arc April/May Issue 121

121 APR/MAY 2021 www.arc-magazine.com

Green Light Light Collab breathes new life to Singapore’s Parkroyal Collection Marina Bay LAM PARTNERS 60TH ANNIVERSARY • QISTINA AHMAD ALI HOSPITALITY FOCUS • DARK SOURCE FINALE • LED LINEAR ULTIMA-P REVIEWED • CASAMBI AWARDS

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042 Lam Partners Lam Partners celebrates its 60th anniversary this year. To commemorate this milestone achievement, arc looks back at some landmark highlights from the past 60 years.

Contents

APR/MAY 2021 014 016 018 020 024 032 034 036 118 120 122 128 130

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

038 Casambi Awards Entering its second year, the Casambi Awards once again looked to showcase the best examples of its wireless lighting control from the past 12 months.

056 The Greater Good In the second GreenLight Alliance column, Tiphaine Treins of Temeloy and James Morris-Jones of Lucent Lighting talk about the Lighting for Good (LfG) charter, the Lighting for Good Awards, and Lucent’s work with it.

060 Electric Enthusiasm arc sits down with young lighting designer Qistina Ahmad Ali to discover more about her passion for lighting and her experiences of being a female designer in the New Zealand design community.

069 On Guard for Lighting Quality Asst. Prof. Dr. Karolina M. Zielinska-Dabkowska IALD, IES, CIE, MSLL, RIBA, looks at today’s recognised lighting design profession and its historical formation combining aspects of science and art.

116 Three Principles for Healthy Living with Light and Lighting Amidst the growing awareness of the importance of light and darkness for human health, Asst. Prof. Dr. Karolina Zielinska-Dabkowska and Dr. Ruth Kelly Waskett offer some key advice on how the lighting industry can respond.

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ARPOOL IRIS

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076 Crown Sydney, Australia The newly opened Crown Sydney is the latest landmark on the Australian city’s iconic harbour. Lighting design from both FPOV and NDYLIGHT help bring this landmark to life.

Projects

APR/MAY 2021 086 Middle Eight, UK

098 Parkroyal Collection, Singapore

As part of the newly-renovated Middle Eight, a luxury, four-star hotel in London’s Covent Garden, Hoare Lea used light as a means to foster a relaxing ambience throughout.

At Singapore’s Parkroyal Collection Marina Bay, Light Collab has used light to breathe new life into the vast atrium space, creating an energising space both for guests, and for the abundant plant life.

088 Naera Hotel, Spa & Art Gallery, China

104 Zedwell Hotel, UK

Merging art and light to create a beautiful feeling of escapism, Klaasen Lighting Design has helped to turn the Naera Hotel, Spa & Art Gallery in Xitang, China into a picturesque, relaxing retreat.

In the underground Zedwell Hotel, Elektra Lighting has created an atmospheric, ambient lighting scheme, designed to help guests get some sleep in the heart of London.

096 Spesso, Sweden

Drawing inspiration from its cinematic past, the Brasserie Astoria in Sweden seamlessly blends lighting design from Paloma Design Studio with Joyn Studio’s rich interior design scheme to create a dramatic space.

Reform – part of Reflex Arkitekter – has created a minimal, focused lighting scheme for the newly opened Spesso rooftop bar and restaurant in Stockholm, Sweden.

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106 Brasserie Astoria, Sweden

EDITORIAL

Front cover: Parkroyal Collection Marina Bay, Singapore (Pic: ND Photography)

Editorial

Managing Editor Helen Ankers h.ankers@mondiale.co.uk Editor Matt Waring m.waring@mondiale.co.uk Contributing 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 Media Sales Executive Adam Syme a.syme@mondiale.co.uk

A fond farewell...

We wave goodbye to Kerem Asfuroglu’s Dark Source Stories...

As I sit here writing this, it is pretty much a year to the day since

lockdown began and we packed up arc HQ to work from home for

what was supposed to be a six-week spell, “just to see how things

pan out”. That six-week period very quickly turned into an indefinite hiatus, and after a whole year of remote working, the idea of

returning to the office full time, when/if that eventually happens, feels very alien indeed! Although putting a magazine together

remotely was a challenge at first, the fact that you’re now reading issue #7 of lockdown (not including the annual ILDS!) I suppose

shows how we have all adapted to the new circumstances that were rather thrust upon us.

After a year of lockdown, you might think that it was quite an

ambitious move for us to run a hospitality focus in this issue; but the

sheer number of you that reached out to us to share your latest hotel/ bar/restaurant projects just goes to show that, while the hospitality

industry is outwardly on pause, it’s given hoteliers and restaurateurs the chance to renovate their premises, or even expand and open new ones. What it does mean is that when life does eventually return to

Events & Marketing Manager Moses Naeem m.naeem@mondiale.co.uk

something approaching “normal”, we’ll all be able to go out to some

Design

issue you’ll find a small snapshot of new hospitality venues around

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

beautifully designed spaces, with some amazing lighting! Inside this the world, with lighting design from Klaasen Lighting Design, FPOV, Light Collab, Paloma Design Studio, and more, so make sure you check them out.

On another note, I’m sad to say that this will be the last issue of arc

to feature Kerem Asfuroglu’s Dark Source Stories. Kerem has graced

our pages with his incredible artwork detailing our social and cultural relationship with light for the past 46 issues (23 of which I have been here for), but his increasing professional commitments mean that it is time for us to say goodbye. While it’s obviously sad news for

us that Dark Source Stories is coming to an end, all of us at [d]arc

media are incredibly happy for Kerem that his professional venture,

Dark Source, is doing so well, and we wish him all the very best in his future endeavours.

Thanks for the amazing work, Kerem!

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.

Matt Waring Editor

Subscription records are maintained at Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ. Proudly Supporting

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NEWS

Headlines Barbara Horton retires from HLB Lighting Design (USA) - Senior Principal Carrie Hawley to assume role of sole CEO going forward.

HLB Lighting Design has announced that Barbara Horton, Senior Principal and Co-CEO, has retired after a 41-year career with the firm.

Horton will continue to work as a consultant for the firm and serve out her term on the Board of Directors to the end of 2021 to ensure a seamless transition.

Senior Principal Carrie Hawley will assume the role of sole CEO following Horton’s retirement.

For the past 40 years, Horton has served as a leader and mentor to HLB staff and the greater industry. During her tenure, HLB grew to 15 Principals/Owners, with more than 90 team members located in seven offices across North America, serving clients worldwide. She has guided the firm through a successful ownership transition, its first acquisition, and created a culture of design excellence with a focus on the business of design. She has been working side-by-side with firm leadership and co-CEO Hawley for the past year in preparation for her retirement, and the continued legacy of HLB. “We’ve planned for this succession transition from the first day I was honoured to take on

the role of CEO in 1992,” said Horton. “The success of the firm does not lie with one person, but with all the people we empowered to bring their imagination and entrepreneurial spirit to build our firm’s reputation. Working side-by-side with so many of our great leaders throughout my career has been an honour through the lighting journey.

“The CEO has many responsibilities, but the greatest one is to be the Chief Enthusiasm Officer. Carrie Hawley has the historical foundation and perspective of the future to continue the work we’ve started and take HLB through the next 50 years.”

In her new role as the CEO of HLB Lighting Design, Hawley brings 25 years of lighting design expertise and leadership at HLB, with a portfolio of award-winning projects with renowned clients both nationally and internationally.

“I am humbled and excited to take on this responsibility and step into the enormous shoes that Barbara has filled as CEO for the past 29 years,” said Hawley. “Our firm has

a strong culture of strategic planning and innovation, both in lighting and in business, and I am immensely excited to continue to grow this culture and elevate the profile of lighting design in the world today.”

She continued: “This is a huge moment in my career, and I am looking forward to leading our team as we continue to advance our industry and shape inspiring, innovative, sustainable and healthy environments through lighting design.” www.hlblighting.com

Lighting Design International appoints Design Director and Creative Director (UK) – Nishi Shah and Graham Rollins to serve as Design Director and Creative Director respectively.

Lighting Design International (LDI) has appointed Nishi Shah as Design Director and Graham Rollins as Creative Director.

The announcement follows the retirement of Principal Designer Chris Lewis; Sally Storey will become Founding Director of LDI. “I am thrilled to share the news of the promotion of Graham Rollins and Nishi Shah to Creative Director and Design Director. We are entering a new phase of Lighting Design International, and we are all excited for the future,” said Storey.

Over nearly 25 years at LDI, Shah has designed numerous award-winning schemes in the UK and abroad. As an Associate, she nurtured the talents of many LDI designers over the years, and has worked on a variety of prestigious projects, ranging from resort hotels and office developments to spas and private residences.

Shah’s experience working on some of LDI’s largest projects has been

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crucial in achieving excellence, helping to secure the firm’s status in the industry. Her extensive portfolio includes One Hyde Park, Heckfield Place Hampshire, Ham Yard Hotel and various private estates.

“I can’t quite believe where the time has gone but I’m looking forward to seeing where my new role takes me,” Shah said. “I’m of course really grateful to Sally and Chris in particular, but also to all the others past and present at LDI who have inspired me and made me better at my job along the way.”

After joining LDI 16 years ago, Rollins’ creative approach and passion for detail led to him heading a team since 2011. Rollins has won numerous prestigious awards domestically and internationally, and is an active member of the lighting community, giving lectures, writing for magazines, attending events and producing light art installations additional to his role within LDI. His drive for unique yet respectful solutions to architectural lighting challenges has led to him detailing diverse, bespoke details, and original fittings in collaboration with his team at LDI and with clients. Rollins’ design influence can be seen across a wide range of projects, including Harrods Dining Hall, Harrods Technology, Sunset Walk – Centre MK, and numerous private superyachts.

“At LDI, I have been very fortunate to work with leading architects and interior designers across a fantastic range of projects, with my colleagues and each design team providing new inspiration and challenges daily,” added Rollins. “I am looking forward to seeing how these opportunities grow in my new role, allowing further creative thinking and design progression.” www.lightingdesigninternational.com

Niagara Falls Canada & USA Often referred to as a Wonder of the World, Niagara Falls is a breath-taking collection of three individual waterfalls; the American Falls, the Bridal Veil Falls, and the Canadian Horeseshoe Falls. Attracting millions of visitors each year, the waterfalls bridge the gap between upstate New York, and southern Ontario, and bring together natural beauty, flora and fauna with a host of attractions, hotels and restaurants.

During the hours of darkness, the waterfalls are illumintaed with a vast array of coloured lights, adding a beautiful aura to the already mystic falls. These illuminations have been in situ for decades, using various technologies from pyrotechnics to carbon arc search lamps, to Zenon, until three years ago it was upgraded to LED. Most recently, the illumination has been given a new control system, courtesy of Pharos Architectural Controls, which offers fresh lighting content, greater flexibility for developing new design concepts, and remote management.

Pharos supplied an LPC 4 that controls both the American and Canadian sides of the Falls.

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Physically located on the Canadian side, it is linked via a fibre network to distribute data to three separate locations to illuminate the three waterfalls.

The project was a collaboration between Pharos, Pathway Connectivity - which delivered the data distribution via fibre optics, as well as a new back-up system - and SixEye, whose platform manages the Pharos and Pathway systems in the Cloud, with all three elements working together and integrating seamlessly.

Linus MacDonald, lighting consultant for the Niagara Falls Illumination Board, was also heavily involved in the implementation of this new control system.

Completed in December 2020, the project now offers a range of new features to ensure improved control and design flexibility for the Falls, giving the iconic landmark the opportunity to deliver unparalleled visual effects for visitors. www.pharoscontrols.com www.sixeye.net www.pathwayconnect.com

EYE OPENER

Photography: Niagara Falls Illumination Board

www.arc-magazine.com

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Drawing Board

Bloc UK Located in Manchester, UK, Bloc is one of Bruntwood Works’ latest Pioneer buildings, with a focus on wellness, work-life balance and productivity, and is expected to launch in Spring 2021. Local lighting design studio Artin was appointed as creative lighting design consultant for the project.

Bloc has a renewed focus on the work environment by implementing specific design strategies to help boost productivity. Biophilic design was key to the wellness strategy, and plays a huge part in the architectural design, both inside and outside.

The interior of the scheme will become a cascading garden, with greenery naturally flowing around the architectural structures and details within the building.

The contrast with the raw architectural materials, in combination with the natural planting and greenery, will create a sense of abandoned architecture, with the greenery slowly merging into the interior from a high level down over time.

As part of the lighting design brief, Artin was asked

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to design and develop a dynamic feature lighting installation to the vast green wall façade, which wraps around the existing entrance on the two main elevations of the building. The green wall structure has a combined length of 60-metres, stretching across the two elevations, and a maximum height of 14-metres, making it a significant living green wall structure.

From the outset, Artin wanted to develop conceptual designs that combined the technology of dynamic light with the living green wall, creating a “digital canvas of light that could completely change the dynamic of the green wall and the appearance of the building from day to night”.

Combining light art with the living green wall structure was imperative to the design, and the two needed to be detailed and connected to create a seamless synergy between the technology and living organisms.

The integration of the lighting system within the vertical green wall structure had to be carefully developed, ensuring the physical design and components did

not have an adverse effect on the planting, while also considering accessibility and ongoing maintenance of the plant life.

The bespoke vertical lighting grid and wiring channel will therefore be embedded into the green wall system, creating a mesh of digitally addressable RGB LED nodes. Each vertical channel was designed and set out in coordination with the vertical planting cassette system, which is based on 250x500mm planting cassettes. Each cassette is affixed directly to the structural façade and the vertical lighting channels were designed with bespoke 3D printed brackets, which combine the direct fixing methods of both the planting cassette and vertical lighting channels into one point.

Philips’ iColor Flex LMX modules have been specified for the lighting component of the digital mesh, while a Pharos control system will be used for both the interior and external façade lighting.

Visually, the embedded lighting mesh will allow the façade to create organic light movements that flow across the vertical planting system, transitioning from a living wall by day into one of the world’s largest living digital artworks by night.

Luke Artingstall, Director of Artin, said: “This is a hugely exciting project for us, particularly as it’s a design and system that has never been delivered on a project of this scale. This is not just exciting for our client and Manchester; I believe it’s exciting on an international level as well.

“We want this project to become a surprise for passers-by, where the digital light content naturally breathes and flows in and out, reacting with the uses of the building internally, as well as the passing public in a natural and beautiful way.

“We believe that this project has the capability to be beautiful, elegant and bold all at the same time, and arguably given the scale of the project and technology used-, it is potentially a unique installation on an international level, which we cannot wait to share with Manchester and beyond.” www.artinlight.co.uk

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Ekskavatorny Uzbekistan Sitting in the heart of Tashkent, Uzbekistan, Ekskavatorny is a large, open, mixed-use space that comprises three residential blocks, a vast, open-air shopping mall, an ice rink, numerous coffee shops and a variety of restaurants, all complemented by a flourishing, beautiful landscape.

The space has been designed with the aim of creating a vibrant living space for its occupants, presenting them with multiple services of entertainment in the nearby vicinity.

To illuminate this communal space, architects Oncuoglu + ACP have turned to Turkish lighting design studio Lab.1 Lighting Design to create a lighting scheme.

Accordingly, the lighting designers have prepared a series of visuals detailing their proposal, which aims to create a joyful and functionally flexible lighting approach.

The sketches propose a series of pole-mounted fixtures to provide general lighting both to the open-air shopping mall and to the ice rink.

Elsewhere, further floodlighting uplights to the roof canopies of the shopping mall is offset by linear lighting around store entrances and general walkways.

Manas Deniz, lighting designer at Lab.1 Lighting Design said of the proposed scheme: “We believe the very first phases of each project demand abstract and open-ended lighting visuals compared to realistic ones, as they tend to focus and tell more about the atmosphere and mood.” www.lightinglab1.com

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Spotlight Waterline Club at Waterline Square USA Designers are often tasked with redefining what a modern space feels like. For the Waterline Club at Waterline Square in New York, an underground, 60,000sqft, high-end amenities space, Focus Lighting wanted to recreate an abstract, yet natural feeling environment through light.

The team therefore focused on illuminating the sweeping volumes throughout the space with light guided by circadian rhythms. Lighting was carefully integrated into the undulating architectural expressions to create an organic and variable lighting scheme that felt both comfortable and bold. Indirect lighting of the 30ft tall diaphanous ceiling in the main atrium creates an uplifting and airy volume, while linear RGBW LED cove strips hidden within the branches of the fin structure uplight the high ceiling, allowing filtered bounce light to softly fill the space.

As the light slowly shifts from the warm tones of sunrise to cooler daylight tones, the feeling of the entire space is transformed. Throughout a typical day, the colour temperature shifts from 2700K in the early morning, to 4500K by noon, then slowly

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back to 2400K at sunset in an attempt to recreate the natural-feeling cycle of daylight.

Focus Lighting built a scale model to test the ceiling lighting approach; by installing a tiny LED tapelight into the cove uplight position to simulate the specified fixture, the design team was able to test fixture directionality and beamspread, as well as proper shielding and ceiling finish, to ensure a clean and consistent installation detail.

Subtly contrasting accent lines of linear LEDs are integrated beneath the curving wooden circulation paths to create a sharply tailored look. Rather than a simple backlit slot, the lighting was detailed to fade in and out of the organic curves. Further, the design team decided to go with a tiny double cove detail, with two rows of flexible warm white LED tapelight, to best highlight the hand-carved architectural forms.

At the high ceiling, well-shielded static white downlights suspended within the flowing feature ceiling ensure that all pathways are well illuminated, no matter the colour or intensity level of the ceiling itself.

SPOTLIGHT

Pics: Ryan Fischer

Despite the grand scale of the space, there was a lot of importance placed on creating comfortable and intimate seating areas. As such, the lighting team incorporated low-level lighting, such as glowing table lamps and an illuminated bar fascia to complement Rockwell Group’s interior design, and ensure there was adequate humanscale lighting, while cooler white LED light strips carefully integrated with glass shelves at the back bar create a sparkly focal point.

In the adjacent amenity spaces, the simple, refined lighting of the bowling alley through a series of hidden cove lights creates a perfectly soft illumination. The design team collaborated with plant lighting specialists to create a sustainable underground garden. Workout spaces look out into the subtly shifting colour temperature of the central nexus, creating an open and airy environment, while promoting health and wellness through creative lighting design.

Elsewhere the undulating cove lighting that highlights the curved fins, coupled with an evenly grazed perimeter light, create a perfect envelope, giving guests a dramatic view while providing the chance to find intimate moments. www.focuslighting.com

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SPOTLIGHT

Pics: Peter Matthews

Heron Quays Pavilion UK Heron Quays Pavilion is a mixed-use space designed by Jun Aoki that sits on the edge of the dock waters in Canary Wharf. Defined by its sculptural quality instead of its scale when compared to other buildings in the wharf, the Pavilion’s architecture has a strong connection to the water. This is expressed in a calm and understated manner, to create an emotion and atmosphere within its surrounding.

The inspiration for the architecture was to interpret the fluidity of the surface of the water onto the surface of the building. The use of reflective metal panels, shaped as wavelets, appear like the constantly transforming surface of the water. These panels are also constantly changing and appear to move when viewed from different angles.

The lighting design for the pavilion, created by Maurice Brill Lighting Design (MBLD), follows the architectural narrative, and seeks to underscore the building’s bond with the water and its reflective quality.

A strong linear wash to the base of the building is a minimalistic expression that aims to emphasise how the building hovers above the water. Much like the reflective metal panels, the lighting appears to change with the movement of the water and the angle of view.

The main body of the building, with its reflective metal panelling, is left unlit, allowing it to merge into its surroundings. The decision to have a dark façade allows the interior lighting to shine through stronger, transforming the building into a lantern placed on the edge of the water.

On the roadside, the building has a huge overhang that covers the

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pedestrian walkway, leading to the main entrance. MBLD’s minimalistic approach to the lighting continues here, with strong accents to the sculptural elements such as the columns and white walls flanking the main entrance.

The lighting designers were careful to consider the highly specular materials in the architecture, such as the chrome ceiling and mirror façade, where small lighting gestures get multiplied to create a strong dramatic effect. For example, the metal fins placed along a dark, mirrored façade along the walkway are lit from a discreet trough detail in the chrome ceiling. Meanwhile, the sculptural columns are modelled using directional downlights from the ceiling, and these are reflected in the mirrored façade.

The strong linear wash to the white stone walls of the main entrance serves to emphasise the entrance, and creates a striking backdrop to talk along the footbridge to the entrance.

All downlights are chrome-finished to blend into the ceiling, and MBLD developed a special linear luminaire for the project, which is OP67-rated and lit end to end without any visible end caps, to achieve a continuous lit effect.

In the lighting design for Heron Quays Pavilion, MBLD sought to achieve a simplicity in the use of light, with a minimalistic approach creating a play of shadows and reflections that are true to the architecture. www.mbld.co.uk

2017 Innovation Award

ARCHITECTURE + PRESENTATION

WINNER

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Spotlight

Pics: Nicol Piccini

Hacking With Light...When Evening Comes Italy We all know the pleasure of reading a book outdoors in a park or garden, so how nice it would be to continue doing this after dark. Daylight is the essential, life-generating element that follows us through our daily activities. It takes a sunset for us to realise the actual importance of it, both indoors and outdoors – not only for our visual comfort, but also the feeling of safety and overall accessibility.

The installation Hacking With Light…When Evening Comes, created by Italian designer Giorgia Brusemini for Udine Design Week in Udinese, Italy, focuses on creating opportunities for an informed and conscious application of artificial lighting as a key to enhance urban spaces after dark. It seeks to promote “gentle” ways to experience the city, turning unused spaces back into approachable ones, inviting new social activities.

The installation does this through the introduction of a lit element on the Shadowy armchair, created by Italian brand Moroso and designed by Tord Boontje.

The introduction of this element transforms the chair into a comfortably lit piece of furniture for nighttime reading outdoors.

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In the design phase, Brusemini looked to integrate the luminous element into the armchair, as if it was a piece of micro architecture. In the curved upper part of the structure, the insertion of formalighting’s compact Microline 3000K linear LED profile highlights all the features, the shape and texture of the chair, while at the same time creating a functional reading light.

In the lower part, a flexible outdoor LED strip with micro-optics with asymmetric light emission was integrated. The result is a comfortable, non-dazzling indirect light with a hidden and integrated source.

The power supply has also been positioned in the lower part of the seat, keeping it hidden.

To allow the installation to sit outdoors, a coating was applied to all electrical components, as well as appropriate wiring with external IP66 cables and electrical sockets.

