All The Kløfta sports and activity park in Ullensaker, Norway, features bright, accessible lighting, allowing the space to be enjoyed by all into the evenings.

This is made possible thanks to luminaires from Siteco.

K

løfta sports and activity park is an

benches and tables that serve as meeting places for

Ullensaker, a municipality north of

Siteco has made a strong contribution in making this

impressive multi-purpose facility in Oslo in Norway. The park is centrally

located by the primary school, secondary school

and three kindergartens, which each have a unique

opportunity to use the park during the day, as well as the nearby retirement homes.

“Kløfta sports and activity park has become compact and we have obtained many different facilities within a limited area,” said Haakon Struknæs

Fjone, Advisor of Parks and Sports in the Ullensaker

municipality. “It is open to everyone and can be used at any time. Our focus is to get children and young

people to engage in physical activity and to use the park for this purpose. We have not had anything

similar in the municipality and this is the type of

facility that should be possible to realise for many municipalities.”

The facility consists of a seven-a side pitch, two

11-a-side football pitches and three tennis courts.

It also has an area for athletics exercises, running

track with long jump pit as well as a handball court and sand volleyball court. A variety of exercise

equipment, table tennis and a climbing tower in

addition to a 1km jogging path makes the facility

suitable for many types of activities. There are also

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those wishing to meet outdoors.

area attractive to visit in the evenings. The area is

well lit, and the lighting creates a beautiful overview of the different parts of the park. The lighting

solution also gives a great impression of the activity areas, as well as walkways and parking lots.

DALI control with dimming is utilised on the tennis courts amongst other areas. The lighting has an intelligent app-based control solution, which

selected supervisors such as coaches and managers can control. Each sport has its own individual requirements, also in terms of lighting.

In order to achieve the best possible light, various luminaires by Siteco have been installed to create optimal training conditions.

Sveinar Hoff, Daily Manager at electrical contractor Nordengen, performed installation work on the

site. He said: “We have collaborated with Siteco for many years. We know what they stand for and they

always deliver quality and we get help when needed.

The sports and activity park has become a fantastic facility. Not many have something similar.” www.siteco.com

Individual LED solutions – for interior and exterior matching the architecture above: LED-LIGHTLINE – for accent lighting and wayfinding Straight and curved – following your design

®

by TTC Timmler Technology

T +49 2255 921 200 E info@ado-lights.com www.ado-lights.com www.led-luc.com www.ttc-technology.eu

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01.02.21 12:26

Project Lead: Graeme Massie Architects / Photography: Alex Bland

Hall of Columns A series of vast, 25-metre light columns from Valmont Structures bring light to the recently completed Centenary Square, a new civic space in the heart of Birmingham.

T

he redevelopment of Birmingham’s

sought to create “a room in a city”, which would

by Graeme Massie Architects, in

of poles, each fitted with Schréder luminaires at

Centenary Square, spearheaded

association with AECOM, has seen the

introduction of a bright, welcoming new civic space in the heart of the city that will provide the setting for some of the city’s most important public

buildings and planned new development sites.

Spanning just under 20,000sqm, the square is

one of the largest civic open spaces in the city, and is bordered by the Library of Birmingham,

Rep Theatre, Birmingham Municipal Bank, the

International Convention Centre, Symphony Hall

and Paradise Forum, among other local landmarks.

The redevelopment of the square looked to

create a clear spatial identity within the varied

urban environment. A key element of this is the introduction of a ‘Hall of Columns’ – a grid of

slender, 25-metre columns, created by Valmont Structures, that give the space a strong sense of

presence within its eclectic urban environment, while its canopy of lights creates an urban

landmark at night and during the winter months.

The vast poles were integral to the architectural design concept, as Graeme Massie Architects

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be defined “through light and structure”. The grid a height of eight metres, are also tipped with LED

lighting in a move to define the square by day and

appear as a “ceiling of stars in the sky” after dark.

During the development process of the Square, the architects discussed a wide range of pole

variants with Valmont, before eventually opting for galvanised steel option with specialist

finishing to assist against vandalism. These were

manufactured in France, before being shipped over to the UK, where they were finished and inspected by the main contractor Bouygues UK, before being delivered on site in different phases.

Although each of the 47 poles stands at 25-metres

in height, the uneven, sloped surface of the square meant that Valmont had to manufacture poles at 37 different heights, to ensure that there was an apparent uniformity in height when looking out

on the square from the Library of Birmingham. To

achieve the uniform column heights, and uniform light levels, across the sloping site, each column was uniquely coded and individually scheduled.

Schréder’s Focal luminaires, mounted at a height

public space lighting

of eight-metres, provide an even downlight to the

as Network Rail assets, building basements, and

pedestrians travel through the “Hall of Columns”,

Completed in 2019, Valmont was on hand,

square, contributing to the huge sense of scale as

while helping to create a placemaking focal point for Birmingham city centre. These luminaires

are mounted in bespoke shrouds, matching the

aesthetic requirements sought by the architects.

Valmont was selected for this project because of a

number of technological benefits that it was able to bring, both in the manufacture and maintenance

of its poles. Typically, in the manufacture of light poles, manufacturers are limited by the length of

the galvanising bath, needed to chemically “seal” the metal poles. The standard length of these is 13-metres, however with Valmont’s patented

Seamless Weld Technology (SWT), it was able to comfortably create poles at the required height.

congested urban utilities.

supporting for the Birmingham Centenary Square from 2015, and spent four years developing a

customised, bespoke variant of its lighting poles.

The brand worked very closely with Graeme Massie Architects, Bouygues and AECOM throughout the project to create a welcoming new public space in the centre of Birmingham. Previously a site that

was merely passed through, Centenary Square has

now become a spot where passers-by will stop and linger, becoming a destination in its own right. www.valmontstructures.eu www.uk.schreder.com www.aecom.com

Given the enormous height of the poles, the project called for a lot of special measures

below ground also. The lighting columns are all individually mounted on bespoke screw-piles, fabricated by Valmont, that are drilled up to

five-metres underground. In specific instances,

below-ground transfer structures were employed to accommodate subterranean obstructions such

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public space lighting

French Chic Designed by Agence ON and Alain Gilles, a new avenue of light poles from Technilum now line the La Croisette promenade in Cannes, bringing a stylish functionality to the space.