During the event, people were able to experience the unusual practice of reading at night in the open air, surrounded by nature. www.ognicasailluminata.com

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SPOTLIGHT

Pic: Copenhagen Light Festival

Pic: Hans Christian Riss

Pic: Hans Christian Riss

Pic: Jonathan Ki Lindhult & Sara Ki Noguera Plans

Interconnection Denmark Interconnection is a light art installation that immerses visitors into a magical forest, abundant with bioluminescent mushrooms.

Created for Copenhagen Light Festival by Sara Ki Noguera Plans and Jonathan Ki Lindhult, the installation has been designed to emphasise the beauty of these fungi, and the open possibilities for exploring bioluminescence as a new, sustainable light source that could one day be used to illuminate the parks of our cities.

Sara Ki Noguera Plans is an artist that is currently working on a series of installations that call for action towards preserving and taking care of the planet. Interconnection is one of these, and comprises a forest of 400 small, illuminated mushrooms, alongside two larger mushrooms, standing at 1.2-metres and 1.5-metres high respectively.

While walking through the bioluminescent wonderland, visitors are accompanied by experimental music, created for this special

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installation by sound artist Anton Helmersson.

The entirely handcrafted installation combines different disciplines to create a magical experience that has been designed to awaken the audience’s interest in the mysterious world of the fungi kingdom, which is essential to life on Earth and could hold the key to our future.

Sara Ki Plans explained: “Fungi, the greatest survivors in the planet, play an important role in keeping our forest alive, offering medicinal properties and developing an underground web, the so-called “wood-wide web”. This subterranean social network is nearly 500 million years old, and allows plants, trees and surrounding spices to be harmoniously connected, exchanging nutrients within a symbiotic relationship.” copenhagenlightfestival.org

Pixy Authentically magnetic

STUDIO 220V Founded in 2017 by Renata Fongaro, Studio 220V specialises in lighting design for architecture and exhibitions. Here, Fongaro shares some landmark projects from across her portfolio of work.

Bar dos Arcos São Paulo, Brazil Bar dos Arcos occupies the underground space of the Municipal Theatre of São Paulo, a historic site since in 1980, designed by the architect Ramos de Azevedo.

The bar’s architectural project was developed by Marcos Paulo and Mila Strauss from MM18, with the lighting design coming from Studio 220V, together with There’s Light London.

The space has two main lounges, one with communal tables and the other with sofas and armchairs.

In the tables room, the proposal was not to light all the elements, but with different colour temperatures between the arches and the tables, reveal the old and the modern aspects of the place. In the lounge, the pillars were used as a support for chandeliers designed

by Studio 220v, arranged in a way that emphasised the labyrinth characteristic of the environment.

The project presented two main challenges: to develop supports for fixing chandeliers and lighting, respecting the historical walls and creating a flexible lighting system for the tables. The solution was to choose equipment used in theatre lighting as an automation system.

E2 Customer Experience Centre São José dos Campos, Brazil Embraer’s E2 Customer Experience Centre in São José dos Campos is the first one in the world. The space, designed by Ydreams Global, was created to present all the technology of the E2 aircraft and the customisation features for customers worldwide.

The first room is a large scenic space that highlights the technologies presented. The light was designed to serve as a guide, determining the path of the visitor and highlighting the futuristic forms of the scenography.

In the second room, there is a mockup of the E2 aircraft, where the customer chooses the materials to customise the plane. The proposed lighting is diffuse and neutral, to reinforce the greatness of the space and not to interfere with the colour of the materials.

One of the premises of the project was the customisation of the light for the spaces, according to the nationality of the visitor. The solution was to implement RGBW lighting that allowed the colour change.

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SNAPSHOT

Carol Bassi São Paulo, Brazil Carol Bassi is a Brazilian brand specialising in woman’s fashion that was invited to open a 1,000sqm store at Shopping Cidade Jardim (an upscale shopping centre in São Paulo). The architectural project was by Marcelo Passarelli, with lighting design from Studio 220V. The concept behind the store’s lighting was to enhance the feminine universe, idealised by the architect and the brand. Studio 220V chose to use coves with indirect lighting and rounded fixtures, respecting the forms used by the architecture.

The entrance, with no doors, proposed a challenge - to integrate the natural light coming from the shopping centre corridors with the light of the interior of the store. To make a subtle transition between inside and outside, following the architectural characteristics, the lighting designers worked with diffused and neutral lighting, using backlit panels that, besides valuing the high ceilings, accentuated the design of the arches and revealed the mannequins’ silhouette.

For the dressing rooms, also with no doors, the solution was to create a grand built-in fixture with diffused light that reinforced the curved shape of the space and with its intensity and colour, provided an intimate and cozy ambience.

Studio 220V

Pics: Beto Riginik

Livo São Paulo, Brazil Livo is a Brazilian sunglasses brand with a youthful touch. One of its stores is at Oscar Freire St, a very fashionable area in São Paulo.

The store’s layout is quite unusual, as clients have to walk through a two-metre wide, 16-metre long corridor with five-metre high ceilings to get into the store. Invited by Livo, Studio 220V designed an experience project for this particular space.

Envisioning a transformation for the coldness and monotony of this corridor, an installation that plays with the idea of a tunnel was created.

To create perspective, making the store the focal point for the eye, panels of fabric were placed

hanging from the ceiling in different heights, and coloured floodlights were used to wash the walls with different hues. Along the way a set of light fixtures were placed on the walls to work as product displays, assuring an accurate visualisation of the sunglasses colours.

The project’s outcome was very positive.

Besides addressing the strange problem of the space, it created an extra interaction point with customers.

Renata Fongaro is an architect and lighting designer. It is not just these two words that define her as a professional, her knowledge and skills go further. A native researcher, her current research subject is her grandfather’s work: modernist architecture and furniture design. She studied cinema, photography and art history, and is passionate about craftsmanship such as ceramics, carpentry and sewing.

It is from this universe of the arts, from the experience acquired in lighting exhibitions and plays, that Fongaro’s unique perspective comes from. An important characteristic of her work is the freedom she puts in lighting projects, creating effects and solutions that give dynamism to the space, according to its use.

“The lighting project is an interpretation of the architect’s work, it is a narration tool. I like to enable people to play with the light, that becomes an element of interaction with the space. A minimal change in colour or intensity, alters the climate of the environment and the reaction of people.”

In 2017 Fongaro founded Studio 220V, specialising in lighting design for architecture and exhibitions.

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BRIEFING

Ruth Kelly Waskett An Associate at Hoare Lea with a strong focus on daylight, Ruth Kelly Waskett will take over as President of the Society of Light and Lighting this May. arc speaks with Kelly Waskett about her ambitions for her Presidency, and the value of organisations such as the SLL to the lighting world.

How did you first get into lighting?

In a nutshell, I got into lighting via daylight. I studied building services engineering and after working in that discipline for a few years, I started to get involved with daylight modelling and it really captured my interest.

I studied for an MSc in Light & Lighting at UCL and I just felt so at home with the blend of art and science that lighting is.

Can you describe your career journey so far?

My career could probably be best be described as an “academia sandwich”! I spent the first 10 years or so working as an engineer and then lighting consultant, followed by a five-year period in academia where I did a PhD in daylighting and became a visiting lecturer at UCL. I joined Hoare Lea in 2017 and it is great to be back in practice again.

There’s nothing like seeing your designs become a reality!

How did you first get involved with the SLL? It is because of Liz Peck. I met Liz at an SLL conference in my hometown of Dublin, and before I knew it, I had agreed to join the Newsletter Committee! Liz’s enthusiasm was infectious, and she was great at getting people involved. I think many of us are still coming to terms with her untimely death earlier this year. She had such a big impact and will be greatly missed.

What has been your role within the Society since first getting involved?

After the Newsletter Committee, it was contributing to guides, and I led the revision of Lighting Guide 10 (Daylight) in 2014. I became a Vice President in 2016 and through this role I’ve been involved in various initiatives, including an overhaul of the Young Lighter competition which has been really successful.

What was the process for you becoming President-Elect? How were you chosen?

Every year, the SLL Nominations Panel meet to nominate an individual to join the SLL Executive as a Vice President, and joining as a VP puts you on a pathway to becoming President. The Executive nomination is presented to the SLL membership and they can put an alternative nomination forward, if this happens there is a ballot.

When did you find out you were to become SLL President? What does it mean to you to be given this role?

The results of the nomination process are finalised at the SLL Annual General Meeting. So it was at the AGM in May 2020 that my role as President Elect was confirmed. It sounds like a cliché, but it really is a huge honour. Many of the past presidents are people I greatly admire and to be honest I can’t believe I’m next!

What are your goals/aspirations for your tenure as SLL President?

This role is a huge opportunity. I want to use it to recalibrate SLL, to get back to the basics of why it exists and what it is here to do. One of the key things I want to focus on is uniting diverse groups from across the

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industry, and I mean diversity in more than one sense – not just gender or ethn icity, but also how people identify within lighting. Some of us describe ourselves as engineers, some as designers, but we all love lighting, so let’s get together!

Have you received any words of advice from former Presidents or current President Bob Bohannon?

Bob is very supportive and has encouraged a lot of collaboration between all the VPs and the President each year, so that no-one feels isolated. It also ensures continuity in the work that Presidents do – there’s a limit to what anyone can do in one year.

How important do you think organisations such as the SLL are to the lighting community?

If you are interested in lighting, and especially if you work in lighting, then being part of a group of people with this common interest is hugely beneficial. You have direct access to not just the guidebooks but to the people who wrote them. There is a really diverse programme of events, all online at the moment obviously, which allows you to keep up to date with the latest research and thinking. Most of all, it’s a great way to connect with a group of people who share your obsession with lighting and who will not roll their eyes when you spend a lot of your time looking up at the ceiling when you go out somewhere!

You have a particular focus on daylight in your position at Hoare Lea – how integral do you think daylight should be in lighting design?

The importance of daylight is becoming more widely recognised in building design due to the drive for sustainability, and more recently because of the realisation of the crucial role of daylight to our health.

But I would like to see more lighting designers integrate daylight with their practice. In the process of lighting design, we have a tendency to focus on what happens after dark and forget that for a huge chunk of the 24-hour period, buildings are illuminated by daylight as well as artificial light.

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

The pandemic has changed so much, and for the lighting industry we need to embrace the new fluidity between spaces for working, spaces for living and spaces for recreation. Lighting can facilitate a huge amount of flexibility to support this change. Another impact of the pandemic is a renewed sense of responsibility over our own health – mental and physical. And of course, light is key to health; we know we need high levels of light in the daytime and darkness at night to stay healthy. I think it’s vital that as an industry we respond to this. www.cibse.org/society-of-light-and-lighting www.hoarelea.com

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DARK SOURCE

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

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Wireless Wonders Entering its second year, the Casambi Awards once again looked to showcase the best examples of its wireless lighting control from the past 12 months.

T

he finalists and winner of the

at Harrods undergo a dramatic transformation

announced this March during the

experience that respects its heritage status. The

2021 Casambi Awards were

inaugural Casambi Summit.

Now in its second year, the Casambi Awards looks to celebrate outstanding architectural lighting projects that incorporate Casambi wireless

lighting controls, using them to the very best

effect. The judging panel, comprised of Kai Piippo, Light Bureau; Pavlina Akritas, Arup; Andrea

Nava, Erco; Marc Juarez, Seoul Semiconductor; and Paul James, [d]arc media, received more than 50 entries from around the world, with

the diversity and quality of entries ensuring a

lively debate among the panel as to who would ultimately take home the winning trophy.

The judges evaluated every entry in detail,

picking out those that showed the greatest

creativity, route from concept to execution, and the smartest use of lighting controls.

The winner of the 2021 Casambi Awards was

Lighting Design International, who won the top

prize for the Harrods Dining Hall in London, UK. This project saw the historic meat and fish hall

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to offer a captivating and intimate dining hall existing tiled floor, walls and ceiling were all

retained, making it impossible to use a traditional

wired control system. This made it an ideal project for a range of Casambi dimming interfaces to

create the desired ambiance and control flexibility.

Due to the heritage listing of the space, the lighting itself needed custom detailing and bespoke luminaires to create the discrete

lighting layers required for the perfect lighting

ambiance, day or night. Warm diffused lighting from numerous bespoke decorative fittings and integrated concealed lighting detail is

punctuated by dramatic, ultra-narrow downlights to individual dining plates at bar seating. This

high contrast lighting to each plate makes the food a main feature against the backdrop of

chefs engaged in culinary theatre. All of these effects are finely balanced using Casambi

wireless control to minimise the requirement for new cabling in the heritage tiled room.

The room includes a central caviar bar, surrounded

Casambi awards

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4

3

5

by five other perimeter dining options, each with

lighting scheme, beautifully lit with many layers.

The lighting to the perimeter bars shares the

experience, that if you went there you would feel

its own individual bar seating and open kitchen. same schematic, adapted to each individually tailored bar shape and custom kitchen.

General lighting to the space and corner dining lounges is provided from numerous bespoke

designed decorative globes and dish uplighters, each in its own Casambi phase-controlled

group. The dish uplighters highlight the historic decorative tiling, and the diffuse globes form a family of decorative fittings inspired by

historic reference images of the original hall.

All dimming is achieved by Casambi technology,

to provide layers of lighting control in the historic context. Casambi Bluetooth control was essential to bringing the layers of control required without

new cabling disturbing the historic environment.

Casambi enabled the lighting designers to provide multiple control channels to each piece of joinery or each zone from fewer electrical feeds.

Speaking of the winning project, judge Paul James

said: “Out of all of the entries, we felt that this was

You could tell that the lighting added to the visitor very warm and relaxed, and it’s very hospitable.

“With the technical nature of doing a lighting scheme like this in such a historic building,

everything was integrated perfectly, so we felt it was a really good, all-round scheme.”

The other finalists for this year’s Casambi Awards were Dr. George Fatseas for the

entry, Linear Accelerators I + II, and the Al Doho Quarter renewal, designed by ALS.

The judges chose Linear Accelerators I + II for

its uniqueness, including a 3D light sculpture, and the dynamic, colour-changing scheme,

1. The winning project of the 2021 Casambi Awards was the Harrods Dining Hall, with lighting design from Lighting Design International.

2. Due to the heritage listing of the dining hall, the lighting needed custom detailing and bespoke luminaires to create the discrete lighting layers required for the perfect lighting ambiance, day or night.

3. Linear Accelerators I + II by Dr. George Fatseas was one of the other finalists of this year’s awards, commended for its uniqueness and colour-changing scheme.

4. The retention of the original tiled floor, walls and ceiling of Harrods Dining Hall meant that a traditional wired control system was not possible. This made the project ideal for a range of Casambi’s wireless dimming interfaces.

5. The third finalist was the Al Doho Quarter renewal, designed by ALS. This project was chosen for its scale. with more than 900 nodes and seven gateways used, and the technical aspect of working in and around its historical setting.

which the staff could control for patient needs.

The Al Doho Quarter renewal scheme was chosen for its scale – with more than 900

nodes and seven gateways – and the general technical aspect of realising this kind of project within a historical setting. www.casambi.com

the best lighting design. It was a very atmospheric

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3D Printing: An Integral Part of the Luminaire Design Process Frederik Friederichs, Group Manager at Light Bureau, explains more about his first steps into 3D printing luminaires.

I

t all started with a replacement part for a linear fluorescent tube. While browsing through a luminaire storage, checking for functional

luminaires to salvage, I discovered a classic

T5 luminaire with a missing end cap. It was a

merely aesthetic flaw since the luminaire was

functioning fine otherwise, and I was sure that

this would be an opportunity to start investigating into 3D printing to allow me to reproduce this specific part of the luminaire. The

scope was identified with a measurable goal and I tried to reverse the design process to build a duplicate from the existing end cap.

In all beginnings and when entering a new production method

with different workflows, roads are bumpy and the first steps are unavoidably subject to multiple trial and error processes. But I

felt that 3D printing can become an essential part of our design

exploration process to find suitable dimensions, shapes and forms

and serve to understand the production and creation process better.

From Idea to Form

Purchasing a sliding caliper immediately became useful when starting detailed measurements on luminaire parts. The end cap had a rather

simple cylindrical shape with delicate mounting bits in the bottom to connect to the socket base. After reviewing the first 3D printed part from the 3D file I had generated, I was caught by surprise.

The 3D printer is capable of spitting out a digital model, transforming data into a tactile product. But the quality of the result was far

off from my expectations, with exception of form and material

thickness of the generated object. This led me to analyse the piece in detail, revising the modelling workflow and the transition into

the “slicer” (the programme that translates the 3D model attributes for the 3D printer). Following these steps, I was able to refine the surface structure and quality, optimise the necessary support

structure to print this piece and get consistent results. It took a few attempts to figure out the correct tolerances to make the end cap

snap onto the socket without using too much force. Simultaneously, I was interested in trying different material types with a variety

of characteristics besides the polylactic acid (PLA), which is most

commonly used in the FDM (fused deposition modeling) 3D printing process and engaging in online learning courses that helped me to calibrate and utilise the 3D printer more efficiently.

It still feels like scratching the surface of options and opportunities connected to 3D printing, since the possibilities and knowledge exchange in the field of 3D printing are endless. But these first

iterative steps to arrive at an adequate and bespoke 3D printing part made me more interested in more complex tasks.

From Form to Fit

My creative process was certainly boosted by changes around the office leading to closer cooperation with the architectural studio

GPA (part of AFRY). In 2019, we started to extend the 3D printing

hardware in our common workshop/light lab at the office, allowing faster and larger 3D prints. It helped us to react instantly on

projects where we wanted to apply customised fittings. We were

able to deliver mock-ups and conceptual solutions ranging from

luminaire brackets to reflector parts. In this stage we mainly used Frederik Friederichs, Associate IALD, Group Manager, Light Bureau

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the 3D printing capabilities to make tests and give clients an idea

of scale and form of the final tailor-made product part. Due to its

IALD

rapid and almost instant nature, additive manufacturing supported

We are currently in the final stage of completing this project – our

rising, and we even cooperated with manufacturers who sent us 3D

The diameter for the prefabricated cut-outs in the pillars was defined

our decision-making process. The awareness of 3D printing was

data of additional luminaire parts for mock-up luminaires, since it was faster to produce these add-ons locally than to send the

spare parts to us by post. This made me realise that 3D printing can

become a major part of a circular economy system and a sustainable

alternative for the existing linear production due to its decentralised production capabilities.

The focus changed from just using the technology to replace or

supplement parts to designing a 3D printed object first, which could then be produced in series.

From Fit to Product

Materialising ideas and the production of custom-made parts has become significantly easier and more accessible through additive

manufacturing. We are now able now to react and adapt to changes in the detailing stage and proactively find solutions for difficulties and issues at the project site. But to allow a higher print volume,

more accuracy and sturdiness for the object, while reducing costs

and production time per piece, we were looking for partners using suitable 3D printing technologies to cooperate with.

Ruten in Sandnes

One of the new signature structures in Sandnes, a city located on the west coast of Norway, will be Ruten, which has long been the

region’s largest transit interchange point. The area has undergone an extensive infrastructural transformation, leading to a new key

pivot point for the city featuring an urban park with a canopied ring structure. The design brief in this project, developed and designed

by SpaceGroup Architects in Norway, was to install luminaires at

predefined heights into approximately 60 round pillar cavities of a filigree bearing roof structure with an organic shape. The lighting

concept for the urban area focuses on using mainly indirect reflected light from the canopied structure provided by the pillar integrated

luminaires, resulting in a soft and diffuse lit area providing guidance and orientation while simultaneously highlighting the volume of the structure.

first where 3D printing is a vital and integral part of the fixture design. to be 10cm and the difficulty of this task was to create a luminaire

component that seamlessly connects the convex shape of the pillar

and holds an adjustable standardised exterior spotlight fixture firm in place. Additionally, other challenges, such as different material

thickness of the pillars and the fact that all components needed to

fit through the 10cm hole as only access point, influenced the design process for the prototype.

After plenty of considerations and numerous design alternatives with regards to optimised light distribution, colour, fitting and

installation, as well as in regard to the workflow for the electrician, were carried out and we arrived at a final design solution with a

consistent and coordinated design for a prototype in January 2020. A

mock-up was subsequently performed in a warehouse and all project participants were able to see this hybrid solution of a tailor‐made 3D printed secondary reflector and a standard exterior spotlight.

Together, with the producer of the 3D prints, we discussed object

joints and fillets, material choice and thickness as well as tolerances to be able to deliver a holistic and comprehensive design that is long lasting and easy to install and maintain on building site. Funnily

enough, the producer is located 20km from the building site, a fact that became significant in the beginning of February 2021.

After all components were delivered to the site, we received a phone call informing us that the cut-outs in the pillars were performed

through a different method, resulting in higher tolerances of the

cut out down to around 8cm. We managed to tackle this deviation by redesigning and adjusting the secondary reflector and could deliver

new prototypes on site for fitting within three days, without the need to wait for a shipment from further away.

We expect the project to be done in the first quarter of 2021 and are

looking forward to the results. I am of the opinion that we have not yet leveraged all of the possibilities that lie within the 3D printing technology. We are on the verge of making 3D printing a powerful element in the lighting designer’s toolbox. www.iald.org

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“We Wield Light to Transform Spaces” Founded by William Lam in 1961, Lam Partners celebrates its 60th anniversary this year.

To commemmorate this milestone achievement, arc looks back at some landmark highlights from the past 60 years.

Row 1 Bill Lam (Founder); Justin Brown (Principal); Olivia Eckard (Project Designer); Sarah Fisher (Principal); Maggie Golden (Project Designer); Kourtenay Hanrahan (Marketing Manager); Glenn Heinmiller (Principal); Amber Hepner (Senior Associate) Row 2 Karmen Ho (Designer); Chris Hoyman (Senior Associate); Steve Iski (Principal); Michael Joy (Marketing Coordinator); Carla Wille Kielwagon (Designer); Matt Latchford (Principal); Suju Lee (Designer) Row 3 Eda Muco (Project Designer); Robert Osten (Principal Emeritus); Jamie Perry (Principal); Dan Pham (Designer); Jack Risser (Project Designer); Carly Rothbauer (Designer) Row 4 Ann Ryther (Accounting Manager); Jennifer Sanborn (Senior Associate); Meredith Stoneking (Assistant Accounting Manager); Srushti Totadri (Designer); Steph Valencia (Associate); Cheryl Wanner (Business Manager) Row 5 Dan Weissman (Senior Associate/ Director of Lam Labs); Penn Whitlow (Project Designer); Lisa Wong (Senior Associate); Keith Yancey (Principal); Paul Zaferiou (Principal)

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PROFILE

A

s the expression goes, great architecture requires great lighting. Lam Partners was built on the belief that a

thoughtful, creative lighting design is an integral part of any great work of architecture. The collaboration between light

and design is what inspires the studio. Where some see their everyday surroundings, Lam Partners sees distinct elements at play—a lively conversation between people, space and light. Light informs, leads us to our destination, evokes

emotion, and provides comfort.

William Lam Associates, a lighting design consulting firm in Cambridge, MA, USA,

was founded in 1961 by William M. C. Lam, after working as a lighting manufacturer for many years. With a focus on the integration of lighting with architecture and

urban design, Bill worked with many architects across the US and throughout the

world, developing innovative lighting solutions and integrated system approaches for

complex building designs. Bill retired in 1995 and worked as a consultant until his death in 2012.

In 1990, project managers Paul Zaferiou and Robert Osten became Partners, and the name of the firm was changed to Lam Partners, Inc. to acknowledge this transition.

Keith Yancey was promoted to Principal in 2005, followed by Glenn Heinmiller in 2008.

In 2018, Lam Partners merged with lighting design firm studioi in Pittsburgh, PA, ushering in a new era for the firm.

Today, Lam Partners is a 30-person firm with eight principals across two offices. Its

nationwide and worldwide practice includes extensive experience in designing lighting for all typologies. Notable work includes the Guggenheim Museum in Bilbao, Spain; the United States Institute of Peace in Washington, DC; the Yad Vashem Holocaust

Memorial in Israel; both the Washington Metro and Union Station in Washington, DC;

and the National Memorial for Peace and Justice in Birmingham, Alabama. In 2014, Lam Labs was founded as a division of Lam Partners to pursue research opportunities and

explore innovative lighting ideas beyond the bounds of conventional project structures.

In celebration of its 60th anniversary, the firm recently launched a new brand identity that captures the spirit of the studio and the new transitions ahead.

Lam Partners is committed to the principles of integrated design, teaching, promoting

energy efficiency and sustainability, and building rewarding, collaborative, and lasting relationships within the design community, and it believes that every project is an opportunity to make an environment better with light. www.lampartners.com

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PROFILE

Architect: Harry Weese and Associates Photography: Slides courtesy of Lam Partners

DC Metro System Washington DC, USA The DC Metro transit system represents one of the finest examples of an integrated approach to lighting design on a civic scale. For Bill Lam, lighting integration was not simply a matter of concealing the sources – it meant illuminating the architecture. Lam’s preferred method was the use of indirect lighting on ceiling surfaces for an overall ambient light level, which could be supplemented with task and highlighting, as needed. Today, this approach is considered common practice, but when it was first implemented in the 1970s, it was groundbreaking.

Chicago architect Harry Weese and Associates was tasked with creating a system-wide design for the Metro, including underground, above ground, and elevated stations in the greater Washington DC metro area.

Lam and Weese worked together to craft a design for the below-grade stations that would be warm and inviting, dispelling the gloomy feeling of being underground. The result is an uplit, vaulted volume that produces a sense of airiness and grandeur, befitting the nation’s capital.

Another one of Bill Lam’s contributions was his understanding and application of systems integration: structure, lighting, mechanical, graphics, and other services should all work in concert to achieve the desired unified expression. The main vaulted ceiling is illuminated by staggered rows of fluorescents in the centre, between the tracks and at the outer edges, so that the coffered structure is completely illuminated.

A walkable metal grille concealing the lamps makes maintenance easy.

On the mezzanine levels, graphic pylons not only identify the name of the station, but also contain mechanical diffusers and additional uplights.

Set inboard slightly from the platform edge is a row of flush, round glass lenses. A simple socket and point source below the lens is easily accessible from the edge of the platform. These lights flash to signal the arrival of a train. When a train pulls into the station, there is an added dynamic effect: the centre row of concealed uplights casts a moving shadow of the train on the vaulted ceiling.

The grand scale and elegant simplicity of these underground stations, with their glare-free vaulted structure, creates a design that has stood the test of time.

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Cost: $160million Size: Approx. 300,000sqft Architect: Daniel Burnham Owner: Union Station Redevelopment Corporation Awards: 1992 Presidential Design Awards; Federal Design Achievement Award

Union Station Renovation Washington DC, USA / 1988 When built in 1907, Daniel Burnham’s Union Station in Washington DC was the largest train station in the world. However, by the 1980s, with the steady decline in train travel, this grand Beaux-Arts building had suffered through decades of neglect. Architect Harry Weese and the design team were tasked with bringing its major spaces back to life as a new train station and a vibrant commercial destination. Lam Partners’ tradition of employing indirect lighting as a principal source of illumination came into play in animating these beautiful historic volumes.

In the era when great civic projects like this were built, architects had precious few electric light sources to rely on. Daylight was the primary source of illumination that gave shape to the major spaces within.

Lam’s lighting strategy focused on restoring the daylighting system, and adding concealed sources to illuminate the architectural volumes. By focusing on lighting the architectural volumes and features of the various spaces, a comfortable level of general lighting was achieved, supplemented by the restored historic fixtures and additional retail infill lighting.

The Main Hall of the terminal has a 96ft high, hexagon-coffered, barrel-vaulted ceiling. Restoration included applying gold leaf to the coffers in the ceiling, which adds a beautiful level of refinement.

Uplights concealed on the pilasters at the base of the main barrel vault and side vaults highlight the ceiling, giving the gold leaf detailing a shimmer, and creating an overall ambient overall glow in the Hall.

The uplight fixtures were tailored with special optics to complement the geometry of each space.

The skylit West Hall has a barrel-vaulted glass laylight ceiling, which diffuses sunlight from the skylights above. Fixtures concealed above the laylights supplement the daylight on gloomy days. Concealed linear uplights on the long ledges below the vaulted ceiling illuminate the space at night.

In the East Hall, the laylight system is a flat, coffered design, also with fixtures above to supplement the daylight. Below the laylight, the restored historic globe-style pendant fixtures provide general illumination for this retail space, and also provide indirect illumination to articulate the coffered design.

In 1988, this Lam legacy project was described in Time Magazine as: “one of the most breathtaking public interiors in the United States…”

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PROFILE

Guggenheim Museum Bilbao, Spain / 1997 When Frank Gehry’s Guggenheim Museum opened in Bilbao in 1997, it sent waves of wonder and a bit of shock through the world – particularly the art world. With its dynamic curving forms clad in shimmering titanium and soaring, flowing interiors, it set a new precedent for what a museum experience can be like. Working with Gehry, Lam Partners came to appreciate his passion for animating architectural form with a sense of energy and movement.

This landmark museum features spectacular galleries, pinwheeled around a four-storey atrium.

Large, varied skylights deliver a generous amount of daylight to the circulation areas and controlled daylight into galleries. Lam conducted extensive scale model testing and computer analysis with Gehry’s team to evaluate the performance of the gallery skylights. This collaborative process enabled adjustment of the skylight geometries to ensure proper sun control and appropriate illumination levels.

Gehry’s goal for the gallery spaces was simple: make spaces where art feels at home, looks great, and is pleasurable to experience. The gallery volumes were created to uniquely embrace the art experiences within them and accommodate a wide range of installations. This design philosophy extended to the lighting system. As Gehry thinks out of the box, he asked: “Why should the lighting system be static?” This led to an exploration with the Lam team and the creation of a new approach to gallery lighting, which became a striking and integral part of the design.

Conventional gallery track lighting solutions were discarded in favour of a creative new method – a “power point” system. This system involves the installation of a regular pattern of small, ceilingrecessed receptacles and a threaded structural insert in a custom box, with a flush magnetic cover. Clamping points or larger “power bars” secured to the threaded insert can accommodate between one to six clamp-style fixtures on each power point. The power bars can be angled in any direction on the ceiling, adapting to the shape of the gallery. This new system provides great flexibility, and subtly expresses the layout of the gallery and specific art installations. For fixture access in galleries with high ceilings, Lam developed lighting catwalks, shaped to follow ideal aiming angles to the gallery walls. These catwalks contain a full range of lighting equipment, all easily accessed with a lift.

Lam’s lighting design also included the site, adjacent administration building, retail spaces, and an auditorium. In the evening, glazed portions of the façade between the sculptural building masses spill light to the surrounding plaza and walkways, morphing the building’s form and enhancing the nighttime civic experience.

Cost: $120million Size: 300,000sqft Architect: Frank Gehry Owner: Solomon R. Guggenheim Foundation Awards: 1997 GE Edison Award of Excellence; 1999 IES New England Section Illumination Award Photography: David Heald, SRGF

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Size: 1,486,000sqft Architect: Rafael Viñoly Architects Owner: Sports & Exhibition Authority of Pittsburgh and Allegheny County Awards: 2006 IALD Award of Excellence; 2006 IES Illumination Award of Excellence; 2005 A|L Virtuous Achievement Award; 2004 Cooper Lighting Source Award Photography: Brad Feinknopf/OTTO; Stephen M. Lee

David L. Lawrence Convention Centre Pittsburgh, PA, USA / 2003 Ground-breaking for its time, the David L. Lawrence Convention Centre defined a new environmental chapter in Pittsburgh’s rich industrial history. It was the first certified “green” convention centre, and the first of its kind to achieve LEED Platinum certification. It also broke from ‘convention’ in that daylight was the primary source of illumination throughout the grand exhibit hall and perimeter prefunction spaces. With extensive physical model studies, the Lam team helped to fine-tune the daylighting of the exhibit hall through the use of translucent materials and clear skylights. Swooping clear strip skylights, combined with glowing billows helped to create a dynamic visual environment for the space. Simple details, such as a clear, narrow strip of south-facing clerestory, extended the view of the structure from inside to outside.

A shading system of sails and panels was devised to create a “solar dimming” system. The system could adjust to provide full exposure to daylight and sunlight, sunlight diffusion, or complete blackout of the entire hall. The curving fabric membrane at the southern roof section could be veiled with an additional layer of opaque fabric.

Overlapping, motorised shades controlled daylight at the

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strip skylights, and the vertical glazing could be blacked out with large sails, coiled onto vertical masts.

When required, daylight was seamlessly augmented by photocell-controlled electric lighting, integrated into the context of the architecture. While most exhibit halls of the time were electrically lit by large HID point sources, Lam Partners worked very closely with the Viñoly team to thread linear high-output fluorescent sources through paired translucent polyester ducts, to avoid visually noisy lighting hardware and help reinforce the building’s bridgelike structural concept. The fabric ducts would diffuse and reflect lateral light, while one-way baffles shielded longitudinal views to the lamps. The continuous lines of fluorescent fixtures not only provided downlight to the exhibits below, but also highlighted the impressive roof structure above.

The public rooftop pedestrian bridge borrows light from the interior, while providing unencumbered views of the exhibit hall below and the river beyond. The absence of visible luminaires allowed this expressive structural form to be boldly emphasised, reversing the energy from a daylit volume by day to a glowing lantern by night.

PROFILE

Kauffman Centre for the Performing Arts Kansas City, MO, USA / 2011 The Kauffman Centre for the Performing Arts houses two major event spaces: a state-of-the-art concert hall and a performing arts theatre, both wrapped by a soaring, glass-enclosed lobby. With the bold architectural gestures of Safdie Architect’s design, the lighting approach focused on illuminating structural elements, sculptural surfaces, and beautiful finishes to capture the spirit and energy of this major civic venue.

The urban site has two distinct façades. On the north, the dramatic curves of the two precast concrete performance hall shells are expressed. Computer modeling was used to place concealed uplights in the surrounding planter beds to illuminate these sculptural shells. A centre axis is cut between the two forms to create a ceremonial northern entry.

The main entry on the south is a sweeping wall of angled glass, supported by mast-like columns, and anchored with bold exterior cables. At night, the lit cables create a dramatic arrival experience. Inside, the lobby is capped with a glass ceiling, which fills the room with daylight and, in Safdie’s words, becomes a grand “living room” for the city. The curving plaster gallery walls outside the two performance halls give the lobby a sensuous feel, and glow with daylight.

Such powerful geometry suggested a minimal

approach to night lighting, with the focus on the dramatic forms. Narrow spots light the columns at the glass wall. Fixtures mounted to the structural trusses provide pools of light below. Bounce-light off the gallery carpets decorates the plaster ceilings with colour. In addition, for increased drama, the glass ceiling becomes a mirror to reflect the activity within.

Inside the concert hall, concealed skylights bring daylight down through channels in the shell of the back wall for a dramatic stage focus. Ribbons of metal mesh lining these channels interact with the daylight, creating a shimmering effect. At night, fixtures concealed in the skylights extend this glow. The hall ceiling floats, detached from the perimeter, with a curving light slot to illuminate the walls. All ceiling fixtures are accessible from above.

In the Muriel Kauffman Theater, a sparkling effect with unusual depth is created for the balcony fronts by custom textured acrylic forms, backed by folded reflective metal. Internal illumination turns this surface into an expansive chandelier. Additionally, murals appear from behind scrim-like slat walls through varying intensities of hidden lighting.

Inside and out, Safdie Architects’ design embodies the excitement and ceremony of attending a live performance.

Cost: $304million Size: 356,000sqft Architect: Safdie Architects Owner: Kauffman Center for the Performing Arts Awards: 2012 IES Illumination Award of Merit; 2012 A|L Outstanding Achievement Award Photography: Michael Spillers

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US Institute of Peace Washington DC, USA / 2011 Located on a prominent site near the Lincoln Memorial in Washington, D.C., the United States Institute of Peace is a research facility, international conference centre, museum, and event space, dedicated to promoting world peace. Architect Moshe Safdie’s vision was to create an environment that reflected the mission of this important organisation. In doing so, Safdie Architects created a striking new landmark on the Washington DC skyline.

Lam Partners worked closely with Safdie’s team to integrate the daylight and electric lighting seamlessly with the unique architectural form.

The building is organised around two central atria, each covered with a curving translucent glass roof structure, alluding to the wings of a dove. These glass roofs fill the atria and the bordering offices with uniform daylight. The elegant simplicity of the atria presented several challenges for the electric lighting system.

First, Lam was tasked with developing a scheme for evening and event illumination, without detracting from the purity of the atria. Next, a soft glow was sought for the sculptural glass roof at night from inside and outside, without visible, distracting hardware or reflections. Lastly, a lighting solution was needed for the atria-facing offices that would be pleasing when seen from below. The solution to these challenges became a theme throughout the building – light sources fully concealed, or designed to disappear – revealing, but never competing with the architecture.

For evening illumination in the atria, regularly spaced, narrow-beam fixtures at the top of the office blocks cover these spaces without glare. To illuminate the glass ceiling, the top of the office blocks provided an ideal uplight location.

By cross-lighting from both office blocks, uniformity was achieved, without distracting reflections. To avoid the appearance of dark office windows during the day, a custom pendant direct/indirect fixture brightened their ceilings, balancing the contrast, while shielding the downlight component from below.

Finally, a special requirement came from the Washington Mall Landmarks Commission. The glowing glass roofs could not exceed the brightness of the nearby monuments. Lam coordinated a lighting mock-up in Germany with the glass roof fabricator to confirm the transmission of the glass assembly, then metered the brightness of the Mall monuments. The roof uplights were installed on a dimming system, and the final output was field set to an appropriate level, respecting the USIP’s distinguished neighbours on the Mall.

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Cost: $186million Size: 300,000sqft Architect: Safdie Architects Owner: United States Institute of Peace Awards: 2011 GE Edison Award; 2012 IALD Award of Excellence; 2012 IES Illumination Award of Merit; 2012 A|L Outstanding Achievement Award Photography: Glenn Heinmiller, Bill Fitzpatrick

“Visionaries fluent in the language of light, pushing expectations of what lighting design can do,

1961

1961 - William Lam Associates founded

1962 - Loyola College Library, Montreal, Quebec 1963 - Stamford Hospital, Stamford, CT

1964 - Expo 67 Buildings, Montreal, Quebec

1965 - First National Bank of Chicago, Chicago, IL 1965 - Blue Cross Blue Shield, Chicago IL 1966 - UMASS Bartlett Hall, Andover, MA

1966 - First Church of Christ, Scientist, Chicago, IL

and elevating the human experience”

1966 - Copley Square, Boston, MA

1967 - NASA Building, Cambridge, MA 1968 - Time Life Building, Chicago, IL

1968 - Chicago Art Institute, Chicago, IL

1969 - Woods Hole Marine Biological Laboratory, Woods Hole, MA 1969 - Embarcadero Hyatt Regency, San Francisco, CA 1970 - Art Gallery of Ontario, Toronto, ON

1971

1972 - First Church in Cambridge, Cambridge, MA 1972 - Peachtree Plaza Hotel, Atlanta, GA

1973 - Alabama State Capitol, Montgomery, AL

1973 - Institute of Contemporary Art, Boston, MA 1973 - New York Public Library, New York, NY 1974 - Grand Central Station, New York, NY

1974 - Boston Waterfront Park, Boston, MA

1975 - Federal Courthouse, Fort Lauderdale, FL

1976 - National Gallery of Canada Competition, Ottawa, ON 1976 - Boston Garden Fountains, Boston, MA

1977 - Amherst College Converse Hall, Amherst, MA

1977 - University of North Carolina Library, Chapel Hill, NC

1977 - Perception and Lighting as Formgivers for Architecture, authored by Bill Lam 1978 - Park Avenue Plaza, New York, NY

1979 - Art Institute of Detroit, Detroit, MI

1979 - US Embassy Lisbon, Lisbon, Portugal

1981

1987 - Robert Osten joins William Lam Associates

1981 - Charleston International Airport, Charleston, SC 1982 - Notre Dame Chapel, Montreal, Quebec

1984 - Paul Zaferiou joins William Lam Associates 1984 - San Antonio Riverwalk, San Antonio, TX

1984 - Union Station Renovation, Washington, DC

1984 - San Diego Convention Center, San Diego, CA

1985 - Keith Yancey joins William Lam Associates 1985 - Tampa International Airport, Tampa, FL 1986 - Custom House Tower, Boston MA

1986 - Hong Kong Museum of Science & Technology, Hong Kong, China

1986 - Sunlighting as Formgivers for Architecture, authored by Bill Lam 1987 - Denver City Park, Denver, CO

1987 - Montreal City Lighting, Montreal, Quebec

1989 - Johns Hopkins University School of Medicine, Baltimore, MD 1989 - Miami International Airport, Miami, FL 1989 - Federal Reserve Bank, Boston, MA

1990 - National Museum of the American Indian, New York, NY

1990 - William Lam Associates renamed to Lam Partners, Inc.

1991

1993 - US Embassy London, London, England

2001

1994 - McCarran International Airport Terminal D, Las Vegas, NV

2002 - Emmanuel College Jean Yawkey Student Center, Boston, MA

1993 - Team Disney Administration Building, Anaheim, CA 1994 - World Golf Hall of Fame, St. Augustine, FL 1996 - Glenn Heinmiller joins Lam Partners

1996 - Incheon International Airport, Seoul, South Korea 1996 - St. John’s Seminary, Boston, MA

1996 - McCarran International Airport Terminal 1, Las Vegas, NV 1997 - Guggenheim Museum Bilbao, Bilbao, Spain

1997 - Northeastern University Multifaith Spiritual Center, Boston, MA 1998 - Justin Brown joins Lam Partners

1998 - Skirball Cultural Center, Los Angeles, CA

1998 - New England Aquarium 3D IMAX Theater, Boston, MA 1998 - Pilgrim Rest Baptist Church, Phoenix, AZ

1999 - Yad Vashem Holocaust Memorial Museum, Jerusalem, Israel 1999 - Bradley International Airport Terminal, Windsor Locks, CT

1999 - UCLA Hammer Museum and Billy Wilder Theater, Los Angeles, CA 2000 - Dartmouth College Hanover Street, Hanover, NH

2000 - University of Chicago Graduate School of Business, Chicago, IL

2001 - Jamie Perry joins Lam Partners

2001 - Oklahoma State Capital Dome, Oklahoma City, OK 2002 - Massachusetts State House Dome, Boston, MA

2002 - MIT Brain and Cognitive Sciences Center, Cambridge, MA 2003 - David L. Lawrence Convention Center, Pittsburgh, PA 2003 - Salt Lake City Library, Salt Lake City, UT

2003 - Steve Iski founds studio i in Pittsburgh, PA

2004 - Harvard University Widener Library, Cambridge, MA

2004 - Boston Public Library John Singer Sargent Gallery, Boston, MA 2005 - Syracuse University Life Sciences Complex, Syracuse, NY 2005 - Museum of Science, Boston, MA

2005 - Boston Children’s Museum, Boston, MA

2006 - Orlando Federal Courthouse, Orlando, FL 2006 - Matt Latchford joins Lam Partners

2006 - Grant Street Transportation Center, Pittsburgh, PA

2008 - Nerman Museum of Contemporary Art, Overland Park, KS 2009 - Frabel Exhibit, Phipps Conservatory, Pittsburgh, PA 2009 - New England Holocaust Memorial, Boston, MA

2010 - UCLA Hammer Museum Renovation, Los Angeles, CA

2011

2021

2011 - Crystal Bridges Museum Of American Art, Bentonville, AK 2012 - MIT Media Lab, Cambridge, MA

2012 - Kauffman Center for the Performing Arts, Kansas City, MO 2013 - Ohio State University Park - Stradley Hall, Columbus, OH 2014 - Lam Labs is created

2014 - UMASS Medical School Albert Sherman Center, Worcester, MA 2014 - Herscher Hall at Skirball Cultural Center, Los Angeles, CA 2015 - Arizona State University McCord Hall, Tempe, AZ 2015 - Liberty Mutual Headquarters, Boston, MA 2015 - The TOWER at PNC Plaza, Pittsburgh, PA 2016 - Sarah Fisher joins Lam Partners

2017 - Baylor University Paul L. Foster Campus for Business and Innovation, Waco, TX 2017 - Boston Public Library Johnson Building Renovation, Boston, MA 2018 - Lam Partners merges with studio i 2018 - Steve Iski joins Lam Partners

2019 - Boston City Hall Exterior Renovation, Boston, MA

2019 - National Memorial for Peace & Justice, Montgomery, AL 2019 - Free Library of Philadelphia, Philadelphia, PA 2020 - Dickies Arena, Fort Worth, TX 2020 - SOFI Stadium, Inglewood, CA

www.lampartners.com Cambridge | Pittsburgh

PROFILE

Paul L. Foster Campus for Business and Innovation Baylor University, Waco, TX, USA/ 2015

Size: 285,000sqft Architect: Overland Partners Owner: Baylor University Awards: 2017 A L Light and Architecture Awards - Best use of Daylighting Photography: Molly Culver Photography, Paul Bardagjy

In recent years, attitudes and stereotypes about the business world have transitioned from traditional and corporate to more contemporary and collaborative.

Colleges are embracing creative new approaches to business education, along with a more inspiring look and feel for their teaching environments. As the new Baylor University Business and Innovation Building is set on a neo-Georgian- style campus, the architect had to navigate between the traditional aesthetic of the campus and the University’s vision of a forward-thinking business community.