C

hic tailor-made lighting structures have been installed

For this, special projectors equipped with LED and focusing lenses

Cannes, France. Imagined by lighting designer Vincent

Beyond offering a distinctive and revealing lighting, the wish of the

along the world-famous La Croisette promenade in

Thiesson of Agence ON, and Belgian designer Alain Gilles,

the structures were developed and manufactured by French company Technilum, and now mark the entryway to Cannes’ beachfront.

Created to enhance the public realm, this elegant lighting furniture is also integrated with 10 additional smart features, including dynamic and texturised lighting, alongside signage, CCTV, speakers, menuholders and mailboxes.

Agence ON designed a stylish lighting scheme, intended to create a

strong identity along the entire bay of Cannes. Like the architecture of the new beach restaurants on La Croisette, the lighting structures are

modernist inspired, while showcasing streamlined Art Deco details to echo the façades of some of the promenade’s famous hotels.

At nightfall, the LEDs placed on the mast draw a dotted line, like a topstitch. These light points create a visual identity between all of the beach entrances along the promenade and highlight the particular curve of Cannes’ bay. Distinctive dynamic light

scenographies can be scheduled to accompany the different events that the city celebrates, such as Bastille Day, Cannes Festival, St. Patrick’s Day and Christmas.

In addition, each beach entrance is illuminated with additional soft,

textured lighting that seeks to evoke the sun’s reflection on the sea.

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have been developed by Agence ON, Alain Gilles and Technilum.

City of Cannes was to take advantage of the masts to provide multiple functions. By incorporating numerous technologies into one pole,

the planners were able to drastically limit the amount of furniture needed along the promenade, which has in turn helped to reduce public space congestion.

The 6.5-metre poles are tailor-made out of aluminium, meaning that they have a lower carbon footprint and are indefinitely recyclable, while being entirely weld-free also avoids any risk of corrosion.

Comprised of 230 parts, all of them developed, manufactured

and carefully assembled in Technilum’s factory in the south of

France, the lighting structures have benefitted from the skills of a

multidisciplinary and experience team, guaranteeing an impactful

result that meets the top-level requirements of the City of Cannes.

Special attention has been given to create a distinctive design that offers the right proportions, with all required functions

harmoniously integrated within the pole itself. The simplicity of

the shapes and the quality and thickness of the material give the

masts an opulent and timeless look – perfectly in keeping with their luxurious surrounds.

www.technilum.com

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

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DARK SOURCE

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1

Creative Control The inaugural DALI Lighting Awards, organised by the DALI Alliance and held in association with arc and the IALD, has revealed its winners.

L

aunched in 2020, the winners of the inaugural DALI

In the Small Indoor Project category – projects involving up to 64

in January.

Renovation at the Chicago History Museum. Morlights was tasked

Lighting Awards were announced in an online ceremony

luminaires – the winner was Morlights for the Crown Lunchroom

Organised by the DALI Alliance (DiiA) and held in

with redesigning the lunchroom into a space that could be used for

association with arc magazine and the IALD, the DALI Lighting

social gatherings, plus an immersive theatre setting. In such a large

Awards aim to celebrate the best use of DALI control solutions in

room with low ceilings and a partial wall, with no focal point, this

quality illumination to clients and end-users.

used to provide general lighting, while a star-shaped chandelier of

projects linked with DALI technology were nominated, with entries

DALI digital controls allow for the deep dimming that theatrical

four different categories across indoor and outdoor lighting

synchronised with presentations. The space uses eight DALI-

outstanding use of Zhaga-D4i products.

fixtures. Here, the judges felt that the lighting design and dimming

Technical and Certification Manager for the DALI Alliance; Tad

combined use space of a theatre and a public cafeteria, with DALI

liaison group; and arc editor Matt Waring.

integrated in a very straightforward manner.

international projects, as well as recognising the value of delivering

was a challenge. However, low-glare, deep-recess downlights were

A broad range of commercial, architectural and industrial lighting

linear LED fixtures creates drama.

spanning across the globe. The competition saw winners named in

spaces require, and enable show lighting that is perfectly

applications, alongside a separate category for projects employing

controlled zones, 45 DALI-controlled light fixtures, and 48 non-DALI

Judges for this year’s DALI Lighting Awards were Scott Wade,

control to achieve multiple lighting schemes was on point for a

Trylski, an active member of the IALD and former chair of its industry

shown to be a control protocol to allow extra infrastructure to be

The winner of the Best Use of DALI in Outdoor Lighting category was

The winner of the Medium Indoor Projects category – projects

Rome, Italy. The monument tells the story of the Madonna of the

work on the Leonardian Auditorium at St. Leonard’s College in

Human to Divine, and with lighting designed by Franceca Storaro,

and wallwashing, to featuring accents to wall panels, the auditorium

DALI system was used to produce soft, warm, 3000K light, diffused at

such needed different light scene settings. A key requirement was

five projectors beaming bright 5700K light up the column, removing

darkness without perceived steps. This was made possible through

from Erco, twinned with dimmable fittings controlled by the Helvar

smoothly, down to 0.1%. With many fixtures installed in difficult to

overall system is connected to an external digital clock for time-

features were also important aspects of the DALI installation.