Overland Partners shaped the overall massing and exterior materials of the new school to fit within its brick and stone neo-Georgian context. However, on the inside, new materials and innovative technologies demonstrate how rich tradition and contemporary design can come together. The building plan is based on an expandable grid structure, organised around a large, three-storey, top-lit Forum space, bringing daylight into the heart of the school. Blocks of classrooms, study areas, and offices are clustered in modules around the main space.

In the preliminary design for the Forum, the architect proposed a classic “sawtoothshaped” roof with north-facing skylights. Lam Partners’ daylight studies showed that this approach felt disconnected from the overall building parti, and would not achieve the bright and lively environment that was intended. Given the school’s strong grid structure and organising scheme, a grided pattern of tall light wells was proposed by Lam to match the overall spirit of the building in this central space.

Extensive 3D modeling studies were done to evaluate the best options for bringing daylight into the light wells at all hours of the day. The tapered light wells were capped with skylights of varying angles and orientations to capture a wide range of sunlight and sky glow. To control glare and heat gain, the height was set to avoid direct sun penetration. Concealed uplight fixtures transformed the wells into glowing forms at night.

This grided skylight system informed the space planning and electric lighting design. Cantilevered study modules introduced into the Forum added a dynamic feel. Recessed lines of light in the circulation areas were laid out based on their orientation to the Forum. Recessed point sources defined gathering and teaching places.

With this design, the project team provided an innovative environment that will foster innovative thinking.

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PROFILE

Size: 800,000sqft Architect: Gensler Owner: PNC Financial Services Photography: Connie Zhou

The Tower at PNC Plaza Pittsburgh PA, USA / 2015 Billed as the ‘Greenest Skyrise in the World’, the Tower at PNC Plaza was created as a signature headquarters building that redefined the sustainable high-rise. From its one-of-a-kind, breathable double skin to its innovative workplace strategy, the LEED Platinum-certified tower drives building performance to new levels. Working with architect Gensler, Lam Partners created a lighting design solution that minimised environmental impact and energy usage while maintaining the functionality, aesthetics, and quality needed for a high-end corporate environment.

Open and private office spaces spread across 26 floors vary in layout as defined by the needs of the occupying lines of business. Extensive collaboration with the architect allowed for the development of a near universal luminaire layout that accommodates the multitude of workplace configurations. The alignment of luminaires from floorto-floor results in consistent workplace conditions throughout, and also adds a unifying feature to the appearance of the building when viewed from the exterior. The remaining floors house an array of amenities spaces, including a full-service kitchen, a servery space and dining area, auditorium and pre-function space, and executive and client conferencing levels. Each required unique lighting solutions to accommodate the variety of functions.

Sustainability was a key component of the design. A ‘daylight first’ strategy – where daylight was viewed as the primary source of illumination and electric lighting as the supplemental source – was adopted wherever possible. Floor-to-ceiling glazing was combined with automated direct solar penetration. Extensive computer modeling and a full-scale mock-up were used to evaluate blind position, perforation, colour, and sequence of operations to optimise daylight harvesting and minimise the negative impacts of glare and solar gain. An all-LED design, combined with a low workplace illuminance target of 25 footcandles and a whole-building lighting control system, resulted in a lighting power density of 0.55W/sq. ft., which is driven even lower during daylight hours.

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Size: 31,000sqft Owner: Equal Justice Initiative Architect: MassDesign Group Photography: Iwan Baan, Alan Karchmer/OTTO

National Memorial for Peace and Justice Montgomery, AL, USA / 2018 Atop a mounded, six-acre block overlooking downtown Montgomery, Alabama, The National Memorial for Peace and Justice recognises the American history of racial injustice and is a site of remembrance of victims of lynching and terror. Lam Partners, working with the architect MASS Design Group, created a visual experience that helps to retell the monument’s powerful story at night.

Entering the Memorial at the headhouse, a wall of heavy wood vertical slats interspersed with in-grade uplights creates an image reminiscent of a row of candles. Once through, visitors move up a gradually rising path along a rough board-formed concrete wall with cast-in-place light niches that produce a pattern of light and shadow. As the path heads away from this wall and leads to the primary structure, it is lit with LED bollards, pooling light along its length.

Finally arriving at the top, the visitors encounter a huge square, flat structure from which 800 Corten steel monuments are suspended, symbolising each county throughout the United States where lynching has taken place, and inscribed with the victims’ names.

Entering under the structure and walking among the monuments resting on the wooden deck, the observers notice the deck beginning to slope and

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slowly separate from the monuments, revealing points of light under each of them. Continuing further down the ramp, the monuments are no longer engaging with the observers, but rather, they now fly above their heads. At this point, lighting each monument gives way to a pattern of uplights that create a dappled, uneven effect on the monuments, as if to say there are too many to count. Words cannot fully express the experience in this place, the weight of history reflected in the multitudes of monuments floating above the earth, with visitors casting their own shadows onto them, actively participating in the memorialisation.

After exiting the primary structure, visitors pass into the Memory Bank – a set of terraces containing duplicates of each monument. A linear light integrated into the base connects the monuments into a singular form, but yet, they seem to float from the ground they currently inhabit. These terraces are designed as temporary holding areas until each monument can ultimately be relocated back to its respective county. While each monument hanging in the structure receives light differently, all receive the same light in the memory bank, suggesting renewed hope that all are equal in the eyes of justice.

PROFILE

Free Library of Philadelphia Philadelphia, PA, USA / 2019 Once a cramped and dark six-storey stack space is now a bright and welcoming oasis at the Parkway Central Library of the Free Library of Philadelphia. The renovation of four floors in this 90-year-old Beaux Arts building aims to restore its original grandeur while creating new public spaces for the 21st century cardholder.

In collaboration with Safdie Architects, Lam Partners helped to execute their vision of a “trellis” ceiling with custom direct/ indirect fixtures seamlessly integrated within the existing beams of the ceiling. These fixtures weave into each other, becoming one. Providing a grand gesture of pattern, they span from the great reading room through the meeting rooms, along the building’s perimeter, and throughout all floors of this historic library.

The lighting concept was to create this trellis ceiling with a fixture that provides both soft uplight and focused downlight for flexibility. The first challenge was the available space for fixture mounting - because the building is 90 years old, the spacings between the beams were not exactly symmetrical. To solve this, Lam Partners worked with the manufacturer to create six

variants of the trellis design for the appearance of one fixture type throughout the main spaces.

The question then became “How will these light ‘trellises’ be installed so they appear to have been here forever?”

Collaborating with the manufacturer and contractor, Lam Partners created independent mud flanges on both sides of the fixture that could accept the varying size fixture lengths, which were installed into perfectly cut square holes within the drywall surrounding the beams.

In addition to the trellis ceiling, custom chandeliers were designed for the space to give a nod to the library’s original architecture. Dimmable LED retrofit lamps were selected to allow for a variety of settings.

The Teen Center wanted to be experienced as an area with its own style while tying to the historic elements of the Library. The existing columns were highlighted with cove uplights, which provided a soft ambient glow to the room and is very welcoming for lounging and using screen devices.

These new spaces meld into the library’s historic layout seamlessly, providing a new identity for this celebrated library.

Size: 45,000sqft Architect: Safdie Architects Owner: Free Library of Philadelphia Photography: Halkin Mason Photography

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The Greater Good In the second GreenLight Alliance column, Tiphaine Treins of Temeloy and James Morris-Jones of Lucent Lighting talk about the Lighting for Good (LfG) charter, the Lighting for Good Awards, and Lucent’s work with it.

I

n May 2018, LVMH Lighting and Temeloy

created ‘Lighting for Good’ (LfG), an eco-design Think Tank, enlisting collaboration from more than 25 lighting suppliers. Its aim is to evolve innovation, services and reliability towards

sustainability in the lighting industry. Lucent Lighting was one of these suppliers.

Acknowledging the energy saving contribution of LEDs to the overall environmental impact of lighting, LfG aims to usher in a new phase

of luminaire design concerned with a circular economy. An economy where efficiency in material usage, easier maintenance and plastics removal are the major headings. A LfG charter was written to judge

eco-design credentials, with exacting requirements that often exceed the parameters of existing regulations. The principal partner in the writing of this charter was CIRAIG—The International Centre for

Life Cycle of Products, Services and Systems. This research group is the centre of expertise on sustainability and life cycle thinking. It

brings together the expertise of two universities in Montreal, Canada – Polytechnique Montreal and UQÀM, as well as two universities in Sion, Switzerland – HES-SO and EPFL.

The environmental impact indicators used in the LfG charter are

inventoried into a Life Cycle Analysis, a method that quantifies the exchanges between the activities included in a product’s life cycle

and the environment, related to the amount of service provided by a luminaire in terms of light output and lifetime. The Ecoinvent v3.6

Lifecycle Inventory Database, released in 2019, was used to generate the trade inventory for a typical fixture. To interpret this inventory,

it is converted into environmental indicators, taking into account the potential of each substance concerned to generate an environmental Tiphaine Treins, Lighting Designer & Founder, Temeloy

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James Morris-Jones, International Sales Director, Lucent Lighting

impact. The IMPACT World + method, published in 2019, was used. It involves the calculation of four indicators:

greenlight alliance

• Human health (considering the effects of climate

The initiative has allowed us to use a measured framework based

respiratory problems, ionising radiation and depletion

engineers and assembly staff: this has indeed been a company- wide

change, the use of water, and toxic substances that cause

on technical attributes, which provide discipline for our designers,

of the ozone layer)

effort. It has resulted in new product designs. We decided to test our

• Quality ecosystems (effects on biodiversity of climate

‘Lighting For Good’ Awards.

change, marine acidification, water and land use,

ecotoxic substances and resultant terrestrial and aquatic acidification, fresh water and marine eutrophication) • Fossil and nuclear energies (use of natural gas, petroleum, coal, uranium)

progress by entering our newly enhanced MiniTRIM Round in the 2019 Having made this decision we organised several design workshops

with Tiphaine and decided to address three main topics: efficiency,

materials and packaging. We applied for each of these different award categories. The design team, under Gary Parsons, Lucent’s Design

Director, started extensive research to find the most efficient COB on the market (with a CRI 90+). Once we found it, we began to see that

the design process would not increase our costs but it was an efficient • Mineral resources (use of non-renewable mineral resources)

The packaging criteria were considered mandatory and were not included in the LCA.

The individual criterion weight is calculated as the average of the percent reduction for the four environmental indicator scores

between the baseline LED fixture system (having the worst value for

way to analyse each component in our downlight. We simplified the design to be plastic free (except COB) and decided to use a

ceramic connector. In doing this we managed to reduce the weight of materials from 310grs to 200grs.

The ‘Lighting For Good’ judging panel recognised the efforts made

and we won the Award for ‘Best Materials’. However, the packaging

part was one of the areas where we had to change the most. We were encouraged to be plastic-free, including tape, and to use bio-ink.

the criterion indicated in the charter) and the improved system

(having the best value for the criterion), divided by the sum of the

individual reductions for all criteria for each indicator. The system modelling considers the whole life cycle of the LED fixture, and a global grid mix for the electricity used during the use stage.

“As a designer I find this new approach to design very interesting.

It is not about the technology available, it’s about us changing our

habits, our way of thinking, in this process there is a new paradigm possible,” said Treins.

Lucent Lighting’s MiniTrim Round won the Best Material award in the inaugural Lighting for Good awards in 2019.

We are lucky to have a great relationship with our packaging supplier who was also investigating more sustainable materials to respond

to the world’s growing demands. This enabled us to quickly respond and we changed not just the packaging but the whole process. We

discovered that our normal practice of using two boxes to protect our fixtures was unnecessary with the new paper packing materials and Figure 1. LfG Criteria weightings

“Lucent Lighting is proud to have been one of the founding

participants in Lighting for Good,” added Morris-Jones. “Originally

our involvement was based around our ongoing relationship with the LVMH Group and the network developed by Nicolas Martin (Martin is

the Sustainable Store Planning Manager for LVMH; a key role in LVMH sustainable policy. He originated the initiative Lighting for Good).

However, over the last three years our participation has turned into something far more significant.

different box sizes: less materials and less time to pack.

In 2020, most of the LfG Think Tank’s onging research was about

modularity to encourage thinking about circular economy. So, for the LfG Awards in 2020 we decided to submit a prototype based on our TubeLed Mini spotlight series. We developed a ‘plug and play’ LED

module with an easy-to-install system. This provided the first steps

to creating more modularity and allowing the possibility to re-use or upgrade the light sources in different ranges of fixtures. For this we

were rewarded with the 2020 ‘Lighting For Good’ Best Efficacy Award, which provides an efficacy of 117lm/W using only 5.6W of power.

For us this is a key moment in our design process. We are shifting

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greenlight alliance

Each product submitted to the Lighting for Good awards undergoes a rigorous screening, with points presented on a score card, as demonstrated above.

Reaction from GreenLight Alliance Members:

Mark Ridler BDP

BEST MAINTENANCE

Winner

awards 2020

BEST EFFICACY

Lucent Lighting’s TubeLed Mini spotlight series was the winner of the Best Efficacy category at the Lighting for Good Awards 2020.

towards implementing further modularity and designing parts that can be used in different fixture types. We now

have the understanding that you do not have to compromise the aesthetics in order to incorporate sustainability and

Lighting for Good has much to commend it and its simplicity in output (fair, good, best) makes it something that you could envisage incorporation into other environmental schemes like BREEAM, LEED and WELL and it is great to see the balance between energy, other circular criteria, and quality. There is a danger that it will drive product into a regression toward the mean, for instance, certain beam angles are intrinsically less efficient and yet designers will continue to require a variety of tools in the box. LfG will not be alone in it being more easy to achieve in downlights and spotlights versus linear luminaries for instance, but it certainly challenges product design in a very positive fashion and its good to hear Lucent’s assertion that cost and aesthetics need not be compromised. To maintain a project’s ability to innovate and still keep to circular principles in the majority – it might be an evolution to give a project certification based upon a percentage of LfG product credits.

To encourage designers to invest the time (and fee) in assessing LfG on a project, we will certainly need manufacturers to engage and readily provide the accreditation information, and so it will become imperative for LfG to grow outside the stable of the 25 early adopters. The LfG charter is open for all manufacturers to use and it will need more to engage if it is to have impact.

There are questions too about verification and unscrupulous competition diluting impact, but again this is not unique to LfG. This is a live debate about rigour versus cost of entry and adoption.

No walk in the park, “fair” is hard, and “best” is very aspirational. Just as BREEAM evolves its criteria and pegs its “excellent” against a year – so too LfG may need to adopt this to keep the challenge achievable.

environmental awareness.

In conclusion, thanks to Lighting For Good and its Think

Tank, we have been able to be innovative while reducing the environmental impacts of our fittings.

This year, Lucent is looking forward to the Think Tank’s next tranche of work: the financial model.”

Treins picks up on this theme: “LfG knows that there is an ‘Elephant in the room’ that needs to be addressed. If the

fittings can be upgraded or re-used, it is essential to find a

new economic model that allows suppliers to continue to grow their business. We already know that it is not a leasing model but more B2B services. The scope of services proposed will

probably vary from one client to another. This approach will

allow suppliers to create a long-term relationship and adjust

to the specific needs of their clients, focusing on reducing their environmental impacts. This new model, to be efficient, will

need clients/designers/architects/suppliers to work together

toward a remarkable transformation of our production systems and our design and construction process.

Wrapping up, the aim of Lighting For Good and our Think Tank has been to foster innovation whist at the same time reducing the environmental impacts of luminaires. We are seeing that proposing luminaires with LfG ratings in tenders is adding value and driving towards our goal.” www.lightingforgood.org

Kevan Shaw

EFLA | Kevin Shaw Lighting Design It is encouraging to see initiatives like Lighting for Good emerging especially with both manufacturer and designer-oriented tools. Better still at Think Tank level, I feel there should be more lighting designer involvement as well as manufacturers.

LfG is a scientific assessment of the different environmental impacts of luminaires. As a designer I want to go further and make a judgement not only on the thoughtful use of materials and energy consumption to make a new product, but on the real durability and options for end of first use. I think we need to get answers to questions such as the design life of a lighting product, how long the manufacturer will provide spare parts and any repair and refurbishment service offered beyond the guarantee period. If a refurbishment service is offered what will be the warranty for the refurbished product? Hopefully LfG will manage not only to capture the environmental impacts of a luminaire but also assess the benefit of circular design. It will require cross-industry input to engage this discussion to develop creative approaches not bound by existing business models and practices.

I would echo Mark’s comments about a focus on energy use (45.5% of the rating) driving towards a mean that will disadvantage some more useful products, where necessary optical inefficiencies or phosphor inefficiencies such as those that come with warmer colour temperatures, lower the score of a lighting product.

LfG have boldly launched their charter before other regulations have been published on the quantification of environmental impacts in products. In future it will need to keep a weather eye on or preferably be in correspondence with the emerging thinking in the Directorate of Energy in the EU and BEIS in the UK. Circular economy factors will be included in the next round of lighting regulations, therefore a degree of coherence is required across all systems and metrics in this area to provide clarity to the market on the importance of specific factors and rating systems. The different organisations must coordinate with each other and ensure there is no chance that a product rates well on one and fails another.

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

Electric Enthusiasm arc sits down with young lighting designer Qistina Ahmad Ali to discover more about her passion for lighting and her experiences of being a female designer in the New Zealand design community.

Q

istina Ahmad Ali is a New Zealand-based lighting designer full of passion and

enthusiasm for her profession. The ignition for this passion was triggered in 2014 when

she attended the Light Show exhibition at the

Auckland Art Museum. “My life changed after that,” Ahmad Ali told arc. “The exhibition

was well balanced on the different lighting techniques ranging from the play of lighting intensities, colours and lighting scenes, which conjure aspects of the natural world. I felt an excitement that was

new but hard to contain. It was like electricity running through my veins and I knew I needed to know more about lighting. At the end of the exhibition, I continued my newfound journey by watching a screening of a film called Impossible Light. It was a documentary

about the design team behind the iconic lighting installation at San Francisco-Oakland Bay Bridge. The film was an adventure - full of

creativity and innovation that wasn’t stifled from the design team.

The process of how the installation came to fruition entranced me.

“I knew then and there I wanted to be involved in the process of

lighting installations. I needed to learn about lighting as a subject on its own. How there are different lighting techniques that can change

the experience and mood of a space and how lighting affects people.”

Since moving to New Zealand at the age of seven, Ahmad Ali has been brought up to believe that education is extremely important in order to become successful later in life.

“My parents brought us up to believe that staying at school, getting good grades and getting a degree would lead to a well-paying job.

[However], I did not receive advice on how to choose a career path

that fits with who I am. I did not have any sort of direction on what I intended to do once I left university.”

Ahmad Ali went on to study Electrical Engineering at the University of Auckland. She explains her degree choice further and how it led to her

path in lighting design: “I did an engineering degree because I enjoyed practical science and it gave me the best possible opportunities

to apply my problem-solving skills. I tried a variety of subjects in

electrical engineering, but nothing sparked that fire in me until the

lighting exhibition in the summer of 2014. That day was the start of my journey to pursue lighting design and to see where that led me.

“I was afraid of my lack of understanding of what I should do to be a

lighting designer. But my passion for lighting was much bigger than my fear of the unknown. In my last year of university, I applied for

job positions in the hopes that someone would see the depth of my

feelings about lighting. [Then], someone did recognise the depth of

my passion and offered me a position at my current employer, BECA.” During her time working at BECA, an engineering consultancy with

offices in the Asia-Pacific region, Ahmad Ali completed her IESANZ

approved course in lighting design at Massey University in Auckland and graduated in 2019.

“My projects started off with road lighting and industrial lighting designs, which were highly technical projects. It requires great

communication skills and patience to convey technical lighting

results and terminology into layman’s terms for clients who do not understand lighting. We started winning our own lighting design

work in building services and urban design, which I thoroughly enjoy.

I learnt to draw up lighting integration details to assist architects,

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women in lighting

communicate how the design team could achieve the lighting

outcome they intend, while being mindful of what is available in the New Zealand lighting market.

“Above all, I learnt how to create layers of lighting in a space and

maintain balance. This last lesson has been something I have truly

wanted to learn since I started my career, and I am happy to say I am a better lighting designer today than I was yesterday!”

When asked about her goals when she first started a career in lighting design, Ahmad Ali explained that it was fundamentally a desire to create beautiful lighting experiences. “My purpose as a lighting

designer is to create truly beautiful lighting experiences for everyone to enjoy. In saying that, I am constantly thinking of new approaches to illuminate a space. This ensures that I am always striving for

excellence in my design, as well as making sure that the design team is happy with my work. This is an ongoing learning process for me,

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because fundamentally I want to be a responsible and thoughtful lighting designer.”

Achieving this drive to become a responsible lighting designer,

Ahmad Ali is continuously striving to learn the newest technology

and knowledge within the industry. “I am a TechIES member of the

IESANZ organisation, which gives me access to lighting training events and symposiums. I work hard to keep up to date with new lighting

research and lighting technology in my own personal time,” she said.

“I yearn to learn what I do not know and embrace every opportunity I can to improve myself to be an even better lighting designer.”

Despite being relatively new in the industry, Ahmad Ali has already made a huge impression on the New Zealand lighting community and is consistently receiving positive feedback from her projects.

Some of her most notable projects that put her ‘on the map’ include her most recently completed DLA Piper, Minter Ellison Rudd Watts

and PricewaterhouseCoopers, which are all fitout projects in the new Commercial Bay Tower in Auckland’s central business district.

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“Lighting design projects in the building services and urban design

“I felt an excitement that was new but hard to contain. It was like electricity running through my veins and I knew I needed to know more about lighting.”

Qistina Ahmad Ali

sector take roughly two to three years to see a project from a concept, to be fully realised in construction. The projects that I have recently finished are my proudest achievements thus far,” she commented.

“I have received glowing feedback about how beautiful they are from clients and people who have visited these places. Each fitout had its

own unique take on what an enriching work environment looks like,

while still being true to the company’s identity. I am grateful that the people we have worked with continue to talk about the amazing work we do when looking for lighting designers for future work.”

It is evident her rapid success has been achieved through a dedication to her role, both professionally in terms of the technical aspects of the project, but also her attention to detail when it comes to

understanding the ins and outs of a project and a client’s desires.

“Every space that requires lighting has a story to tell. It is my

responsibility to understand this story and do my utmost best to

convey it with lighting,” she explained. “With each project, I take

the time to understand the space from the architects’ concept report, which includes a pretext on the location, the client’s identity and

drivers, proposed architectural finishes and desired lighting effect.