Helvar for its work on the Column of the Immaculate Conception in

featuring between 65-500 luminaires – was Schuler Shook for its

Immaculate Conception on her journey from Earth to Heaven – from

Victoria, Australia. With illumination ranging from general lighting

the project set out to characterise the story through lighting. The

is used for different events, from theatre shows to lectures, and as

the base in a circular pattern, rising up the monument to 4000K, with

high-performance dimming from full brightness to pre-show

any shadows and creating a highlight in the skyline. DALI luminaires

the use of eldoLED DALI control system, allowing the lighting to dim

Imagine system, enable precision dimming throughout, and the

access locations, the asset management and predictive maintenance

scheduled recall of specific scenes.

“This project also stood out for its lighting design,” added Trylski.

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dali lighting awards

4 2

3

5

6

“Achieving this level of uniformity from limited

a more pleasant environment for travellers, which

in design and luminaire specification. Subtle

The final category – the Best Use of Zhaga-D4i –

contrast in the panelling, the wallwashing working

District Road 51 Tengs – Bjerkreim in Norway. This

of the lighting designer in a space like this, but the

from Signify. The luminaires are equipped with

on, switch off performance – not the most

doppler-radar motion detectors. These pass

often overlooked and is very important.”

road ahead, providing full light for vehicles,

was given to Laing O’Rourke for the Manchester

The judges felt that this was an excellent example

delivers a dynamic lighting control system

including fast installation of the controller, while

system to maximise energy savings across a

typically 70% at night.

the ability to standardise control aspects across all

reserved special praise for Belzner Holmes und

more than 3,000 sensors and over 500 application

Fibre and Wood Pavilions in Heilbronn, Germany.

Specifically, DALI is used for features including live

didn’t pick up a win in any of our designated

flight is due at a gate for arrival or departure, and

triumph for its scale and imaginative

provides a better user experience at the airport

What at first appears to be randomised pulsating

specific events, providing dimming and colour

sophisticated lighting project controlling more

example when a football team is landing, or to

is constantly under tension and plays the desired

The judges were impressed by the sheer scale of

The judges very impressed with how many

with other features that boost the overall user

effect in a small outside space. They added: “We

Waring added: “I love the idea of creating a more

and outright beauty, supported by remarkable

Airports can be particularly stressful places, even

all this with DALI was just a bonus.”

mounting positions shows a level of technical skill

should certainly be commended.”

touches like the low-level aisle lighting, the

was awarded to Comlight for its work on the

together with that contrast, all confirm the value

project is a 13km district road with 275 luminaires

standout aspect here is the attention to the switch

light controllers from Comlight with integrated

glamorous part of a lighting design, but it’s so

messages to the next luminaires to light up the

In the Large Indoor Projects category, the award

cyclists and pedestrians.

Airport Terminal 2 Extension and New Piers, which

of Zhaga-D4i in practice, with some great benefits

integrated with an existing building management

significant energy saving is also achieved –

24-hour operational building. Here, DALI offers

Alongside the five award categories, the judges

airport areas, with nearly 20,000 DALI drivers,

Partner Light-Design for its work on the BUGA

controllers on one converged network.

The judges explained: “Even though this entry

updates of set points to increase light levels if a

categories, the judges felt this submission was a

reduce them when no flight is present. DALI also

implementation of scene setting.”

through changing themes and colours according to

light play in a wood pavilion is actually a

control to achieve desired lighting schemes, for

than 700 light modules via DALI. The light control

mark key dates in the calendar.

programmes until they are changed.

the system, and the colour-control aspects, along

luminaires have been controlled to achieve the

experience.

felt this was a standout project for its aesthetics

user-focused, interesting lighting experience.

photography. The technical achievement of doing

at the best of times, so the dimming and colour-

www.dali-alliance.org

control in play here really go a long way to creating

1. The winner of the Medium Indoor Projects category, the Leonardian Auditorium at St. Leonard’s College in Victoria, Australia, featured lighting designed by Schuler Shook.

2. Morlights’ work on the Crown Lunchroom renovation at the Chicago History museum saw them win the Small Indoor Project category.

(Pic: John Cahill Photography) 3. In the Best Use of Zhaga-D4i category, Comlight was successful for its work on the District Road 51 Tengs - Bjerkreim in Norway.

4. Alongside the five award categories, special recognition was given to Belzner Holmes und Partner Light-Design for the BUGA Fibre and Wood Pavilion in Heilbronn, Germany. (Pic: Conné van d’Grachte) 5. In the Large Indoor Projects category, Laing O’Rourke was successful for its impressive work on the Manchester Airport Terminal 2 Extension and New Piers.

6. The Outdoor Lighting category was won

by Helvar for its work on the Column of the Immaculate Conception in Rome, Italy.

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C’est La Vivo Late last year, Zumtobel unveiled the Vivo II range - its latest collection of versatile spotlights for the architectural lighting market. In this issue, David Morgan takes a closer look at the range.

A

s one of the largest global luminaire

companies, Zumtobel has played an important role as a technical innovator and partner for

architects and lighting designers for more than 70 years.

The company was founded by Dr Walter

Zumtobel in 1950 in Dornbirn, Austria, as a

manufacturer of ballasts for fluorescent lamps. Fluorescent lamps

had been developed and commercialised in the USA during the 1940s.

Dr Zumtobel spotted the commercial opportunity in Europe for this emerging sector of the lighting market. Very quickly, the company

moved into the production of complete fluorescent luminaires and this was the foundation for the growth of the company for decades to come. Dr Zumtobel was keen to produce innovative luminaire

designs and the company pioneered a number of industry ‘firsts’

while collaborating with leading architects, product designers and, latterly, artists.

The company has sales offices and partners in more than 90

countries and 13 plants on four continents, including the new

Tridonic component factory in Serbia. It has over 6,000 employees with more than 550 staff involved with R&D and nearly 5,000

patents; innovation is fundamental to the Group’s staying power.

From the outset, Zumtobel has pioneered the development of energy

efficient lighting systems and has more recently committed to a fully sustainable approach to all operations.

With its four main brands, Zumtobel, Thorn, acdc, and Tridonic

the company has been able to work with a variety of distribution

channels in the lighting market, from wholesaler distribution to specification by architects and designers.