I translate my understanding of these key components and bring up possible solutions to the design team. Being a good listener,

understanding the project narrative and proactively suggesting

possible solutions to each space is a lighting design philosophy I

bring to the table. If I am not actively listening, I cannot do my best to make the client and architect’s story shine.

“Lighting can energise us or disrupt our mood. I feel it is important

to understand the positive and negative effects lighting has on living

things and use lighting well and responsibly. The considerations I take when planning lighting for any project are: What are we lighting and

why? Have we minimised unwanted spill and ensured that the lighting is not obtrusive to neighbouring properties? Are the light levels we

have designed to the lowest as practically possible for the application?

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1-4. PricewaterhouseCoopers (PwC), Auckland, New Zealand.

Photography: Jason Mann Photography.

1. Reception waiting area with feature ceiling overlooking the Auckland Waterfront (during the day).

2. Reception waiting area with feature ceiling overlooking the Auckland Waterfront (during the evening).

3. The welcome reception area, which includes the central feature stair.

4. The social breakout area caters for everyone by creating an open community atmosphere. It is a welcoming experience with varied settings to entice partners and staff to gather for meetings as well as breaks from work.

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4

“I feel that when I take the time to think about these questions at the

her opportunities to broaden her network and meet fellow female

considered lighting design solution.”

active role with the Women in Lighting virtual events to push herself

start and end of the project, I produce a much better and carefully When comparing the New Zealand lighting community to the

international market, Ahmad Ali observes it is a small, tight-knit group.

“When compared to our neighbouring country Australia, New Zealand’s lighting design market is quite small. There are a

handful of lighting design studios and engineering consultancies that offer lighting design services. These are mostly found in the metropolitan cities.

“Lighting design is a well-established but niche profession in New

Zealand. It is recognised as a separate profession from architecture and interior design. We work alongside architects and interior

designers to achieve their vision of the lighting aesthetic, the mood

of the space and ensuring that we are not compromising on lighting levels specified in relevant standards.

“There is only one approved lighting design course in New Zealand, which is not on the same calibre of education as you would find in

the UK or other European countries. Lighting in these countries has

been well established for much longer and the lighting community is a lot larger. There is a wider pool of lighting individuals to contribute resources into lighting research. This provides a better-quality

education for people who want to become future lighting designers.

“I feel that if we focus on improving the quality of education in a tertiary course to be on par with what is available overseas, and

successfully market the pathway to become a lighting designer, we can significantly boost the profile of lighting designers in New Zealand.”

Further highlighting the small lighting community in New Zealand, Ahmad Ali notes that since the beginning of her career, she has had a very limited exposure to other female lighting designers.

And, as with many things, the 2020 global pandemic hindered

designers at international lighting events. As such, she has played an into making new connections with like-minded designers.

“I was adamant to meet new people as I (like many people in the world) was having difficulty dealing with the aftermath of the

pandemic in both my work and personal life. Participating in the Women in Lighting Social Roulette last year was an eye-opener

for what is going on outside of New Zealand and brought a huge awareness to the brilliant women in lighting. After each social

roulette networking event, I felt like the weight of 2020 had been momentarily lifted and that I had an opportunity to heal when I talked about the challenges we have all had to overcome.

“I am still in contact with these amazing women and being able

to talk about how much we love lighting and how we work in our

respective fields in different parts of the world made me feel included in a much bigger community. These women have been a positive and

supportive force that has made me feel hopeful for what is to come in the upcoming year.”

Ahmad Ali continued, expressing her experiences of being a female

in the lighting world in her home country: “I feel that being a lighting designer is not an easy profession - let alone a woman working in

lighting. In my career I have heard people say to me that it is ‘easy

to be a lighting designer’ and that ‘any electrical engineer can do my

job.’ The short answer to any of those statements is that it is not true, and it breaks my heart hearing people say this. Everything I have

done up to this point in my career has been a product of hard work and perseverance.

“When I decided at university to become a lighting designer, I did

not sit idly waiting for that opportunity to fall on my lap. I spent my time learning to use lighting software, reading books on lighting in architecture, finding images on the internet of beautiful buildings

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women in lighting

1-3. DLA Piper, Auckland, New Zealand. The front of house reception seeks to articulate a welcoming place and arrival point. Subtle layering of the ceiling at different levels created both intimate and expansive spaces opening the area out to the views beyond.

The curved timber arches and feature ceiling frames the main corridor and cove nooks to the heart of the floor.

Photography: Sam Harnett Photography.

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2

“When you see other women achieve and overcome adversity, it makes you believe that you have the courage and resilience to step into the unknown. ” Qistina Ahmad Ali

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and outdoor spaces and evaluating where the lighting sources were

other women achieve and overcome adversity, it makes you believe

exponentially in my current position as I studied part time while

If these women can achieve their dreams, it is tangible for you to

hidden to achieve incredible results. My passion for lighting grew working and attended lighting training seminars outside of work hours. I went to lighting supplier stores during my time-off to

understand what new luminaires were in the market and where they stand price wise with their competitors. At work, I put my hand up

to prepare and present to my colleagues about lighting and how we

could improve our skills to deliver better lighting design solutions. I do all of this out of my sheer passion for lighting and being grateful that I can live a portion of my dream as a lighting designer.

“I have never had a lighting hero. I was intrigued and entranced by

the process of what lighting designers can do and I wanted to be one.

I have always been a big believer of marching to the beat of my own drum and that meant being true to myself as a creative and being

the best version of myself as a lighting designer. I have had a lot of

love and support from my husband, my family and my mentors who have helped me continue to blaze my own path regardless of how challenging it can be. With their love and support I can become a

better lighting designer today than I can ever imagine when I first started down this path five years ago.”

International media often reports about the successes achieved by the New Zealand Prime Minister Jacinda Ardern. We asked Ahmad Ali whether having such a successful female leader has had or will

have a positive impact on female empowerment across the country and how important it is to have a female role model like that. “I

feel that Jacinda’s role as a leader and the journey she took to get to

where she is today will resonate with a lot of women who aspire to be leaders in their desired industry,” she commented. “When you see

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that you have the courage and resilience to step into the unknown. achieve yours.

“As a mentor for the University of Auckland Women in Engineering Network, I have met some incredible women who are about to

embark on their next phase in their journey - their professional work life. I have felt worry and anxiety from them about how

overwhelming it can be to attain a graduate role, given the continued effects of Covid-19 on the economy. I try to provide confidence and advice that they should not stop pursuing their dreams because

of this difficult but temporary setback from Covid-19. If you keep putting in the hard work towards your career aspirations and are

open to new opportunities, it is possible to achieve your dreams. I am living proof of that.”

Looking ahead, Ahmad Ali continues to fulfil current projects that

were temporarily put on hold during the pandemic. She is also looking forward to sharing these lighting experiences she has created with her new network and the lighting community as well as working

hard to put forward a project for the IESANZ lighting awards this

year. “My future plan would be to become a Senior Lighting Designer and manage my own team of lighting designers. I want to be able to mentor the next generation of lighting designers with everything I

have learnt thus far and to help fulfil their dreams and aspirations to be their best self.” www.beca.com

womeninlighting.com @qistina.ahmadali

women in lighting

Global Gathering To celebrate International Women’s Day, and its own second anniversary, Women in Lighting hosted a special Global Gathering on 8 March, inviting participants from all around the world. Here, they tell us more about this inclusive event.

T

he WiL Global Gathering was

and Martina Alagna of Nulty (UK), while the

you achieved in 2020. You can nominate

International Women’s Day,

and Anna Sandgren of the GreenLight

Initiatives and Supporters.

WiL project, and to bring the growing WiL

Lastly, in the Americas, Anne Militello of

someone who inspires you, someone new to

It started at 6am GMT on 8 March, and was

session; Alejandra Hernandez of AH

initiative that made a difference. Some WiL

connect all the speakers and participants.

Dandridge-Gaines of Performance Lighting

high achievers, top supporters and favourite

themes of Inspiration, Project, Action and

session came from Monica Luz Lobo of LD

detail. These awards are about the people

speakers with the opportunity for some Q&A

Lighting Design (Chile).

partners and ambassadors of the initiative

spanned across 13 countries, with more than

social roulette, which enabled attendees

Nominations can be made on the WiL Awards

total of 75 countries, making it a truly global

The event was sponsored by four

www.womeninlighting.com

The event was divided into three parts to

formalighting, including Fos Lighting,

and participants around the world at a time

Brands; while Archifos was an event partner.

included immersive art expert Dorothy

to reflect the importance of the day, and

Glowing Structures (Australia), Nelson

women’s movement in the UK for more than

Dugawalla-Moeller of Light.Func (UAE/

It was an uplifting gathering for all the

(New Zealand).

it is - diverse, international, passionate and

provided by Jorg Frank Seemann and Michela

who took part in the #WILGlobalGathering

Project sessions came from Massimiliano

The event also saw the launch of the WiL

Cherine Saroufim of IDEP Consult (Lebanon)

to seek out and celebrate the things that

an online event to celebrate

Action session was led by Emilio Hernandez

people under the categories of Achievement,

the second anniversary of the

Alliance (Sweden).

Maybe it’s someone who supports you,

network and community together.

Vortex Lighting (USA) led the Inspiration

lighting, someone who had a great idea or

fully focused on its aims to inspire and

Consultancy (Mexico) and Lauren

ambassadors have created a panel to pick out

Featuring a selection of sessions under the

(USA) held Project talks, and the Action

initiatives that WiL can honour in more

Social, it included a mix of live and recorded

Studio (Brazil) and Pascal Chautard of Limari

within the WiL community - so the founders,

and social sessions in each region. Speakers

Each regional session was followed by a

are all excluded from being nominated.

1,000 participants signed up to attend from a

around the world to randomly connect.

project section of the website.

gathering.

manufacturers alongside WiL main sponsor

ensure that it could include presentations

Huda Lighting, Casambi and Bruck by Ledra

to suit them. In the APAC region, speakers

For the event, WiL changed its branding

Di Stefano (Australia), Fay Greenhalgh of

used the colours that have represented the

Ng from Isometrix (Hong Kong), Sakina

100 years - purple, green and white.

Tanzania) and dark sky researcher Kyra Xavia

people who make the WiL community what

In the Europe/MEA region, Inspiration was

inspiring. This could be seen by all the people

Bonzi from Lucespazio (Switzerland).

social media campaign.

Baldieri from Baldieri Lighting Design (Italy),

Awards. Through the awards, WiL wants

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Project Lead: Ville de Vichy / Bouygues Energies Services Architect: Axe Saône Installation: Ville de Vichy, France Product: Jalousie

Can a better light pole inspire better lighting?

If it’s customizable to your vision, technologically advanced and built to last, the answer is yes. To see light poles in a whole new light, visit us at valmontstructures.eu/arc2

405 ENTRIES FROM 40 COUNTRIES OVER 14,000 PEER-TO-PEER VOTES 15 AWARDS IN 6 CATEGORIES REGISTER TO ATTEND THE ONLINE [D]ARC AWARDS!

Due to the ongoing restrictions due to the Covid-19 pandemic, [d]arc awards is being held online as part of a unique platform allowing interaction between participants all over the world.

The event, which will be hosted on the Swapcard platform, kicks off on Monday 26th April with the winners announced as part of an online ceremony on Thursday 29th April.

www.darcawards.com

26-29 APRIL 2021 Organised by

Supplier Partners

Lighting Designer Partners

Supported by

In collaboration with Trophies created by

research

On Guard for Lighting Quality The establishment of the first association of professional lighting designers Asst. Prof. Dr. Karolina M. Zielinska-Dabkowska IALD, IES, CIE, MSLL, RIBA, looks at today’s recognised lighting design profession and its historical formation combining aspects of science and art.

Figure 1 Night view of the Panama Pacific International Expo, 1915 with illumination designed by Walter D’Arcy Ryan. (Pic: © San Francisco Photography Collection, PC-SF; California Historical Society)

N

ot many people in the lighting community

Interestingly enough, the subject of architectural lighting initially

was invented and in general use in the United

on the front pages of journals and in technical journals related to the

are aware of the fact, that after electricity

States from the late nineteenth century, only electrical engineers were responsible for

the illumination of architecture. After 1906, when the Illuminating Engineering Society

of North America (IESNA) was established in the USA, companies

and individuals professionally involved in the field of gas lighting and natural light, were first brought together. However, this new

field quickly became dominated by people applying electric light in their projects.

Members of this young discipline were mindful from the beginning, that a collaboration with architects was decisive and of great

importance for the future development of lighting as a profession.

One of the tasks that was set was the promotion of cooperation between these two professions in the field of architectural

illumination. This included the presentation of completed projects, the monthly publication of articles in “Transactions of the

Illuminating Engineering Society”, and the participation in annual conferences related to the topic of artificial illumination. In order to control the chaos of illuminated advertisement that began to

flood New York, the first rules were introduced to regulate external illumination. However, architects of this period seemed rather

reluctant to cooperate with illuminating engineers, as they did not want to bear the cost of additional consulting services. For many years, the relationship between these two groups was strained.

did not appear in the architectural press at all. Instead, it was present electrical industry. As the wave of lighting installations gradually

spread across America, and later, also across Europe, even more of such publications were printed.

Meanwhile, on the other side of the Atlantic, in several other countries, similar associations of lighting specialists were

established. First, in 1909, the Illuminating Engineering Society was founded in London, then in 1912, the German Society of Lighting Technology was established in Berlin. Later, the Illuminating

Engineering Institute of Japan was founded in Japan in 1916, and

then in Poland, in 1924, the Polish Electrotechnical Committee was created, which five years later, was transformed into the Polish Committee of the International Commission on Illumination.

In the IESNA professional press, there was a heated polemic between members of the association on the direction of the development of this new profession. Most wanted to follow the functional lighting path, including technical aspects, such as the amount of light and

functional needs: “There is a large field for the illuminating engineer where aesthetics is only of secondary importance: in this field [he] may achieve success even though he does not concern himself personally with purely artistic side of the work.” [1]

In addition, some members believed that there was no need at all for

an illuminating engineer to be creative: “An [illuminating] engineer, by reason of his education, is unsuited absolutely for the work

[artistic illumination of architecture], which he sets out to do.

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069

unusual, aesthetically refined, and brought out

the beauty of architecture during the night hours.

It was believed that: “The illuminating engineer who considers only the scientifically practical

side of the profession is necessarily doomed to

ultimate failure, for he will not be able to obtain the recognition that the importance of his work deserves.” [4]

There were also voices that postulated renaming the profession: “Viewed in its broader sense it

would seem that the term <illuminating engineer> is not entirely suited to the profession, but that

<lighting expert> or <lighting specialist> would more fittingly describe the broad scope that the profession should cover.” [5]

E.L. Elliott, one of the IESNA members, promoted

the need for an architect to employ an illuminating engineer, explaining that “architect” means

“master-builder”, and therefore, the building

consists of many elements, the details of which, Figure 2 Walter D’Arcy Ryan director of the Illuminating Engineering Laboratory at General Electric and pioneers of the newly emerging movement. (Pic: © Bain / Library of Congress)

must be more or less known to the architect. The special task is to make all the pieces fit together, properly coordinated, so that the final result is

successful and complete. In 1908, Elliott wrote: “The number of elements entering into the “He has no conception of the effects desired. He

structure and design of modern buildings is vastly

of architecture and history of ornamentation, and

or medieval times. With this great increase in

Some members of the engineering community

for corresponding greater knowledge of details,

on these matters in such a way that the engineer

knowledge has broadened to such an extent as to

cooperation will bring the most effective results

the master-builder free to follow his legitimate

architect: “[...] the architect feels he should

given rise to an increased number of specialists,

should follow his dictates, and this will produce

illuminating engineer.” [6]

down by the architect.” [2]

the 1920s and 30s, there was an unexpected

has no creative ability, no knowledge of the history

greater than anything conceived of in ancient

in fact, he is working in the dark absolutely.”

the elementary problems has come a demand

thought the architect should impose his ideas

with the result that, in many cases, the requisite

follows his recommendations, because such

render a sub-division necessary in order to leave

in accordance with the direction set by the

office of co-ordinating the various details. This has

dictate in such matters, and that the engineer

or engineers; and the latest among these is the

the most efficient results along the lines laid

As a result of many activities undertaken in

However, there were also new and differing

change in the attitude of architects. This

opinions. First of all, there was a call for quality aesthetic solutions in illumination design as well as an artistic design approach, built on

understanding of the architectural concept: “This branch of illuminating engineering is

unquestionably an art, and only a science in

so far as an art is scientific in its method. The

illuminating engineer who hopes to cope with

the lighting features of architectural problems, must be familiar with architecture.” Some

professionals were also calling for better education of illuminating engineers to perform their new duty: “How, then, is the illuminating engineer

successfully to cope with his problem and advise

with the architect as to the best means of achieving results, if the engineer cannot appreciate and understand the architect’s viewpoint? […]. It

seems, then, that a very important, if not essential feature of the engineers’ preparations is a study of the history of illumination and its relation to architectural design”. [3]

People who preferred these ideas explored the art of “painting with light” (Figure 3). Their

lighting projects stood out because they were

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Figure 3 The American Radiator Building illuminated by Bassett Jones, as it appears at night, New York, in mid 1930s. The tower was specially designed in black brick and gold plating to have its color scheme reversed under nocturnal illumination. (Pic: © Getty Images)

research

Figure 4 Richard Kelly - one of the founders of IALD known for his concept of “layers of light” or the approach of integrating three distinct types of lighting: ambient luminescence, focal glow, and play of brilliants. His notable works include: illumination for the Glass House, the Kimbell Art Museum, the Seagram Building and the Yale Center for British Art to name a few. (Pic: © IALD)

spurred a fascinating cooperation between

mind will be cantered upon the best way to

Walter D ‘Arcy Ryan (Figure 2), Director of

illuminating engineers also understood that

lighting. He will not get far with an engineer

at General Electric who was known for his

basic architectural knowledge. For the first

done”. But great progress will be made with a

to the basics of architecture and field trips

in helping him achieve an ideal.” [10]

and Chicago, led by practicing architects

was pivotal. However, architects were

of the University of Illinois and the Armor

illumination concept, and the illumination

in New York. [7] “The Illuminating

how to achieve a particular lighting effect.

to be of real service to the architect, the

what type of luminaires to use, and what

about the architect’s problems and be able to

advantageous. Special models were also

should also be conversant with architectural

the effects of illumination. However, the

the fundamentals of that subject.” [8]

engineer were still limited to technical

Columbia University’s Department of

There were two Americans in the early

these two professional groups: “Architects

of the newly emerging movement. One was

illuminating engineers and architects. The

bring out the forms he has designed by good

to better serve architects, they must have

who answers his questions with, “it can’t be

time in 1930, two series of lectures related

sympathetic engineer at his elbow, interested

were organised for IES members in New York

This first step in the cooperation process

and professors of the schools of architecture

still, in most cases, the originators of the

Institute in Chicago and Columbia University

engineers supported them with advice on

Engineering Society believes that in order

For instance, where to place the luminaires,

illuminating engineer must know more

materials on the façade will be the most

talk to the architect in his own language. He

created, so it became possible to present

terminology and have some knowledge of

services provided by the illuminating

Professor Harold Vandervoort Walsh of

advice, not to independent, creative work.

Architecture described the relationship of

history of electric lighting who were pioneers

the Illuminating Engineering Laboratory

skyscraper illumination, as well as larger

projects including the 1915 Panama-Pacific International Exposition in San Francisco (Figure 1), or the Century of Progress

Exposition in Chicago (1933-1934). Another was Bassett Jones, who was a key figure

among architects active in the 1920s and 30s.

Jones was an all-round engineer, inventor,

theatre and architectural lighting designer.

He was also a member and founder of IESNA, and one of the first to speak about key issues involving architectural lighting. He insisted

on the cooperation between an illuminating engineer and an architect. Thanks to the

influence of both these visionary people, interest in lighting increased in the first

half of the 20th century. Yet, despite their

obvious success, the profession of lighting designer remained unrecognised as an established career.

When analysing the literature, it’s

clear it was really only the architects of

do not seek to light every corner of their

building. Shadows to them are as important as light. The new movement in lighting has come about as the engineer, busy with his

problems of lighting efficiency, has looked beyond and realised that the architect

wanted this playfulness and emotional quality of light. On the other hand, the

architect, seeing a friendly face, has turned away from his old-fashioned ideas about

lighting and had awakened to the fact that the engineer has developed for him newer and finer ways of playing with light.” [9] Walsh also emphasised the expectations

and concerns that architects usually have:

“The [illuminating] engineer will not classify the apparently impractical and novel ideas

of the architect as foolish, but will sit down and figure out how to do them. From the

flights of imagination of artists come the

problem for the scientists. [The architect’s]

Figure 5 The New York State Theatre and Plaza with external and internal illumination designed by Richard Kelly.

(Pic: © Erco Photography: Thomas Mayer)

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research

Figure 6 In 1971, the International Association of Lighting Designers (IALD) was officially incorporated, with its headquarters in Chicago, USA.

modernism operating in the second half of the

differed from those of electrical engineers or

an important tool in creating an architectural

the design, application, and use of lighting that

a new specialisation because knowledge about

combination of science and art. The initial goals of

architect of the building to study, or to rely only

to do all acts and things necessary to bring together

had been the standard practice.

design; to define, develop, advance and maintain

of the services of a lighting designer where this

members; and to communicate these ideas and the

early stage of the design process. At that time,

professions and the public at large.” [12]

bold solutions with materials and technology,

Designers (IALD) was officially incorporated, with

development of this new profession.

of this professional organisation are designers

dealt with the professional lighting of architecture

interior architecture, theatre, electrical

of 1968, that the first attempts were made to

association unites more than 1,500 independent,

though many individuals created innovative work,

world. The association’s mission is to advance

Initially, faced with the challenge of securing

global standards for lighting design excellence.

inspired pioneers from New York, met monthly

through the work of its members, who make a

private apartments, and conference rooms, to

responsibile lighting solutions. These designers

goals for development.

interior design, and urban and landscape design,

same individual known for his concept of “layers of

to raise the profile of these projects. Today, as it

types of lighting: ambient luminescence, focal

cannot also be involved in any way, in the sales

Most who attended had an architectural and

from design services, which gives them complete

members of IESNA, yet they chose to connect in

technical solutions, whilst also supporting needs

20th century, who considered illumination to be

illuminating engineers, as their skills involved

form. Additionally, there was the need to create

was in harmony with architecture - this was a

lighting technology became too broad for the

the emerging organisation were thus defined: “[…]

on consultancy from the illumination engineer, as

practicing professionals in the field of lighting

The consequence of this was the conscious use

standards and excellence among Association

professional would initiate the dialogue in the

attendant benefits of designing lighting to allied

the style and trend of modernism proposed new,

In 1971, the International Association of Lighting

which formed an excellent contribution to the

its headquarters in Chicago, USA. Today, members

Although the number of people in America who

with an education in the field of architecture,

continued to increase, it was only at the beginning

engineering, as well as lighting design. The

institutionalise this field of lighting design. Even

professional lighting designers from all over the

the profession remained largely unrecognised.

the global profession through advocacy, creating

their future, a small group of passionate and

It promotes excellence in lighting design

for informal gatherings in Manhattan restaurants,

huge contribution by providing innovative and

define their new profession, and to set future

understand the role of lighting in architecture,

The first meeting was at Richard Kelly’s home. The

and they use their rich experience and knowledge

light” or the approach of integrating three distinct

was in the past, professional members of the IALD

glow, and play of brilliants. [11]

of lighting products. Their earnings are derived

theatrical training/background and were

independence in choosing the best aesthetic and

recognition of their unique position. Their services

of humans and the external environment.