The Vivo 2 is one of the latest new product ranges from Zumtobel.

The range is modular and includes three sizes of interior projectors developed for a wide variety of retail display and architectural

lighting applications. Apparently, there are more than two million

options available across the range. The three sizes of luminaire body can be mounted onto tracks, on surface plates, semi recessed into

ceilings, or suspended as pendants. All versions use a COB LED as the light source and a series of reflectors, fixed angle lenses and zoom lenses can be attached and removed from the spotlights without

the use of tools. The lens versions, which will be released later this

year, have a specific light engine configuration so that the lens and reflector versions will not be interchangeable.

The Vivo 2 samples I was given to test were all of the reflector type and produced a nice, clean distribution with all the reflector beam

widths. The twist lock reflector mechanism worked well. I was rather surprised to discover that there was no protective window over

the COB LED which could be vulnerable to damage during reflector changes or the build-up of dirt over the years of use.

Dimming is via DALI and a wireless option based on Casambi is also available.

The smallest size – 75mm diameter – produces up to 2,800 lumens with a 4000K, 80 CRI light engine; the mid-size (95mm diameter)

produces up to 4,400 lumens; and the largest size (115mm diameter produces 6,400 lumens with an efficiency of over 100 lumens per 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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Watt at 63 Watts with a 4000K, 80 CRI LED light engine.

To achieve the maximum lumen output for the largest size in the

range, an exposed driver integrated track adapter is the only option due to thermal management requirements. However, for the lower

output versions of this size, and for the smaller diameter spotlights,

DAVID MORGAN

there is a fully recessed driver integrated track adapter version

for limiting the replacement of the LED to one change is that the

The luminaires are available in nine colours and finishes and a front

capacitors, which will tend to fail within this timescale. However,

The detail design of the Vivo 2 range is very well-executed to

cost-effectively changing both LED and driver to further extend the

wherever possible, which has the added potential benefit of making

over the next 10 to 15 years, so by that time driver life may be much

In each spotlight’s body assembly, there are only four screw fixings,

The Vivo 2 development took two years to complete. The Viennese-

two more to clamp the hinge joint. All the other components are held

Zumtobel on a variety of previous projects, were responsible for

polycarbonate with vacuum metalised finish twist into position in

engineering team. In a product promotional video presented by

the need for tools. The moulded front ring holds the reflectors and

how many of the components of the product range can be either

voltage driver used in the larger sizes slides neatly into place from

frequently discussed topic at the moment with many manufacturers

connection between the driver PCB and the contacts on the COB LED,

wondered how easy it would be to recycle the polycarbonate reflector

encloses the driver-snap fits neatly into place in the body casting.

It was also suggested that the body castings could be reused as part

computers that are designed for a large number of folding cycles

again I wondered if, in 15 years’ time, retail spotlights will need to

product life.

aluminium heat sinks of these dimensions, given the continuing rise

circular economy model and this has clearly affected many of the

Nonetheless, the Vivo 2 range is a very well-designed and soundly

To extend the product life, the COB LED is designed to be easily

and customers, with orders from a number of European retailers

extend the product life to 100,000 hours. I assume that the reason

www.z.lighting

available. The large and medium sizes offer an integral driver option.

driver life is likely be around 100,000 hours as it includes electrolytic

trim ring can be fitted in contrasting or matching colours.

the ease of driver replacement would seem to open the possibility of

minimise assembly time costs and eliminate screw fixings

product life. It is likely that driver design and technology will develop

disassembly at the end of life quick and simple.

longer than it is at the moment.

two to hold the COB LED holder onto the body casting heat sink and

based product design company EOOS, who have worked with

by snap fits or twist lock details. The range of reflectors moulded in

the design, with development being undertaken by the in-house

the spotlight body and can be easily removed and replaced without

Harald Gründl, one of the founder designers of EOOS, he explains

can also accept anti-glare and other accessories. The integral mains

reused or recycled as part of a circular economy model. This is a

the back of the spotlight and the LED holder makes a direct electrical

promoting their circular economy credentials. In this instance I

while also locking the driver securely in place. The back cover that

mouldings used in the Vivo 2 range with their aluminium coatings.

The hinge mechanism is an industry standard type used in notebook

of complete new products, which may well be possible. However,

without losing strength or friction and thus providing an extended

be as physically large as the Vivo 2 range or if they will even need

It is understood that the Vivo 2 has been designed to fit into a

in LED efficiency and safe operating temperatures.

detail design decisions made during the development of the range.

engineered range and has already been well received by specifiers

removed and replaced with only two fixing screws. This is said to

already received.

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Spring Sales

A look at some of the latest products and innovations to hit the market from across the lighting industry.

Arcos III Zumtobel Zumtobel’s Arcos III is the third generation in the Arcos family. Developed for art galleries, museums, and the constantly changing requirements of exhibition spaces, Arcos III is a highly flexible lighting solution that brings artworks and exhibits to life using a highly innovative and intuitive zoom focus lens. Through the use of tunableWhite technology, Arcos III provides high colour rendering Ra > 96 for stable white and a low colour shift (MacAdam2) enabling exhibits to be seen in the best possible light. www.zumtobel.com

LED-Drainlights ADO Lights The LED-Drainlights with grating cover is a forward-looking solution, connecting aesthetic aspirations and practical requirements. Suitable for exterior and interior applications, it combines stainless steel drainage channels with an impressive LED illumination for buildings. Beautiful and useful, it allows rainwater to be reliably drained away through stainless steel draining channels, while the integrated LED illumination, which has an angle that can be individually determined, works whatever the weather. www.ado-lights.com

Protozoa Stoane Lighting Stoane Lighting’s tiniest spotlight is no taller than a Lego figure and is ideal for extremely discreet, close work such as museum showcases and jewellery retail lighting. As well as the surface mounted version, there is a height adjustable stick mounted version, two recessed types and also a single, double or triple LV track mounted version too.

If needed it can be adapted for bespoke applications too. The whole family uses the same adjustable head with a zoomable lens, offering a generous 13° - 60° beam range. www.stoanelighting.com

Sidu LED Ansell The Sidu LED pendant is an aluminium bidirectional suspended pendant with a black polycarbonate micro reflector design, which helps achieve UGR<6. Compatible with the OCTO connected solution, offering tailored lighting to only illuminate desks that may be occupied, dimming for customised light levels, or pairing with smart sensors. www.anselluk.com

Jeny Technilum Singular in its style and applications, Jeny has a triangular shape profile and is equipped with three technical grooves that facilitate accessorisation. In tribute to Jenny Holzer, innovative artist in word expression, Jeny can be coupled with “LittleWords” from Technilum: an integrated LED screen allowing the interactive diffusion of messages or animations thanks to a dedicated application. www.technilum.com

Outdoor Link System Acclaim Lighting The IP67-rated Outdoor Link System quickly and easily links Acclaim Lighting’s Dyna Drum and Dyna Accent series fixtures, while eliminating excess hardware for lighting projects. The system allows the linking of up to 32 fixtures from a single power source without the need for a connection point at every unit. The system includes T junction, link cable, feed cable and end cap connection points, and performs in temperatures from -40°C to 80°C. www.acclaimlighting.com

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new products

Berica L&L Luce&Light The Berica family combines minimalist design with the practical functionality of a built-in power supply, making the double-beam, wall-mounted fixtures ideal to discreetly blend into the wall it is installed on. Available in three sizes – a 120mm square, and two rectangular options at 340mm and 620mm long – Berica offers a choice of three different styles of cover: convex, flat and concave, with a slim body starting from just 30mm. The range uses light sources with a CRI>90 for better quality, while the rectangular options are available in a dimmable version that uses the DALI protocol. www.lucelight.it

Customised Wood Poles Valmont Bespoke wooden light poles from Valmont Structures offer exquisite design for spaces demanding solutions that are both innovative and functional. These advanced poles bring style to any project and are customisable in heights up to 25-meters, with detailed dimensional and capacity information calculated on a per-project basis. Sustainably sourced and treated for longevity, Valmont’s light poles are as brilliant as your ideas. www.valmontstructures.eu

LED Light Sheet Applelec Celebrating 15 years of its UK-manufactured LED Light Sheet, Applelec’s bespoke light panel has brought light to hospitality, retail and office space designs. The company continually modifies the engineering of its light panel, improving its capabilities and incorporating more advanced LEDs such as its new RGBW options, to consistently deliver a superior backlighting solution. www.appleleclighting.co.uk

DL 50 Siteco DL 50 is a technical and decorative solution as a mast and catenary luminaire. The DL 50 LED is available not only as a mast and catenary luminaire but also comes in two sizes. Different lumen packages and three light colours provide additional flexibility in application. HD faceted reflectors ensure precise light control and glare-free lighting. www.siteco.com

Light Engines LightGraphix New light engines are now available across LightGraphix high-power LED products delivering up to 900lm, beam angles between 10° to 65°and colour temperatures of 2200K to 5000K. Data sheets have had a complete refresh, with added performance data including UGR, LOR, TM30, peak intensity ratings and lifetime values set at an industry leading L90B5 at 90,000hrs. Toughened, black trim glass and new in-house paint finishes will enhance the existing high quality machined bezels. www.lightgraphix.co.uk

Explora Star Hacel The Explora Star LED luminaire is an artistic choice for producing a unique lighting statement. As part of the Explora Range, the Explora Star showcases a translucent yet reflective design, offering direct and indirect lighting. The luminaire can be easily linked to create an array of imaginative configurations, delivering up to 5,460 lumens and efficacies of up to 88 lm/W. Complementary pendants and colour changing options complete the range. www.hacel.co.uk

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Respectful Light When creating the nighttime illumination for Philadelphia’s Laurel Hill Cemetery, The Lighting Practice called on fixtures from Acclaim Lighting to cast the cemetery in a respectful glow.

T

he nighttime illumination of the historic monuments

illuminate the cemetery monuments in a respectful manner. Both

Philadelphia have reinforced an emotional connection

of use in applications where it may have been difficult to run control

and natural landscape of Laurel Hill Cemetery in

with the city and community, while strengthening

visibility and honouring the past.

“Lighting is a way to showcase the beautiful architecture found on

our property,” said Nancy Goldenberg, President and CEO of Laurel

Hill and West Laurel Hill Cemeteries. “It’s also a way to highlight our

grounds. We are proud to be a certified arboretum and want people to come in and see all that we have to offer.”

Established in 1836 and serving as the first cemetery in the United

States to be designated a National Historic Landmark, Laurel Hill is

the final resting place of Civil War heroes, titans of industry, artists, architects, scientists, and civic leaders. The cemetery has been

honoured for its preservation of historic monuments and gardens and, in combination with its sister cemetery West Laurel Hill, has been certified a 265-acre Level II arboretum.

The nighttime illumination was designed by The Lighting Practice

(TLP) in Philadelphia and installed by Miller Bros. of Conshohocken, Penn. Laurel Hill utilises long-life, low-energy, high output Dyna Drum and Dyna Accent LED floodlights from Acclaim Lighting for precise optics that eliminate glare and lighting trespass and to

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fixtures feature the Aria Wireless DMX system that allows for ease

wiring. As a result, the lights are easily turned off nightly at 1:00am

to preserve normal day/night cycles for wildlife and provide minimal disturbance to trees and plants. The light system provides uniformly

white colour but has colour-changing capacity so that Laurel Hill can participate in seasonal and special civic celebrations.

Now the more than 31,000 cars, 650 bikers and multitude of walkers who pass by Laurel Hill can enjoy the cemetery day and night. The lighting will offer visual gateways into the grounds after sunset,

providing a new way of seeing and experiencing the landscape. The

lighting design will also bring a heightened sense of place and safety to the site and the surrounding neighbourhoods, while increasing opportunities and options on the cemetery grounds for evening

programmes, including walking tours and artistic performances.