References [1] Jones B., The relation of architectural principles to Illuminating Engineering Practice. Transactions of the Illuminating Engineering Society, 1908, vol. III, p. 9.

[2] ibid. p. 42.

[3] ibid. pp. 25-26.

[4] ibid. p. 9.

[5] ibid. p. 50.

[6] ibid. p. 55.

[7] Architect and Illuminating Engineers Break Bread together, Reflections.

Transactions of the Illuminating Engineering Society 1920, no. 7, p. 749.

[8] Transactions of the Illuminating Engineering Society, 1930, no. 6, p. 535.

[9] Walsh H. V. An Architect’s reaction to the new movement in lighting. Interim Report – Committee on Light in Architecture and Decoration. Transactions of the Illuminating Engineering Society 1930, no. 7, Vol. XXV, pp.

603–604.

[10] ibid. pp. 603–604.

[11] Zielinska-Dabkowska, K.M. Home Sweet Home. Connecting the dots for healthy evening residential illumination. arc magazine 2019, no. 111, pp. 055-060. http://bit.ly/30TqCss [12] International Association of Lighting Designers (IALD). Celebrating 35 Years of Lighting Design Excellence, 35th Anniversary Yearbook, Chicago 2005, p. 4.

Asst. Prof. Dr. Karolina M. Zielinska-Dabkowska is a chartered RIBA architect and an award winning practicing lighting designer. She is also an Assistant Professor at the Faculty of Architecture, Gdansk University of Technology, Poland, and co-founder of GUT LightLab, where she conducts research on various aspects of light and lighting in the built environment. She is actively engaged in the work of international organisations such as the International Association of Lighting Designers (IALD), the Illuminating Engineering Society (IES), International Commission of Illumination (CIE) and International Dark-Sky Association (IDA), providing guidelines and sharing best practice for nighttime illumination in the built and natural environment. She has participated in a number of international conferences, and has written articles for national and international publications. Karolina joined Women in Lighting (WiL) in March 2018 as an Ambassador for Poland.

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Taking the Inside Outdoors As hospitality venues in the UK prepare to reopen, Paul Nulty examines how the design of these spaces will change in a postpandemic world.

F

ollowing the recent UK government

announcement that the relaxing of Covid restrictions is on the horizon, we finally

have some concrete guidance on how society can begin to open up again. Our physical environments bring us comfort, and the

relationships we have in those environments,

whether it’s at home with the family or outside with friends and

colleagues, need to be celebrated. It’s likely that the focus will now

be on bringing people back into hospitality spaces and the challenge

for us as lighting designers will be how to manipulate the medium of light to encourage social dwelling. Through the use of lighting and

brand identity we can really encourage people to leave their homes and step back out into the social realm.

Many of us can’t wait to be released back into bars and restaurants, and there will likely be a surge in popularity for hospitality as

society seeks to let off steam, but the desire for social distancing may remain in place. This puts a lot of emphasis on the use of

outdoor space and the hospitality sector will need to adapt to this

challenge by extending indoor areas outside. We can expect to see bars and restaurants now working very hard to create spaces that people will want to be immersed in, all while adhering to a tight

budget. It’s about place-making and creating a great experience for

people to revel in, and this is where light comes to the fore. Through considered and intelligent design, lighting can be used as a tool to

encourage people to dwell longer in these spaces so that spend per head is increased, which ultimately aids economic recovery.

It’s possible that we might see a surge in domestic travel in the

year that follows the pandemic. This may increase occupancy rates,

which in theory would mean greater profitability and more money to spend on refurbishments. We’ve seen a real upsurge in the need for

‘glamping’ projects and desert retreats across the UAE region and it’s a trend that doesn’t seem to be going anywhere but up.

As the UK plunged into a third lockdown, we saw things opening up a bit more in the Middle East. Although there has been a desire to re-

engage socially, there is still apprehension, which we should expect after a pandemic of this scale. Clients are pausing on large-scale

holiday resorts, and instead, focusing on an individual and bespoke experiences for guests. Receiving your own personalised, ‘tented’ villa with airy space is just what people are after when choosing a

weekend break or time away from work. Does a crammed resort with

guests spilling from sun loungers to pool sound like the kind of break we will crave when the lockdown blows over? I doubt it. Lighting can be used to create the kinds of roomy open environments that we are all craving right now. An intelligent lighting scheme can identify a

space and a create a brand experience that people emotionally engage with.

People want to get outside, they don’t want to be hanging around indoors with others, especially after quarantining for so long, so

activating more of the external environment will be really important.

At Nulty, this is something we’ve really loved focusing on over the last few years. In the Middle East, we designed and implemented a vibrant architectural lighting scheme for Dubai International Paul Nulty Founder, Nulty

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Financial Centre’s Gate Village – a public realm that became a

colourful example of how to connect people and spaces through

Hospitality focus

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1. At Leake Street, Nulty has shown how effective lighting design can transform an unwelcoming, isolated space into a vibrant destination. (Pic: James French) 2 & 3. At Dubai International Financial Centre’s Gate Village, the outdoor lighting solution sought to connect people and spaces through light, giving identity to what had previously been a back of house through-road. After the new lighting scheme was introduced, it became an activated area with bars and restaurants setting up tables to entice people to engage with the space socially. (Pics: Alex Jeffries Photography)

light. The outdoor lighting solution includes two show-stopping

push for sustainable solutions in the built environment over the next

side of the street. The project gave an identity to what had previously

it has on the environment for a while now, but we are always looking

became an activated area with bars and restaurants setting up tables

the need for outdoor hospitality with environmental objectives is a

We worked on something similar for the Leake Street Arches in

Reducing the impact of light pollution is a good place to start. The

the railway tracks, that most people sought to avoid, but our main

aware of as lighting designers. Obstructing our views of the night

the street art (the only place in London where graffiti is legal)

environment, affects our health and wellbeing and wastes energy

theatrical truss with mounted spotlights spans the length of

and raise the standard of well-considered and sustainable exterior

illuminate the arched ceiling with a wash of white light. There are

luminaires and selection of suitable, low glare fittings, along with

it’s this spectrum of colour and the way in which it weaves through

spaces aren’t occupied. Preserving the night sky and the tranquillity

Today, there are a whole host of bars, restaurants and curated events

while reducing carbon emissions. If we are going to encourage people

one of Time Out Magazine’s top ten destinations in London. It’s a

and being considerate of what we are lighting will have a part to play.

spaces into desirable places to be and create a sense of space and

experiment with the outdoors and turn even the most unexpected

It’s not just connecting people with spaces in outdoor environments

of being cooped up inside, we want to be free, be social and above

from office spaces and busy commutes has really allowed us to focus

available to all bar owners, hoteliers and the like, to enhance a social

of us, it’s been a time to observe the magnitude of nature and why

back to experiential design and placemaking and I’m looking forward

illuminated bridges, which connect high-rise buildings on either

few years. The lighting industry has been taking notice of the impact

been a back of house through-road. After it was illuminated, it

at new and innovative ways to better our sustainable goals. Weaving

to entice people to engage with the space socially.

challenge that lighting designers will likely face after the pandemic.

Waterloo, London. It had been a pretty isolated passageway under

issues caused by light pollution are something we’re very much

objective for the lighting scheme was to highlight and celebrate

sky is one thing, but light pollution also causes havoc with the

whilst also improving the quality of light throughout. A suspended

(among other things). We can continually challenge our designs

the tunnel, while linear RGBW uplights sit on top of the truss to

lighting schemes, which involves the calculated positioning of

colour-changing capabilities to offer a flexible range of effects and

smart control systems to make sure there’s no unwanted light when

the shadows that transformed these arches into a destination.

of a dark space is also another way of enticing people outside, all

that have opened up within Leake Street and it’s even been listed as

to socialise in spatial settings, then reducing light spill on buildings

wonderful example of how lighting alone can transform undesirable

Once things open up after the pandemic, we might find a desire to

identity in the outdoors.

space into a hot new socialising destination. We’ve had enough

that may regenerate the hospitality sector. This time spent away

all feel comfortable in our surroundings. Lighting is a tool that’s

on what’s important and to reconnect with the basics. For many

setting and create a space that people will want to go to. It all harks

preserving it is crucial for our survival. Expect to see an even greater

to seeing how we, as an industry, rise to the challenge.

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Pic: Guy Wilkinson

PROJECT DETAILS Crown Sydney, Sydney, Australia Client: Crown Resorts Lighting Design: FPOV, UK & Australia; NDYLIGHT, Australia Façade Lighting Concept: Speirs Major, UK Architect: Wilkinson Eyre, UK Interior Design: Meyer Davis, USA; Bates Smart, Australia Photography: Brent Winstone (unless otherwise stated)

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Hospitality Focus

Effortless Sophistication The newly opened Crown Sydney is the latest landmark on the Australian city’s iconic harbour. Lighting design from both FPOV and NDYLIGHT help bring this landmark to life.

O

pened at the end of 2020, the towering

study, prepared by Speirs Major, that addressed

modern design that brings bespoke

the development.

Crown Sydney resort is a marvel of

intentions for the Veil façade at the lower levels of

luxury to the heart of the city’s harbour.

Having previously worked successfully with Speirs

Located in Barangaroo, Crown Sydney brings

Major, lighting design studio NDYLIGHT was

spa, retail and gaming under one roof in a new,

2015, a commission that not only included the Veil,

Designed by Wilkinson Eyre architects, Crown

approvals process for the exterior lighting, which

views of Sydney Harbour’s icons, but to stand

together input from other consultants on external

The concept takes its inspiration from nature;

with consolidated approvals documents.

tower’s form is reminiscent of three petals that

further: “Not only did the Veil have to look great,

sculptural shape maximises the opportunity for

terms of spill light, which was especially critical to

Sydney’s famous bridge and harbour.

the east, and to the nearby Sydney Observatory, with

storeys, it is the city’s tallest inhabited building,

With its slender, curving features, the Veil is almost

reaching higher at 305-metres. The curving

its curvature made the modelling of the design, and

3D modelling and accommodates a 60º twist in the

Brown continued: “The conceptual design included a

while maintaining a vertical core structure.

luminaires to the Veil itself – which was quickly

of tall, slender, curved elements pinned as an

linear lighting solution at the base of the Veil would

known as ‘The Veil’. The original architectural

“After a serious amount of modelling, we decided

together a luxury hotel, apartments, restaurants,

appointed by Crown Sydney to execute the design in

world-class venue.

but also guiding the whole authority lighting

Sydney has been constructed not just to frame the

included aviation obstacle lighting and bringing

alongside them as a defining landmark of the city.

deck and signage elements to present authorities

composed of an elegant, curved geometry, the

Steve Brown, Director of NDYLIGHT, explained

intertwine together towards the sky, and its

but the lighting of it had to comply with AS4282 in

accommodation to make the most of the views of

both the residential developments across the road to

Standing at 271.3-metres tall and spanning 72

which significant discussions were held.”

with only Sydney Tower, an observation tower,

whalebone-like in its colouration and structure, and

geometry of the tower was derived using parametric

the eventual illumination, an interesting challenge.

outer skin, with helical columns on the perimeter

bit of a journey looking at whether we could affix

The curving façade is accentuated further by a series

discounted – and studies whether some form of

overlay to the glass and solid structure behind,

work; this was also discounted.

concept for the resort included a lighting concept

that close offset individual luminaires with a

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077

Hospitality Focus

A key focal point of FPOV’s interior lighting scheme was the “architectural chandelier” that illuminates the central staircase of the hotel. Designed to enhance the form and volume of the staircase, the addition of light brings an added layer of luxury.

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significant amount of cross-lighting was the

60º beam in the long axis of the symmetric lens –

the available mounting locations: narrow canopies

angle optics, and a standard snoot was also

roof of the outdoor dining terrace on the harbour

lighting effect.

As the Veil is gently overhanging, it was possible

solution based on a full snoot with cut-outs to

from the canopies below, yet still terminate the

were also added in the same orientation, further

and tight focus, eliminating unwanted light spill.

Brown continued: “The biggest issue was how to

that the Veil be evenly lit “as if it were a billboard”.

system that allowed the luminaires to achieve the

support the organic semblance of its structure.

lighting. A site mock-up was held, which

always to modulate the light to bring out the

and the effect was ‘as expected’ – always an

and try to get some shadow play here and there,”

The final installation of the Veil lighting was

designer would try to do with a three-dimensional

outcome looking “remarkably like the modelled

During the process of illuminating the Veil,

at pre-curfew levels before 11pm, with a lower

approached the project at the time of tender with

requirements.

explained, “seemed to meet all the technical

designers at FPOV were tasked with designing the

The luminaire option was its Circular Wash Series,

standing relationship with Crown Resorts, dating

shield accessories. However, as the designers

Macau in 2005, and it has since worked on projects

Physics needed to design an elaborate anti-glare

provided advice on projects in the UK and Sri

complicated by the optics used, which produce a

In this instance, FPOV was asked to work with a

answer. As much as anything, this was driven by

honeycomb louvres cannot be used with wide-

on the eastern and northern sides, and the glazed

unsuitable as it too would interfere with the

side.”

Illumination Physics therefore designed a custom

for the lighting designers to employ uplighting

allow the 60º axis to function. Longitudinal louvres

beams of light in the structure by narrow lensing

reducing any view of the light source.

Brown explained that it was never the intention

mount the luminaires above the canopies with a

But rather, it was felt that the lighting should

requisite pan and tilt to ensure effective cross-

“From concept through to execution, the goal was

confirmed both that the mounting would work,

three-dimensional curvature of the Veil elements,

important milestone!”

he said. “In essence, the same as a lighting

commissioned in December 2020, with the

object on a theatre set.”

version”. All the Veil lighting is dimmed, and runs

NDYLIGHT worked with Illumination Physics, who

curfew level after 11pm to comply with light spill

an alternative luminaire option that, Brown

Stepping inside the vast, curving tower, lighting

requirements needed for the successful execution”.

interior illumination. The studio has a long-

fitted with asymmetric, Quattro lenses and glare

back to its work on the City of Dreams project in

sought to control unwanted light, Illumination

in Crown Melbourne, City of Dreams in Manila, and

device. The design of the glare shield was

Lanka.

hospitality focus

1-2. Although FPOV wanted to have harmony between the mutilple spaces of the hotel, which included restaurants, guest rooms, apartments, a spa and gaming, the lighting designers worked with the different interior design teams to ensure that each restaurant had its own atmosphere and ambiance, befitting the culinary options available.

3. The lower façade is accentuated by a series of tall, slender, curved elements known as The Veil. Lighting for the Veil was designed by NDYLIGHT, with fixtures coming from Illumination Physics. (Pic: Guy Wilkinson)

team of various designers from around the world to

make this flagship location “a benchmark project for 1

the region”.

Mark Elliott, Global Creative Director at FPOV

explained the interior lighting concept further: “Key to the client’s expectation was a feeling of drama,

light and shade, all those tag words that we use in the description of what we deliver, but with a well-

educated client, they really meant it and expected it to be delivered, and understood what was needed to deliver that.

“With a client like Crown Resorts, they are so

knowledgeable about what the best in the hospitality industry are offering globally, why venues are

successful and why some are not, that there is no

hiding behind jargon or baffling with technology; you are pushed to deliver the best, anything less is unacceptable.”

2

Given that the project spanned five years from

concept to completion, Elliott added that FPOV had to be careful in the initial design stage that what they

were proposing would still be forward thinking when the project was complete and that “any of the

innovations of iconic selections that were made would still be individual and not mainstream in the future”.

As such, customised solutions for decorative

equipment were fundamental, with a background of architectural lighting to support. Architectural

lighting in this instance predominately came from IBL’s Lightkit, with additional fixtures from

unonovesette and Intra Lighting complementing the statement decorative pieces throughout.

With the resort including a hotel, apartments and a

spa, as well as a number of bars and restaurants, FPOV had the mammoth task of providing the lighting

design for all client-facing spaces. However, while for some, such scope could be quite daunting, the FPOV

team instead relished the additional challenges that a project of this size brings. “It was great because it meant that we were in control of the whole client

journey from one space to the next, so we could create both harmony and contrast between spaces where appropriate,” Elliott said.

“The key challenge on a project of this scale is not

necessarily the design, but the project management

and the other 50% of what being a lighting consultant is about, a part of our job that is not only equally, but sometimes more important than the design: the 3

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consulting.

“The client takes many aspects of what we offer when

IBL and LIGHTKIT are proud to have been chosen as the main lighting suppliers for The Crown Apartments and Casino. A mix of our Dim to Warm and Tuneable White technology offered the perfect partner to make their concept a reality.

From Nobu and Noma, to the Venetian Macau and Jumeirah Gate Dubai, we have a longstanding history of providing world renowned hotels, restaurants and companies with our custom lighting solutions.

80% DIMMED

30% DIMMED The flexibility our spotless dim to warm offers our customers via simple mains dimming, means multifaceted design results can be achieved without complication and is available across our range.

Our recent work with the Peninsula Hotel in London will showcase the latest of these successes, especially with our tuneable white technology, and highlight a result that can be achieved by all, no matter the size and scope of the project.

W : www.ibl.co.uk / www.lightkit.co E : info@ibl.co.uk

hospitality focus

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3

selecting the right consultant, and sometimes the

lighting scheme throughout the resort. But for the

coordination with a consultant can carry a heavy

when to create harmony, and when to do

The need for collaboration and coordination was

plethora of interior designers on the project, and

across the many aspects of the project. Elliott

that the lighting enhanced their aesthetic, while

collection of smaller projects held together by the

“We had to take prompts from the usage of the

where the consistency comes in. The majority of

aesthetic. An example of this would be in the Italian

New York, which did the hotel and apartments,

techniques are generally the same, but there was a

Bates Smart worked through the gaming spaces

restaurant to create a soft, warm ambiance,

series of specialist F&B design teams did the

higher contrast, and it was more architectural.”

“We were very lucky that we had worked with

curved form; while this is architecturally incredibly

so there was a level of confidence in us that

further complications for the interior design.

appropriate. They had specific ideas around what

twisting, irregular-shaped cone, so all the external

lighting arena, but we worked with them during

of guest rooms were therefore not only a different

“Meyer Davis were also a great team to work with,

every room needed individual consideration. This

from other consultants. Their design is very

would have a handful of room types, but here we

hospitality: layers of details, purposeful selection

Alongside the many contrasting guest rooms, an

accessible, luxury design aesthetic.

the vast, swirling podium spiral staircase, which

to be that way on a project like this to ensure that

Although the staircase doesn’t extend into the

Working with such a wide range of designers on

from the lobby space. Accentuating this iconic

for FPOV as they sought to create a harmonious

form and volume of the staircase, while providing

experience of ease of collaboration and

lighting designers, the challenge was working out

influence.”

something different. Elliott continued: “With the

intensified by the multiple design teams involved

the variations in their styles, we needed to ensure

continued: “As with any large project, it’s a

creating harmony throughout the project.

interconnecting transition areas, and there’s

various spaces, together with the overall design

our coordination was between Meyer Davis out of

restaurant and the Nobu restaurant – the lighting

together with the MICE and some F&B spaces.

heavier focus on decorative lighting in the Italian

and associated F&B venues, and then beyond that a

whereas in the Nobu restaurant, there was a much

various venues across the tower.

Integral to the building’s design is its twisting,

Bates Smart consistently on previous projects, and

impressive from the outside, such a shape caused

enabled us to make the suggestions we felt

Elliott explained: “The building is effectively a

they wanted to achieve, especially in the decorative

walls tapered either in or out. Each of the hundreds

mock-ups and samples.

size, but also a different shape, which meant that

very calm and accepting of suggestions and input

is an epic task, given that in a typical hotel you

personalised and far from a corporate approach to

had many.”

of materials for all applications, creating an

integral architectural feature within the hotel is

“They were both very collaborative and we all had

forms a key focal point for the main entry.

we provided a fully integrated solution.”

lobby, visitors have a clear view through the void

the project could have created a series of headaches

statement, FPOV used light to enhance both the

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1-2. Throughout the interior of the hotel, FPOV utilised architectural lighting elements from unonovesette, Intra Lighting and IBL, complemented by decorative fixtures, to bring a sense of class and luxury to the resort.

3. Lighting has become an integral element in bringing the Crown Sydney to life, acting as a means of accentuating and enhancing its materiality anf form.

SUBLI ME |SUPPLE |STRONG

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hospitality focus

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an additional layer of luxury that “only a hotel

large-scale projects such as the Crown Sydney,

“I’m particularly proud of the solutions we used for

project of this scale, one that challenges you over a

created the space, form, volume and flow of the

relationships with other consultants that will

an architectural statement at the heart of the

the process of our consultation and collaboration

and luxury extravagance; so we designed what I

other challenges,” Elliott reflected.

into the structure of the balustrade so that the

improve on your weaknesses and expand and take

definitely there when you needed it through the

like this, there is a feeling of relief, but also pride

solutions for special occasions.”

in the process.”

Elliott reflected on how this project, and in

the crowning achievements for Elliott, he and his

he has worked on in the past. “Years ago, during

beautifully complements the wider design of the

America in Madrid, which had a multi-faceted team

Looking back at the overall lighting design, Elliott

didn’t quite have the scale of areas this project had.

appropriately illuminated, lighting brings the

hospitality projects, but this would be the first that

encourages clients to move through the spaces, to

“One thing that held this project apart from

luxury experience and provides a multi-

designed feature elements, driven by the need for

destination.

collaborative process between my team and the

to be one to remember, I have a few key projects

the interior design team, sometimes by our team,

certainly in the fold.”