“By lighting Laurel Hill, we are sharing the message that we’re more than a cemetery and that this is a place for living as much as a place of eternal rest,” Goldenberg said. “When we turn on the lights, we are telling people that we’re here and welcoming them to visit and discover what a treasure we have.” www.acclaimlighting.com

case study

Contemporary Credentials Specified by John Robertson Architects for the renovation of London’s Bracken House, fixtures from Zumtobel contribute both to the building’s design criteria, and its sustainability credentials.

J

ohn Robertson Architects recently enlisted the help of

vein of light with no shadows that complements the unique design

Bracken House, as part of a bigger refurbishment.

arrangement of the central office floorplates seen from street level.

Zumtobel to improve the office lighting at London’s

Working with a complicated brief to supply luminaires

in keeping with the interiors of the Grade II listed building, the

selection of Slotlight Infinity, Caela and Panos Infinity luminaires

were important in meeting the design criteria for the renovation and contributing to the building’s sustainability credentials.

Bracken House is now a contemporary workplace with an enhanced

street presence, business lounge, state-of-the-art office floors, and a spacious roof terrace. The previous architectural interventions

have been unified, and by working with heritage consultants, the

team was able to provide thoughtful additions that built upon earlier works, creating internal courtyards linking the main building and

wings, and increasing natural daylight throughout the atrium. The offices have been completely modernised to create 200,000sqft of

Grade-A office accommodation with a custom office lighting system developed by Zumtobel.

The office uses the Slotlight Infinity linear LED fittings, together

with modular suspended metal ceilings arranged in a grid that aligns with the building’s exposed structure. With its linear design and

high precision illumination, Slotlight Infinity provides an elegant

and architecturally sophisticated solution, providing a continuous

of the spaces. The lighting arrangement accentuates the structural

In the historic wings, Caela, a modern version of the original bespoke circular light fittings, illuminates all office floors to maintain the original aesthetic in these areas. Pendant, surface mounted and

recessed Caela LED luminaires provide decorative highlights and

adjust to the ambience of a particular space, adding an elegant and

sophisticated touch to the new offices. The ceiling levels have been raised to improve the floor to ceiling heights.

Panos Infinity luminaires blend into the architecture, providing a light approaching natural daylight, with pleasant colour

temperatures and the option to adjust to an individual’s preference.

Zemien Lee, Project Director at John Robertson Architects,

commented: “The success of the project lies in sustaining a 20th Century icon, bringing it up to the quality standards of the best contemporary buildings, by carefully balancing conservation

and progress to keep the original spirit of the design alive. The

collaboration between JRA and Zumtobel on the office lighting has been an essential part of bringing new life to Bracken House, and creating a headquarters for the future.” www.zumtobel.com

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Pics: Aatu Heikkonen / Inspiroiva Creative

Shared Moments At the recently opened Helsinki Outlet, Lighting Design Collective worked with Audico Systems and Schnick Shnack Systems to create bold, dynamic lighting installation, Moment Magnet.

H

elsinki Outlet, which opened

think out of the box,” added Haltia, starting

November 2019, is the first

installers and other partners.

its doors on the first day of

with Helsinki Outlet’s builders, suppliers,

outlet shopping village of its

One of the main draws for Helsinki Outlet

kind in the Helsinki metropolitan area. The

is its green areas and lighting. The lighting

extensive experience in the outlet worlds.

Collective, while Audico Systems acted as its

long time until it was found on the border of

Schnick Schnack Systems used in the final

“Lahdenväylä” highway and Ring Road III

Lighting Design Collective’s Jari Vuorinen

The stores of Helsinki Outlet are connected

lighting is designed to guide the customer

store can be accessed separately via its own

“The client wanted a tool for indirect

Outlet is gray and box-like, but the courtyard

Outlet did not want video screens or other

with pine trees growing and light art rising.

asked if we would come up with something

comfort and experience.

way”. The end result is a light artwork called

Norwegian owner of the center, Fortus, has

has been designed by Lighting Design

In Finland, the right space was sought for a

technical implementer, with fixtures from

Helsinki and Vantaa, at the intersection of

installation.

(Kehä III).

explained that Helsinki Outlet’s basic

by a shared outdoor space, from which each

path and support the outlet’s logo theme:

entrance. When viewed from the outside, the

communication and marketing. Helsinki

reveals a lush and elegant outdoor oasis,

traditional AV communications, but we were

Helsinki Outlet has invested in customer

that would drive the same thing in a new

“Different is the word that we’ve cultivated a

Moment Magnet.

Haltia, director of the shopping centre. “We

surface of the Helsinki Outlet live according

lot in the design phase,” explained Johanna want to produce a different, pleasant and

experiential shopping experience for people.

Scandinavian linearity and a sense of space with a European twist!”

As the premises managed by Helsinki Outlet are mainly in the outdoors, the traditional shopping centre expertise is not enough for its subcontractors and contractors.

“Our partners must be able to stretch and

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During the day, the copper tubes on the gray to the weather, reflecting sunlight. In the evening, the work seeks its impetus from its surroundings, and even from current events, but instead of sunlight, it then

makes spectacular use of visual means. “A

work retrieves and utilises different data,” continued Vuorinen. “For example, the

direction and speed of the wind can affect what is shown in the work. Of course, you

can also manage it yourself, and the outlet mall can react quickly to a hockey win,

for example, through Moment Magnet”.

Vuorinen also sees the possibility of inviting different video artists to create their own

works via Moment Magnet as a delight for Helsinki Outlet visitors.

Audico Systems acted as subcontractor to LDC in the project “There are only a few

actors in Finland who can do such work. With Audico involved, it is known that things will go to the finish line,” Vuorinen added.

LDC designed Helsinki Outlet’s lighting concept and appearance, which Tapio

Järvinen from Audico translated into a

technically feasible package. “A project is more efficient and sensible when the lighting designer involves a technical

partner in the design at an early stage. This way, the installation and technical aspects

are always kept in mind and the result is in

accordance with the plan, and not just some kind of technically possible version of the artistic idea,” Järvinen added.

In general, the magic of Helsinki Outlet’s lighting is in the details. Järvinen

continued: “It’s not just steady light,

but contrasts. Round wedges of light are

projected to direct the gaze’s attention to beautiful things like plantings.” www.schnick.schnack.systems www.audico.fi

www.ldcol.com

case study

Smart and Stylish For the lighting at Nairobi’s five-star Ole-Sereni II hotel, contractors specified a wide range of fixtures from Ansell Lighting, alongside its Octo smart technology solution.

O

le-Sereni II is a five-star hotel in Nairobi,

Octo powered devices throughout a wide range of

warm hospitality. Located near Nairobi

This technology is not restricted to interior spaces

Kenya offering serene views with

National Park, the hotel is a perfect blend

applications including commercial and hospitality. alone. Octo can transform outdoor applications with

of service excellence, quality accommodation and

intelligent features that allow users to alter colour

When building the luxury Ole-Sereni II hotel,

atmosphere. The hotel has benefited from a great

outstanding conference facilities.

Architects AR. Parijat Misra wanted a wide range of

lighting to be both practical and aesthetically pleasing

temperature and dim brightness to create the perfect number of features the solution has already been able to deliver.

on the eye. Illuminating both the interior and exterior

The products installed in the hotel included the

sleek and create a feature. Project contractors Power

There were more than 3,000 Unity LED downlights

Lighting as their preferred supplier.

Gimbal, Unity 125D, Unity 150D, Unity 150DHP and

of the building, the lighting needed to be modern,

Engineering International Limited selected Ansell

Concho LED strip, Twistlock and Unity downlights. installed in the hotel including Unity 80, Unity 80

A wide range of Ansell products were installed outside

Unity 175 Wall Wash. The Unity range was chosen as

car park, whilst inside, bedrooms, meeting rooms

range of downlights. With a Die-cast aluminium

the hotel, including the entranceway, gardens and and the large reception area were also illuminated

with the Ansell range. The installation has created a

it is a compact and high performance, professional

construction and powder coated finish, the fixtures boast an anti-glare design that helps create a

warm, welcoming, and relaxing space throughout the

stunning and relaxing space.

Ansell’s highly efficient LED fittings, but its smart

pleased with the fit out of the hotel. They were

hotel for staff and guests. Not only did they choose technology solution Octo was also selected. Octo

has a comprehensive range of features that interact

flawlessly with smart devices and smart accessories.

All products in the Octo smart lighting range

communicate with each other seamlessly, forming a Bluetooth mesh that enables users to control all

Overall, the team at Ole-Sereni II was extremely impressed with the quality of Ansell products, as well as the value for money. They were equally impressed

with the easy and intuitive commissioning of the Octo solution and the many new smart features the hotel has benefited from.

www.anselluk.com

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case study

Magic Kingdom During the renovation of the Disney-esque Botaniq Castle in Tura, Hungary, fixtures from L&L Luce&Light create a dramatic finish to the building’s striking façades.

“O

nce upon a time...” – those

out by 3F Project. The Budapest-based

castle’s walls.

opening of so many fairy tales

by L&L Luce&Light to fulfil the client’s

Project also used several 2.0, 3000K, 16W Siri

story full of nostalgic episodes depicting

emphasising the castle’s architecture and

DALI version. The fixtures are directed at

for the Botaniq Castle in Tura, Pest County,

L&L’s lighting fixtures were used in different

adorned with stone coats of arms, on the

familiar words that mark the

immediately evoke a romantic

times gone by. This concept is a perfect fit Hungary. This Disney-esque castle has

been returned to its former glory after a

lighting design studio used lighting solutions desire to accentuate the entire building, surroundings with light.

areas in the structure, starting with the main entrance, where customers are greeted by

The team of lighting designers from 3F

projectors with 40° optics in a customised

the circular windows, with curved cornices first floor of the structure housing the

restaurant. Other L&L fixtures, such as the

restoration that involved transforming the

an imposing arched entrance. It is flanked

3000K, 3.5W Bright 2.8 recessed uplights

residence into a modern luxury hotel.

of rectangular windows along its whole

close to the walls on the first-floor terrace,

when Sigmund Schossberger, a local sugar

entrance and the tower, and on those of the

asymmetrical optics pick out the steps

entire building from an erstwhile aristocratic The castle’s story begins in the 19th century,

by a tall, cylindrical tower with a series

height. On the sills of each window in the

with 41° optics, tiltable ±15°, were installed while Step Outside 6.3 step lights with

magnate made a baron by Franz Joseph I,

arched dormer windows, 3000K, 7W Lyss

leading from the front courtyard directly into

residence in 1883 and equipped it with

frosted optics create a semi-circular blade of

The renovation also extended to the

built this magnificent neo-Renaissance

state-of-the-art amenities. Over the years,

Schossberger Castle was passed down to the

1.0 projectors were installed. Their 20°x180°

light that emphasises the windows’ internal profile.

the restaurant.

extensive park, made up of more than 10 hectares of greenery framing this

baron’s heirs until, after World War II, the

The castle complex includes a building with

magnificent hotel. The project aimed at

until 1973; it then had several owners who

Each side is further embellished by three

form of an English landscape garden, by

castle was nationalised and used as a school neglected the building’s upkeep, so that it had fallen into disrepair by the end of the 20th century.