The strong collaborative nature of the project is

www.ndylight.com

resort provides”.

maybe even more so than the design itself. “On a

the focal staircase,” Elliott said. “Wilkinson Eyre

number of years, you can expect to form

staircase through the 3-4 floors it transitioned as

endure. And hopefully the design we delivered, and

building, but a hotel resort demands some sparkle

has formed these relationships to take forward to

would term as an “architectural chandelier”, fused

“It’s an exercise in design, but also a journey to

form wasn’t impacted, but the visual impact was

advantage of your strengths. At the end of a project

opportunity to create dynamic and colour changing

and gratitude that you have learnt something new

Following the hotel’s opening in December 2020,

While the strong sense of collaboration is one of

particular its sheer scale, compared to others that

team at FPOV have created a lighting design that

my time at Isometrix, I worked on the Hotel Puerta

Crown Sydney and its myriad areas.

of interior designers on a single project, but it

concluded: “As with any project that is

“Subsequently, I have worked on a number of large

project to life, enhances materiality and form,

brought the two challenges together on this scale.

enjoy the venues in an environment conducive to a

others, for me, was the quantity of custom-

dimensioned, day-to-night, tailored and bespoke

individuality, that were always designed via a

“You can tell very early on when a project is going

interior designers and clients – sometimes led by

that I think define my career, and this is now

and sometimes by the client.”

www.f-pov.com

something that has stuck with Elliott since its

completion and is one of the defining aspects of

1. Fused into the structure of the balustrade, the “architectural chandelier” has a very strong visual impact, with the added opportunity for dynamic and colour changing lighting on special occasions.

2. Although not accessible from the lobby, visitors have a view into the void of the grand central staircase on entering the hotel, with light accentuating its form and scale.

3. In order to avoid undue light spill, Illumination Physics developed a custom glare shield to allow for a 60-degree beam of light that only illuminated the Veil, and none of the surrounding area. (Pic: Guy Wilkinson)

lighting specified IBL Cone 90 IBL Cone 90 BL IBL Cone Tilt 90 IBL Cone Tilt 90 BL IBL Lightkit Bevel Illumination Physics Circular Wash Quattro Intra Lighting Cove Intra Lighting Edge Prolicht Magiq Ricardo custom fittings Unonovesette Caliber Unonovesette Pilot Unonovesette Vario

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Key Change As part of the newly-renovated Middle Eight, a luxury, four-star hotel in London’s Covent Garden, Hoare Lea used light as a means to foster a relaxing ambience throughout.

C

onstructed in 1912, 66 Queen Street Covent Garden

light accentuate volume; and at low-level, light is integrated with

Kingsway Hall Methodist Church. However, due to the

Lit sculptural pieces decorate the walls and ceilings throughout the

was first built for evangelical purposes, serving as the coincidentally great acoustics of the building, it soon

became one of the most sought-after recording venues for orchestral music in England – record label EMI began recording there in 1925,

and continued to do so even after the construction of its own, iconic Abbey Road Studios. The venue served as a popular recording site until its demolition in 1984.

In 1998, the site was purchased and developed into a four-star hotel and is now owned and operated by Shiva Hotels UK, which in 2014

committed £15m to redevelop the hotel – a redevelopment that was completed earlier in 2021.

Drawing inspiration from the site’s musical heritage, the hotel has been rebranded as Middle Eight. Lighting designers at Hoare Lea

have been integral to the redevelopment of the hotel, as the firm

was extensively involved in the refurbishment of the front-of-house spaces, including a luxurious restaurant, relaxing bar/lounge area, a basement cabaret-themed bar with cinema, and the guest suites.

Designed by Tonik Associates, the interior design palette throughout features earthy, textured materials and finishes with warm metallic details running through each space. The lighting was designed to complement and emphasise the interiors of each space. At highlevel, the ambient lighting, provided by downlights from Orluna,

flows through the grand sculptural ceilings; at mid-level, bodies of

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delicate architectural details.

building, adding a sense of excitement and character. Spaces deeper within the building are illuminated with a tunable white, ambient light that is brighter and cooler in the morning and daytime, but

then dims and becomes warmer in the evening to suit the dining atmosphere.

Through the entrance vestibule, the space opens into a large,

expansive reception area; here, ambient light sits within the tectonic ceiling rafts, while washes of light flow around the textured, curved walls. Decorative pendants and lit sculptures sit at eye level, with

table and floor lamps creating pools of light around seating areas.

The reception desk is also lifted through a wash of light around the base, and a tree root feature sparks curiosity and excitement for visitors when they first enter.

The bar area features a central core light frame structure, which is surrounded by decorative bar top luminaires and integrated stone wall lighting, along with individual table and floor lamps, which create inviting pools of light where people can sit, relax and talk

together. All of which are reflected by the grand, metallic leaf canopy that hangs above.

Elsewhere, the restaurant has edge-lit, stretch ceilings with Osram’s tunable white, linear LED profiles that allow the space to transform

throughout the day, along with uplit banquette seating that encloses

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the room. This architectural lighting is

throughout the day and adapts to suit

powered table lamps that help to create a

creating a wonderful ambience for all guests

offset by decorative wall lights and battery more intimate, cosy ambience that connects people on the table.

Downstairs, the basement spaces have

been transformed into an intimate, cabaret style bar that is composed of low level and integrated lighting treatments, with a

central stage area where feature pendants

and spotlights overhead draw the attention towards the performers and capture

people’s eye and play a part in forming memorable experiences for audiences

to take away from events. Edgelit metal

cylindrical drums span across the exposed

soffit, with curved ambient spotlight tracks, with fixtures courtesy of Precision Lighting, surrounding them.

Following the renovation, Shiva Hotels

said of Hoare Lea’s work: “The lighting in the hotel is interwoven with the interior architecture. It highlights materials,

textures and volumes while leading the eye to its key features. The lighting changes

the mood and atmosphere of each space, and visitors.”

James Buck, lighting designer at Hoare Lea, explained further the importance that the studio placed on using light as a means to

create the required ambience in the hotel:

“A hotel is a space where guests may simply drop their luggage and leave to enjoy the

city they are visiting, but also a place where they may choose to relax and experience what the hotel has to offer at the end of

a busy and exciting day. Therefore, it was important that the lighting design not

only complemented the architecture and

interior design, but also provides a warm and comfortable lit environment for guests to enjoy their stay.

“It was about creating a special experience

for people to remember within the heart of an unforgettable city.” www.hoarelea.com

PROJECT DETAILS Middle Eight, London, UK Client: Shiva Hotels UK Lighting Design: Hoare Lea, UK Architect: Ray Hole Architects, UK Interior Design: Tonik Associates, UK Lighting Specified: Light Lab, Marset, Orluna, Osram, Precision Lighting, Tala, Viabizzuno

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Designed to Unwind Merging art and light to create a beautiful feeling of escapism, Klaasen Lighting Design has helped to turn the Naera Hotel, Spa & Art Gallery in Xitang, China into a picturesque, relaxing retreat.

PROJECT DETAILS Naera Hotel, Spa & Art Gallery, Xitang, China Client: Xitang Zhi Di Cultural Development Company Lighting Design: Klaasen Lighting Design, Singapore Architect: Leeko Studio, China Interior Design: Horizontal Space Design, China Landscape Design: Topo Design, China Photography: Aero Lighting; Kyramedia; Klaasen Lighting Design

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1. The entrance to the hotel is screened off from the main road, behind dramatically illuminated “light boxes”, where guests enter through a “landscape portal”.

2. Pieces of artwork are displayed throughout the resort, in corridors, public areas and even the guest rooms, creating a sense of discovery and exploration for guests.

3. On entering the hotel, visitors travel through a meandering, uplit screen maze that has been deliberately designed to wind people down as they make their way to the reception.

4. It was the intention of the client that the new resort be connected to its surroundings, with much of the artwork on display providing that connection.

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B

orn out of a passion for art, organic

journey a sense of exploration and discovery.

travel, the newly-opened Naera Hotel,

designed by Shanghai architects Leeko Studio to

farming and international luxury

The Naera Hotel, Spa and Art Gallery has been

Spa and Art Gallery in Xitang, China,

reflect a typical Chinese garden, with all public

has been designed with rest and relaxation in mind.

spaces located around a central courtyard. Lighting

Shanghai, is the realisation of the childhood dream

Grace Eng of Klaasen Lighting Design, with the

Cultural Development, who, after failing to find an

brings out the uniqueness of both the architectural

views and vision for his hotel concept, decided to

Design’s Ju Bin, while also adding to the sense of

The resulting Naera Hotel is part of a wider

peaceful feeling of calmness in the Chinese garden.

to reflect his desire to provide a retreat based on

warm colour tones, concealed lighting and

mixed with the beauty of art and the nourishment

highlight artworks, in a scheme that adds to the

have been selected to be made available to guests,

“We didn’t have a specific lighting brief, but our

each day.

collaboration with the interior designer, who loves

guests arrive, they are transported into a different

and controlled lighting levels, bringing into value

busy main road by a dramatically illuminated wall,

interior design,” explained Klaasen. “Our design

From here, they travel through a meandering, uplit

design philosophy was key.”

deliberate maze walk is intended to wind people

both the architect and interior designer Ju Bin is

calmness. Art works are also located along this

process, as there was an immediate, implicit

The resort, situated just over an hour’s drive from

for the resort was designed by Martin Klaasen and

of owner and developer, Zhu Shu Lei of Xitang Zhidi

intention of being the “glue” that reinforces and

international operator brand that shared the same

design, and the interior design of Horizonal Space

create his own brand.

exploration, showcasing the artwork and creating a

redevelopment of East Xitang, and has been created

Throughout the resort, Klaasen and Eng utilised

top quality service, spa and wellness treatments,

controlled light levels, with accent lighting to

of organic farm food; around 2,000 different teas

experience for visitors.

providing a different selection of teas in rooms

approach was implicitly based on my prior

A destination for escapism, from the moment

our approach of concealed lighting, focused accents

world. The drop off point is screened off from the

the key features of the overall architectural and

and guests enter through a “landscape portal”.

style and understanding of the lead consultant’s

screen maze that leads to the reception. The

The prior relationship that Klaasen shared with

down on the way, centring their minds and spirit in

something that he feels helped throughout the

walkway, and throughout the hotel, giving each

understanding between their goals and ambitions

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1. The Tea Room is one of the many outward facing spaces within the resort that becomes transformed during the nightly light show.

2. The exterior lighting across the resort utilises a warm colour temperature, adding to the inviting, cosy atmosphere that the client sought to achieve.

3. One of the key challenges for the lighting designer was creating lighting for the outward facing spaces that would appear uniform from the outside, but be suitable for each individual need and requirement inside, such as in the library.

4. The gently lit walkway surrounding the central courtyard allows visitors to freely travel around the resort by day, while at night, the lighting from inside creates a dramatic silhouetted effect.

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for the project. “When Ju Bin was approached for

– there is no signage or downlighting, light is only

us to be appointed as part of the team as well,”

corridor, with additional spots on the pieces of

“The close collaboration that we had was key to the

something that was key to Klaasen’s lighting

the mutual trust and respect, and the ensuing

discovery for guests. “It was a deliberate choice,

that created the base for the success. When each

design team and the owners to make sure that we

shown for each other, the results generally surpass

rule, lighting should have a supporting role, not a

makes the collaboration a joy and motivates each

space, and the experience of the space, not about

The harmonious relationship that Klaasen has with

“The intrigue and exploration of what the hotel has

is seamlessly integrated within the wider

carefully choosing the lighting effect, the angles of

tool to enhance the interiors and bring extra focus

around. As the guest journeys around the hotel, the

this is one of the art exhibits on display, or the

their architectural features, and art as a visual

“Lighting is often called the glue that gels

On practically every corner of every area

the architect and interior designer, mostly. The

– from guest rooms to the corridors, restaurants

lighting effects, moods, accentuation and dynamics

therefore added focused spots of light to showcase

This is particularly evident in the entrance

without its challenges, as Klaasen explained that

this project, he insisted to the client that he wanted

used to illuminate the panelling that lines the

Klaasen continued.

artwork on display. This minimalistic approach is

success of this project, but more than that, it was

design, adding to the sense of intrigue and

friendship between the owner and his consultants

and one that came after close consultation with the

expertise is valued, respect and understanding is

were all on the same page,” he said. “As a general

expectations, as was the case in this project. It also

dominant or overpowering role. It’s about the

member of the team to put in the extra mile.”

the lighting itself.

Ju Bin helped to create a space in which the lighting

to offer is brought to life by the lighting, and by

architectural and interior design. Light serves as a

impact and the moment of visibility as you move

on the smaller details within each area, whether

task of the lighting designer is to reveal the spaces,

materials used by the interior design team.

experience. It is planned, and it is timed.”

everything together, so the identity is created by

throughout the resort, there are pieces of artwork

lighting designer’s role is to create the appropriate

and even the washrooms. Klaasen Lighting Design

that reinforce this,” Klaasen continued.

each individual piece. However, this was not

walkway, where the lighting is kept very minimal

going into the project, they didn’t realise quite how

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4

much artwork there would be. “We always knew

believes the strong sense of communication helped

knew to what extent, how big, what shape, what

as good as the end result, so communication,

before the opening that we started to get a feel for

implementing your design are crucial to its success.

“We had to challenge ourselves to find solutions,

realisation of your lighting design of the

but it was without really knowing what was going to

effects to be achieved is crucial.

decided on some of the artworks once he was here.

language barriers, but luckily our team was able to

there, but it was not perfect. We had to improvise

supervised to see the intended effects achieved.”

move some lighting, maybe add in some conversion

discovery through lighting extended to the outside

situation that we had with the lighting that was

a central courtyard; inspired by typical Chinese

The willingness and ability to adapt is something

water, punctuated with islands of trees and a

throughout the project, as Klaasen explained that

the reflections of the water to create a magical

designers would have suggestions for the lighting,

This feeling was enhanced by the deliberate

posed alternatives for the interior design that

lighting on the hotel’s exterior. Instead, light

Such examples can be found in the cove lighting,

are seen as silhouettes moving through the

right, and in the recessed step lighting as well.

design decision that transforms the courtyard

that there would be art and artworks, but we never

them through: “Like in all projects, your design is

size,” he said. “It was only in the last few months

supervision and site assistance to the contractors

what this fantastic art was going to be.

Explaining and educating all parties involved in the

because we had provisional lighting put in place,

installation requirements and the intended lighting

be put where, and I think even the artist only

“The challenges become even bigger if there are

That meant that the infrastructure for lighting was

communicate our design intents in detail, and

along the way to bring in some additional lighting,

The desire to create a sense of wonder and

lenses or spread lenses – find ways to adapt to the

areas of the resort as well. The hotel is built around

already in place.”

gardens, this courtyard consists of a large body of

that proved beneficial for the entire design team

central pavilion. The lighting here sought to utilise

there were some instances where the interior

feeling of peace and calm.

while conversely, on other occasions, Klaasen

decision by Klaasen to avoid using any façade

would allow lighting to be better integrated.

emanates from within the building, where people

which required several adjustments to get just

connecting corridors and walkways – it was a

However, despite these various challenges, Klaasen

completely after dark. “During the day, the natural

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light lights up the building, you can see the

Since the hotel was completed, it has received a

it’s exactly the opposite,” he explained. “At night,

claim that the lighting design is some of the best

architecture, you wonder what’s inside. After dark, the effects are practically reversed, with light radiating out from the interiors.”

This design decision meant that the lighting

designers had to work hard to ensure that all

outward facing areas had balanced lighting, with

brightness kept at a level so that overall, it looked consistent and uniform – a difficult task when these areas, including the restaurant, bar, tea

house, lobby and library, all had different lighting

requirements. This was achieved though, through clever positioning of the lights and carefully managed dimming levels.

Because of the enclosed nature of the central

courtyard, Klaasen had the opportunity to use the outward facing areas as elements in a special,

colourful light show that can be viewed from all

around the hotel. Playing at the top of each hour, sometimes with increased frequency, the show

consists of carefully selected colours that slowly move or change. The play of colours has been

designed to be non-intrusive, so that it does not interfere with the normal operations or public

activities of the hotel, but instead creates a relaxing experience for guests to enjoy.

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great deal of praise, from the staff at the resort who

The central courtyard was inspired by typical Chinese gardens, with an uplit pavilion and clusters of trees providing a relaxing ambiance for guests after dark.

that they have seen, to the interior designers who

feel that Klaasen has truly captured the “Oriental” style of lighting. The client has also said that the lighting adds the “finishing touch to the hotel”,

and Klaasen believes that the approach of the client was integral to the success of the project. “An

understanding and respectful client that validates

and trusts your expertise, mixed with a great vision and understanding of design and the design process, made a great difference,” he said.

“As a designer, a happy client is all you can wish for. It means you have more than satisfied their

expectation, you validated their trust in you. If, as

part of that, you also feel \you have fulfilled all your own design visions and expectations, you have

realised a project close to perfection, something that does not happen often.”

He concluded: “The great collaboration, respect and understanding between the client and the

design team has created a result beyond everyone’s expectation, myself included. It seamlessly

integrates lighting, architecture, interiors and landscape as one overall experience.” www.kldesign.co

lighting specified Aero Lighting Able Aero Lighting Actor Aero Lighting Ada Aero Lighting Akin Aero Lighting Ala Aero Lighting Alison Aero Lighting Amez Aero Lighting Aplite Aero Lighting Aven Aero Lighting Aygo

Fine Dining Reform – part of Reflex Arkitekter – has created a minimal, focused lighting scheme for the newly opened Spesso rooftop bar and restaurant in Stockholm, Sweden.

O

pened in November 2020, Spesso is a

“We were working with Stoane Lighting to figure

in the centre of Stockholm, Sweden.

only use existing tracks, already mounted in the

brand-new rooftop restaurant and bar Part of a wider redevelopment plan of

the Sergelstan area of the city, Spesso is run by

Stureplansgruppen and features lighting designed

by Reform – part of Reflex Arkitekter.

Characterised by leather, wood and concrete,

Spesso has a relaxed, cosy and exclusive ambiance.

This is complemented by a very defined, intimate lighting design, where narrow pools of light from

fittings with deep recessed sources create spots of light throughout the space.

First approached in late Spring 2020, Reform was initially brought in to illuminate a sculpture

situated above the bar, before later being asked to design the lighting for the rest of the bar and restaurant as well.

Beata Denton was one of the lighting designers

involved in the project. She explained the initial

proposal for the bar sculpture: “It was supposed to be made up of solid acrylic tubes, fixed together

and creating a meandering ribbon; a piece of art roughly 7x3.5-metres in area.

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out how best to light it. The prerequisites were to space. Nothing was to be surface mounted and

there was no possibility to recess anything. There

also had to be no light-spill on the ceiling or down

onto the bar, so we developed an idea for lighting it with spotlights.”

However, due to shipping problems in the wake of Covid, the proposed artwork got stuck in transit,

meaning the interior designers – Nina Kullberg and

Jonathan Söderblom at Hippo-Ray – had to think of a new material for the ribbon, just six weeks prior

to the restaurant’s scheduled opening. The decision was made to make it out of metal, however, this meant that Denton had to rethink the lighting

design as well, as the spotlights initially proposed would have caused too much glare.

Denton continued: “We tested and found that a

soft, non-focused light would give the best effect.

Time was short, so we chose “off the shelf”, simple glass bulbs, top sealed, on metal cords. In order to not have the light upwards, we had the metal

supplier make plates of matte black metal as a top

HOSPITALITY FOCUS

lid to each bulb. With this, we only had light

“We also realised that we needed to use narrow

pendants were powered with adapters from the

the tables was quite big – this would mean that

shining sideways onto the metal ribbon. The

three-phase tracks and hooked into position on the ceiling.”

After designing the lighting for the bar installation, Reform was then asked to complete the lighting for

the remainder of the restaurant and bar – just a few short weeks before it was due to open.

One of the key design aspects from the interior designers was that there be no ambient light,

instead light was to only be directed onto tables,

again only using the pre-existing track system. An added challenge for Reform also came in trying to

avoid glare on the floor-to-ceiling windows, which offer views out onto the main landmarks of Stockholm.

“We started hunting for spotlights with narrow beam angles and deep recessed light sources,

dimmable and 2700K,” Denton explained. “They had to be able to be delivered in just a couple of days. Thanks to good connections with

manufacturers, Cardi Lighting was able to obtain

the parts needed, and assemble them just in time.

pendants as well, as the distance from the tracks to aiming the spotlights too sharply would cause

glare visually. However, Nellca was able to deliver exactly what we were after in just a few days.”

Elsewhere, the display shelves behind the bar were another point of focus. The display piece was custom-made of aluminium tubes and glass

shelves. Here, Reform used LED Linear’s Hydra LED strips on the underside of each shelf, with

cabling hidden in the structural tubes. This added a pleasant ambience behind the bar, while not

creating too much light spill to the wider space.

This ensures that the lighting is in keeping with

the overall design of the restaurant, where the food and drink is in focus, with Stockholm’s night sky as the backdrop.

www.reformark.se

PROJECT DETAILS Spesso, Stockholm, Sweden Client: Stureplansgruppen Lighting Design: Reform, part of Reflex Arkitekter, Sweden Interior Design: Hippo-Ray, Sweden Lighting Specified: LED Linear, Ljusdesign, Nellca, Cardi Lighting, Creative Cables Photography: Jason Strong Photography

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Remake of a Classic At Singapore’s Parkroyal Collection Marina Bay, Light Collab has used light to breathe new life into the vast atrium space, creating an energising space both for guests, and for the abundant plant life.

PROJECT DETAILS Parkroyal Collection Marina Bay, Singapore Client: Aquamarina Hotel Private Limited Lighting Design: Light Collab, Singapore Architect & Interior Design: FDAT Architects, Singapore Additional Design: Ramboll Studio Dreiseitl, Singapore Photography: ND Photography

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he recently-renovated Parkroyal

technical requirements of photosynthetic active

as Marina Mandarin) in Singapore has

exposed grow lights would co-exist with the general

Collection, Marina Bay (formerly known

radiation levels, the general concern was how the

seen the remaking of neo-futurist

lighting and impact on the desired ambience for the

architect John Portman’s spectacular hotel.

hotel.

transformed, with its vast atrium now filled with

bringing the garden indoors, so we did a site study

scheme designed by Light Collab.