In 2016, the decision was taken to completely renovate the building and restore it to its

former elegance. The restoration included a

new lighting design for the exteriors, carried

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a square floor plan that houses a restaurant. large windows overlooking the terrace

and outdoor pool. To emphasise the stone

balustrades that mark the contours of this

building, Trevi 3000K linear profiles with 40° optics were used, in different lengths. The

same lighting solution was adopted to light the other stone parapets that outline the

restoring these grounds to their original planting new trees and renovating the old

paths that used to cross the lawns. To light these paths, 2.1, 3000K, 12W Plin bollards were installed at regular intervals. These

feature a 90° tilted head that holds the light source with diffuse asymmetrical optics. www.lucelight.it

ILLUMINATING THE POSSIBILITIES Created to bespoke specification, our premium light panel has built a reputation as the go-to backlighting solution, bringing light to beautiful, exciting and inspired lighting designs.

Find out more about our Applelec LED Light Sheet advancements and customer support: www.appleleclighting.co.uk sandi.moolman@applelec.co.uk 07714 168 382

ANNIVERSARY OF APPLELEC LED LIGHT SHEET

1 Page collage 3.indd 2

03/02/2021 17:02:05

Radiant is operating normally now with most of the production team back in Highgate. We are delivering orders but lead times are longer than usual due to supply chain delays. Let us know if you need any information or samples and we will respond as quickly as possible. Stay safe.

St. Michael and All Angels, Blewbury, UK Project designers were Rachel Phillips and Linda Norris Images by Dave Thrower

www.radiantlights.co.uk

|

Euclid 40 System IP20 LED linear lighting system with high-power LEDs and elliptical beam lenses Up to 5,000 Lumens per Mtr

+44 ( 0 ) 208 348 9003

|

david@radiantlights.co.uk

|

arc ad aug-sept 2020.indd 1

All products designed by

05/08/2020 13:02:26

ADVERTISERS INDEX Acclaim Lighting........................... 69

formalighting................................ 31

LumoTubo .................................. 127

Acevel............................................ 13

GHM-Eclatec............................... 129

Proled...............................................8

ADO Lights.................................. 107

Hacel ............................................. 11

Radiant Architectural Lighting.. 126

Alto ................................................ 35

Illumination Physics..................... 55

Recolight..................................... 131

Ansell............................................. 79

Insight............................................ 47

Seoul Semiconductor................ 111

Applelec ...................................... 125

Intra Lighting................................ 63

Siteco................................................2

Bega............................................... 27

KKDC.............................................. 39

Stoane Lighting............................ 87

CLS-LED............................................6

LED Linear................................... 132

Technilum..................................... 81

Colors...............................................7

LightGraphix............................... 101

Unilamp............................................9

[d]arc awards.............................. 4, 5

Lightly Technologies.................... 51

Valmont......................................... 17

Erco...................................................3

Ligman........................................... 15

Wibre........................................... 105

Feelux............................................ 59

Lumascape.................................... 23

Zumtobel....................................... 33

ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK

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

GILE 9-12 June Guangzhou, China

PLASA 5-7 September London, UK

www.darcawards.com

www.guangzhou-international-lighting-

www.plasashow.com

exhibition.hk.messefrankfurt.com

LIGHT SYMPOSIUM WISMAR 10-12 March Online

LEDUCATION 17-18 August New York, USA

EUROLUCE 5-10 September Milan, Italy

www.lightsymposium.de

www.leducation.org

www.salonemilano.it

LEDTEC ASIA 21-23 April Ho Chi Minh City, Vietman

LEDFORUM.21 19-20 August São Paulo, Brazil

ARCHLIGHT SUMMIT 21-22 September Dallas, USA

www.ledtecasia.com

www.ledforum.com.br

www.archlightsummit.com

LIGHT 19-21 May Warsaw, Poland

STRATEGIES IN LIGHT 24-26 August Santa Clara, USA

[D]ARC ROOM 22-25 September London, UK

www.lightfair.pl

www.strategiesinlight.com

www.darcroom.com

INTEGRATED SYSTEMS EUROPE 1-4 June Barcelona, Spain

LED MIDDLE EAST EXPO 26-28 August Cairo, Egypt

LIGHT MIDDLE EAST 28-30 September Dubai, UAE

www.iseurope.org

www.ledmiddleeast-expo.com

www.light-middle-east.ae.messefrankfurt.com

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O YA

Responsible lighting solution

x x x

Dimming Video

Programmable

Power Pilot Detection

Diagnostic

Bluetooth

Network

www.ghm-eclatec.com

THE BACK PAGE BUCKET LIST Curated by

#20 333 Luxes / Elías Cisneros What: Witness the seven triangles created by the shadows projected onto the façade of the building in this unique architectural-astronomical event.

Where: At the Chichen Itza archaeological site, located in the Yucatán peninsula, one of the most important settlements of the Mayan civilisation.

How: Only 40 minutes from Merida, my home, I invite you to join me on a pleasant journey and, upon arrival, we will enjoy a majestic astronomical display of light and shadow.

When: Precisely at the spring equinox on March 21 and in autumn on September 21, where the alignment of light and architecture will create this architectural-astronomical occurance.

Why: Astronomical observation allowed the Mayan civilisation to calculate the seasons of the year when the sun and the earth aligned to create this ancestral effect of shadows and lights. The Mayans also used these occasions to celebrate creativity, fertility and the provision of peace.

“We build with light and shadow: a space within space.”

Elías Cisneros

Photo: Laura Pardo

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www.333luxes.com

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ALL CO E VE LE RE D C B T

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S TEIOM I NS L AT CAREGUL I R EEE

IN

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FREE

FREE LAMP RECYCLING BATTERIES & ELECTRICALS

FREE collection and recycling and FREE container for sites collecting over 1000 lamps each quarter.

As a non profit organisation, Options available for smaller Recolight can offer a low cost quantities. recycling service. Giving you a complete WEEE service.

WEEE GUIDE YOU A team of WEEE experts to help with your paperwork.

All consignment notes are FREE.

info@recolight.co.uk

WE COVER THE UK Recolight operate the UK’s largest collection network for fluorescent and LED lamps.