(Photosynthetic Photon Flux Density) available at

abundance of lush greenery, most notably a

realised that there was little PPFD that would be able

create a scenic, 180º view of a forest. The journey

measured as little as 2-6 µmols/sqm on average in

on reaching the fourth storey, crossing a gently lit

recommended levels of a minimum of 150-200

desk.

less daylight, in comparison to outdoor conditions of

project after the client recognised the need for a

limited time of exposure to daylight too.

up the newly introduced greenery in a space with

walls with plants and ferns being lit by grow lights,

design scheme.

atrium with very little daylight - as little as 2 µmols/

Collab, was to introduce layers of light into the

hotel guests from all angles at all times. The higher

existing lighting points, integrating the new and old

naturally. This meant that we needed a strong

trees and planting scheme with healthy, biophilic

to have very controlled optics, with optimum PPFD

While grow lights are definitely needed to support

focused enough to optimise growth on the trees and

Originally built in 1987, the existing hotel has been

Toh explained further: “The architect had a vision of

plant life and vibrant light, thanks to a new lighting

and measured the amount of daylight and PPFD

On entering the hotel, guests are greeted by an

different times of the day, and unfortunately we

13-metre green wall, and cascading planters that

to sustain the life of the plants and trees – the PPFD

into the hotel also includes entering a glass lift and,

the proposed plant positions, while the botanist

bridge, flanked by more greenery, to the reception

µmols/sqm, after conditioning the plants to require

Light Collab became involved in this re-lighting

more than 1,000 µmols/sqm. There was also a

lighting designer, due to the complexity of lighting

“Although in Singapore, there are examples of green

little natural light, along with the new interior

this is the first time that trees were planted in an

The challenge for Yah Li Toh, Principal of Light

sqm - and where the plants would be very visible to

impressive atrium space, working with limited

the output of PPDF, the higher the light intensity

elements, as well as effectively illuminating the

concept to work with the grow lights – they needed

light.

output so as not to ruin the ambience of the hotel,

the growth of the garden, achieving certain

shrubs, and also co-exist well, look good, natural,

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and not give out the purple hue commonly seen in

ambient levels, allowing the greenery to take

brands of grow lights available, and the cost and

The key architectural considerations for the new

The overall lighting concept was to enhance and

Portman’s original architecture, and the new

nature. To do this, Light Collab therefore sought to

the landscape content by Ramboll Studio

watt, high R9, colour rendering and tunable white

Respecting the original architecture meant, for

temperature at 3800K during the day, it creates the

space. Illuminating this vast space proved to be a

evening, the temperature reduces down to 3100K,

addition to the complexity of the 360-degree view,

gardenscape. Lighting levels change throughout

corridors still had the original lighting strategy,

environment and the needs of the greenery. The

of the features were retained, such as the corridor

overall scenes and ambience of the atrium, which

too much attention. But the form of the atrium

while also supporting plant growth.

It was interesting to try and work with the new

life, Light Collab also developed the interior

existing elements.

the hotel. This has been designed to enhance and

the focus and bring attention to the atrium and the

elements of the interior architectural features, to

all-day-dining restaurant, there were also special

gardenscape. Light Collab’s lighting design

view and the connection into the atrium. The

atrium space, as well as the landscape lighting.

materials and curves, which all required careful

grow lights. We also studied and tested many

centre stage.

performance differs greatly.”

lighting, Toh explained, were to “respect John

complement the built form with the soft forms of

interior elements, features by FDAT Architects and

use very controlled optics, the highest PPDF per

Dreiseitl”.

solution of the grow lights; by keeping the colour

Toh, working around the huge, curving atrium

feeling of being in a forest in daytime, while in the

challenge, but it was one that she relished. “In

transforming the space into an atmospheric

the growlights and plants, the upper guestroom

the day, responding to the natural lighting

which was implemented in 1987,” she said. “Some

grow lights also double up to form part of the

lighting, which was kept darker so as to not gain

was originally too dark before the renovation,

also posed challenges for light mounting options.

Complementing the grow lighting for the plant

elements, while respecting and balancing the

architectural lighting for the common spaces of

“For the rest of the hotel, we also tried to balance

highlight the ambience of the space, as well as

gardenscape,” she continued. “For example, in the

create more focus and emphasis on the

interior design features, but it was also about the

incorporated the overall lighting in the reception,

interior design heavily used mirrors, reflective

Lighting in the dining areas was also designed at

integration.”

1. The newly-renovated Parkroyal Collection Marina Bay is dominated by a vast, neo-futurist atrium. Filled with plant life, Light Collab had to combine architectural lighting and grow lights to create the desired ambience.

2. Outside of the main atrium space, the interior design uses a lot of mirrors and heavily reflected surfaces. This therefore required careful integration of the lighting elements.

3. In the adjoining spaces, Light Collab looked to create a balance of focus to maintain the connection to the atrium.

4. Throughout the hotel, Light Collab worked closely with the interior designers to ensure that the lighting was synonymous with the wider design intent.

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1

1. Every evening, the atrium space is transformed in a special light show that brings special attention to American artist Richard Lippold’s Orchidea sculpture, which hangs in the centre of the space.

2. In the atrium’s bar and restaurant spaces, lighting was kept more ambient and minimal, to allow the plant life and architectural design of the space to take centre stage.

3. As part of the evening light show, the atrium space shifts from a natural gardenscape into a futuristic space of light and sound, bringing out the artist playfulness of the architectural elements within the space.

4. Light Collab created detailed proposals for the lighting concept, highlighting how the architectural lighting and grow lights would work in unison to create the desired ambience, while also showing how levels will change throughout the day.

5. To compensate for the lack of natural daylight, lighting levels change throughout the day; by keeping the CCT at 3800K during the day, it creates the feeling of being in a forest. This reduces down to 3100K in the evening, transforming the space into an atmospheric “gardenscape”.

Throughout the project, Light Collab worked

the sculpture, so that when the metallic parts

rest of the design team, to ensure that the lighting

were limited though by the available positions to

closely with the interior designers, along with the became synonymous with the wider design

scheme. “For certain features, the other design

consultants had an idea of how it should be lit, but it mostly required a vision to tie the concept

together. There was a constant communication

back and forth, and we hoped to be able to bring new perspectives to the space that the interior designers may not have thought about.”

Hanging in the centre of the atrium, suspended

high above the plentiful plant life, is Orchidea, a

sculpture created by American artist Richard

Lippold. This sculpture was not previously lit with

much consideration, instead just illuminated with some floodlights that had been in place since the

80s. Toh sought to use light as a means to breathe new life into the sculpture and make it the key

focal point of the space. “We tried to bring new

perspectives on how light can interact and bring life to the sculpture,” she explained. “Being

metallic, it presented opportunities to create a shimmering effect.

“We used four narrow beam spotlights to highlight

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move, they also create an interesting shimmer. We place fittings in the atrium without being too

obtrusive and glaring to the hotel guests from various viewing points.”

In bringing new light to the Orchidea, Toh was

presented with the opportunity to transform the sculpture into an integral feature of a light art show, interacting with its metallic forms and

bringing extra life to the atrium each evening. The show, which runs hourly from 7-9pm, sees the

atrium shift from a gardenscape into a futuristic

space of light and sound, bringing out the artistic playfulness of the architectural elements within the atrium space.

The two-and-a-half-minute show has been

designed to engage onsite volumes and planes with the Orchidea, enhancing the interaction of light

and space with the suspended wires and geometric

forms soaring through the atrium and engaging the space as a whole, further bringing out the mood of euphoric futurism and spiritual aspiration.

The combination of the artistic lighting for the

Orchidea and the grow lighting for the plant life

hospitality FOCUS

3

2

4

5

meant that this was a unique project for Light

felt it was important to create changes in scenes,

hurdles that needed to be overcome. However, Toh

very supportive with all of our ideas, allowing

Collab, with a wide variety of challenges and explained that, with the support of an

understanding client, they were able to

comfortably overcome these challenges.

“It is the first project that we have completed

where grow lights are used on trees in an interior space where there is not much daylight. The

challenges are different, as we had to use artificial light to try and ensure the survival of the plants and trees, so my team and I felt a huge

responsibility for this,” Toh explained.

“When we first conceived the idea of the various

scenes in the atrium changing throughout the day, transforming from a “forest” to a “garden”, we also went further and looked at how we can

possibly bring together all the elements in the

atrium, together with the setting, the greenery,

and the Orchidea sculpture, how we can transform

the atrium with special scenes so that in this

interior space, there is opportunity for variety, and things to happen. This is even more

important, since there is no view out from the

enclosed atrium, except for the skylight. Thus we

to break the monotony at intervals. The client was them to become reality.”

Since the project was completed last year, Toh has seen a swell of positive reaction to the new

lighting within the hotel and how it serves to

complement the overall space. She said: “We were excited and curious to see how people would react.

Overall, we were delighted to see people taking

photos and posting on social media, saying that it looks great at every angle, without having to add filters.

“We also noticed that people would come out of their guestrooms, and restaurant-goers would

come in to see the Orchidea light show. Guests in

the atrium would start becoming curious about the transformation happening.

“Lighting has brought life to the atrium for the

people, while also doubling up as survival for the

greenery – it is the perfect bridge for both people and plant life.”

www.lightcollab.com

lighting specified Colors LED Toning Series Colors LED STD Linea Light Group Periskop Narrow Linea Light Group Reika Bulbo Maerich G-Spot Circular Maerich G-Spot 3.5 Recessed Martin Mac Aura PXL Martin Rush PAR 2 RGBW Zoom Martin Thrill Martin Thrill-Multi-FX-LED

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103

HOSPITALITY FOCUS

Catch Some Zeds In the underground Zedwell Hotel, Elektra Lighting has created an atmospheric, ambient lighting scheme, designed to help guests get some sleep in the heart of London.

S to the city.

ituated on Piccadilly Circus, the

When working in underground spaces devoid of

location for central London, providing

area to compensate for the lack of natural light.

Zedwell Hotel could not be in a better

daylight, there may be a tendency to overlight the

guests with the ideal rest stop on visits

However, here Elektra opted for a more subdued lighting scheme, creating a classy yet inviting

A new hotel brand, with a second branch due to

atmosphere. Areas such as the check-in desk were

designed primarily as a place to sleep, rather than

– much darker than typically found in chain hotels.

beverage offerings. However, its central location

Elektra used linear fixtures from LEDFlex along

are just a stone’s throw away.

cladding. This is offset by additional downlighting

from the Underground station nearby, the hotel is

while in the gym space a tubular lighting system,

lighting becomes more important than ever.

brighter light to the space, while still retaining the

a moody, atmospheric lighting scheme that creates

“This is a new brand with no established “brand

account circadian rhythms.

continued. “This low light level works with your

explained: “A thorough and deep knowledge of

time to sleep – like the name, Zedwell.

(also known as biodynamic lighting) informed us

all the walls clearly. This gives a bright visual

and lacking in the critical 470nm blue light that

while remaining relatively dark. It feels bright, but

“It is proven that this blue colour stimulates your

“We took an awkward, contracted space, and used

night, so we just cut it entirely from the project.”

www.elektralighting.co.uk

open later in the year, the Zedwell Hotel is

well lit, but other spaces were left deliberately dark

to hang out, and the hotel has limited food and

To achieve this minimalistic lighting effect,

means that a host of London’s bars and restaurants

the walls, hidden behind vertical wooden

Predominantly located below ground, with entry

and spotlights from LightGraphix and Orluna,

95% stripped of daylight, meaning that artificial

courtesy of Lumotubo, brings a more general,

Elektra Lighting was therefore brought in to design

desired warm CCT.

the required ambiance, while also taking into

standards”, so we took it to a new place,” Knowles

Neil Knowles, Director at Elektra Lighting,

body to tell your suprachiasmatic nucleus that it is

recent scientific advances in circadian lighting

“We didn’t want it to be gloomy though, so we lit

from the start, with all lighting being very warm,

field, and means that the space feels well lit, even

wakes you up.

it’s not.

central master body clock and keeps you awake at

light to make it a warm, inviting hotel.”

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PROJECT DETAILS Zedwell Trocadero, London, UK Client: Criterion Hotels Lighting Design: Elektra Lighting, UK Lighting Specified: LEDFlex, LightGraphix, Lumotubo, Mr Resistor, Orluna

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12.04.21 15:21

PROJECT DETAILS Brasserie Astoria, Stockholm, Sweden Client: Frantzén group Lighting Design: Paloma Design Studio, Sweden Interior Design: Joyn Studio, Sweden Photography: Erik Lefvander

Hollywood Highlights Drawing inspiration from its cinematic past, the Brasserie Astoria in Sweden seamlessly blends lighting design from Paloma Design Studio with Joyn Studio’s rich interior design scheme to create a dramatic space.

T

he Brasserie Astoria has been located in one of

Stockholm’s ‘it spots’ from the early 20th century.

Originally built as a cinema, the now restaurant, which is part of the Frantzén group, has undergone a design

overhaul with lighting design by Paloma Design Studio and interior design by Joyn Studio.

arc caught up with Jenny Loqvist and Sofie Bamberg, two of three

partners of Stockholm-based Paloma Design Studio, to find out more about their design journey and process for this project.

“During 2016-17 we worked with the client Frantzén Group on their

flagship restaurant Frantzén,” Bamberg explained. “This restaurant went on to win both the Swedish Lighting Design award and also received three Michelin stars in 2018. Thanks to that successful

collaboration, we got the opportunity to get involved with this new venture with them.

“Overall, it’s been a process of two and a half years from concept to a

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hospitality focus

Taking inspiration from the building’s historic cinema past, the design teams leapt at the chance of drawing some of the drama into the present day restaurant setting, using lighting to enhance and complement the interior design’s materials, textures and colours.

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107

hospitality focus

A balance of architectural and decorative lighting creates different moods in the varied areas of the restaurant, but also maintain a common ambience throughout the whole restaurant. Rich colours and materials evoke bygone eras of 1920s cinema.

finished restaurant where we worked closely with Joyn Studio the entire way.

“We got involved in the project early on when the first design concept was set by the client and the interior designers. The venue is an old cinema

originally built in the 1920s, so to create a cinematic feel was a natural starting point,” Bamberg added.

Taking direct inspiration from the building’s history, the team was able to create a design

scheme that played on contrasts, combining themes of “rustic elegance”, “relaxed but cheerful”, and “elegant but permissive”.

Spreading over two floors, the 1500sqm restaurant contains several spaces that allowed the interior design team to explore different moods and

experiment with varied experiences, all whilst maintaining a common theme throughout.

Loqvist explained how the lighting concept was incorporated into these spaces and what they hoped to achieve: “Our idea was to create

scenographic lighting where you would clearly experience different moods depending on the

room you were in. Both the interior and the food offer the customer varying sensations and pace.

The idea was that you should be able to dance in a shimmering and pulsating bar environment, but

“In many places the lighting is well integrated and hidden in the woodwork, and these elements create small pieces of jewellery and eye catching objects really enhance the interior.”

Jenny Loqvist, Lighting Designer and Partner, Paloma Design Studio

in the room next door be able to sit down for an intimate dinner for two and enjoy a candle-lit

environment and a world-class meal. Our job was to enhance this and bring these ideas to life through light.

“Throughout the whole process we worked very closely with the interior designers, who in turn

have worked closely with the client. In the original concept, from the interior design team and the

client, there was an overarching idea of what the

lighting should feel like. We were, however, given full freedom in how that feeling was translated

into actual solutions and executed in the end. A

continuous part throughout the collaboration was to ensure that the lighting highlighted all the

materials and functions that were crucial for the interior design.”

Starting out, the team created detailed concepts

with sketches and reference images early on that

were verified against the interior design concept.

Once both interiors and lighting landed on the

same page, physical testing was carried out against various materials and colours selected by Joyn

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Studio’s team.

on. We always work with lighting in layers when we shape a room,

was able to complete onsite testing against real daylight conditions

decorative lighting is subordinate to this.

Furthermore, taking advantage of the pre-existing space, the team

and room volumes. Nevertheless, working in a historic building also came with its challenges. “Working with a heritage building almost

always means antiquarian restrictions to adhere to. In this case, this

included some existing walls and architectural details that were to be preserved. So, the lighting in these areas had to be installed without interfering with the original structure.”

Further adding, in reference to the architectural considerations for the lighting, Loqvist said: “Then, we have the functionality of the space, which needs to work for both guests and staff. How do you

create an inspiring light environment that also allows for the chefs to do a good job? This is always a fine line to walk, but we believe we have found a good balance here.”

The Brasserie, much like many hospitality spaces, incorporates a nice balance of architectural fixtures from XAL, Global trac, iGuzzini,

Maxel, Delta Light, LED Linear, Ifö Elektriska, Flux Belysning, Flos and Orluna and decorative lighting throughout. Not only was it

important for the overall design for pieces to cohesively fit, it was also integral for the light quality and form to feel consistent.

“Early on, we developed a train of thought as to how the decorative lighting should be implemented in the various rooms,” explained

Bamberg. “We started with the functions we wanted the decorative

lighting to have in order to best complement the technical lighting,

for example ominous glittering light, shielded directed light, and so

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and for us the technical lighting is always our focus and the

“The process of identifying the exact decorative lighting is one we always do together with the interior designers, since form and

material are very important factors to take into consideration. Our main task in this stage is to assist with choosing the light sources

that meet the quality specifications and to ensure they dim well with the given lighting control system. This always proves to be a

challenge since decorative light sources are light-years behind the technology used in technical lighting.”

When it came to selecting fixtures that accentuated and

complemented the restaurant’s bright and vibrant interior design,

Bamberg said their focus was to ensure the lighting complemented the architecture and interior scheme by “using space, materials,

colours and textures” as their starting point. “From this we decided what type of lighting principles should be used, which fixture is

needed, what colour temperatures are the most advantageous and which beam angle would achieve the best result,” she continued.

“Throughout the project we have continuously tested our lighting

principles against materials and colours to ensure we stay on track to achieve the common vision.”

Upon completion during 2020, the team were fortunate to have not been heavily impacted by the effects of Covid-19; they only

experienced minor delays to the opening date due to lockdown

restrictions. “Moving forward, it will temporarily impact the number

hospitality focus

The Brasserie Astoria is packed with a huge variety of colours, textures and materials that give each space definition. The architectural lighting adds levels, drama and an element of nostalgic theatre to each area with decorative lighting adding final touches that incorporate the interior design theme throughout. Paloma Design achieved this using a selection of spotlights and flexible LED tape throughout the restauant.

of guests and opening hours. Initially, it also means no dancing on the tables but hopefully this curfew will lift soon enough,” said Loqvist.

“We are thrilled to have contributed to creating a type of restaurant

like this in the absolute centre of Stockholm. This is a big happening

and a unique restaurant in the way that it has so much to offer purely in terms of experience,” she reflected. “It offers an experience that can last all the way from lunchtime into the wee hours of the night.

In addition to this, they not only offer some of Sweden’s top chefs

but also the opportunity to grab a drink and a spin on the dance floor

in a really inspiring bar environment. We are hoping that this will be a well-visited place even for international guests once Covid-19 decides to leave us be.”

And, upon reflection of the completed project, Loqvist added: “We are very happy with the final result and most of all very proud that we got so close to the initial ideas and concept.

“The lighting really adds to the warmth and atmosphere throughout the whole venue. In many places the lighting is well integrated and hidden in the woodwork, and these elements create small pieces of jewellery and eye catching objects that really enhance the interior.

Some examples of these are the glassware cabinets and the central staircase, and almost all fixtures have been painted in the same

colour as the ceiling, which adds to a strong cohesive feeling and a calm and ordered sensation. This is quite a simple addition in the

process but one that adds a lot to the overall feeling of the place.” www.palomadesignstudio.se www.joynstudio.se

lighting specified Delta Light Superloop-fix 40 down-up GT Delta Light Superloop HC 120 MDL and 170 MDL Delta Light SuperloopmidiSpy on Flux Belysning Pole 32 Global trac dali Global trac 3-fas Ifö Elektriska Ifö Ohm iGuzzini Laser round Ø25 super comfort frame LED Linear VarioLED Flex Hydra White HD25 and HD15 Maxel LED Tape Maxel Moonlight side Maxel Moonlight top Maxel Impuls spotlight Orluna Cell adjustable origin Orluna Jade adjustable

origin spot, crisp, and soft Orluna Timo adjustable origin spot and soft Reggiani 3-circuit track surface DALI Reggiani Yori 60 utanpåliggande singelmontage (special) Reggiani Yori Evo Ghosttrack Mini, Precision Vexica Flexi-Line-T-RGB XAL Just 32 XAL Just 45 XAL Move it 25 XAL Nano channel 90 XAL Nano + Just 32 XAL Nano + Turn XAL Sasso 60 IP44 adjustable round trim

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Graceful and Intimate Tryka luminaires bring together a seamless play of colour and tone for Claridge’s new dining destination, Davies and Brook.

I

n the heart of Mayfair, London,

Tryka demonstrated and proved its high

scheme changes in tone, transitioning from a

that exudes a timeless elegance.

multiple mock-ups and workshop trials at

Tryka Coral Tuneable White Flexistrip was

excelled at the finer things in life: glamorous

Senior Lighting Designer Leah Xandora on

for the hotel corridors. Totalling more

service.

Nord and with its close proximity to the

a decorative coving, the first to uplight and

no exception. From the co-owners of Eleven

natural choice.

and graze the walls. The already impressive

and Chef Daniel Humm, Davies and Brook

lighting has been entwined to highlight

by a series of decorative chandeliers that

named after the intersection of streets on

restaurant. Tryka Linear is set within the

Flexistrip, guaranteeing colour consistency

convention for London, but one that

with Coral Tuneable White Flexistrip. The

M+E handled the project procurement and

a very British hotel. But that is where the

architectural materials to reflect or diffuse in

contractors further selecting Tryka to

keeping with Claridge’s traditions.

The window reveals and sconces receive

to meet specific dimensions required for

L’Observatoire International partnered

Continuity Tuneable White details columns

The scheme consisted of custom-designed

create a space where light and architecture

relaxed yet refined atmosphere.

Lita Scallop recessed, indirect wall lights.

Collaborating with fibre 2D:3D, fabricator

and intimate experience from day to night,

since been added to Tryka’s standard range,

custom fibreglass ceiling rafts, their search

work harmoniously to create a smooth

miniature luminaires.

transform the ceiling into glowing planes

For example, as the restaurant progresses

Claridge’s is an Art Deco icon

performance and flexible range through

cooler bright white to a warmer, cosier scene.

Since the 1850s, Claridge’s has

the premises of 2D:3D. Having worked with

also specified as the primary light source

design, inspiring dining, and impeccable

previous projects such as Eurostar Gare Du

than 3.6km, twin LED runs feature within

Its new restaurant, Davies and Brook, was

project, the British manufacturer was the

wash the ceiling and the other to downlight

Madison Park in New York, Will Guidara

The team has designed a scheme where

corridor lighting is further complemented

retains some New York elements. It is

architectural details throughout the

again feature more than 1.25km of Tryka

which Claridge’s sits – an unusual naming

fibreglass ceiling rafts, which are backlit

between light sources. Tryka client, Stothers

brings a touch of New York personality to

result sees light working with the selected

delivery, with the Mechanical and Electrical

similarities end; the interior design is in

a seamless play of colour and tone.

manufacture a series of bespoke luminaires

New York-based lighting designers at

the same treatment. Additionally, Tryka’s

the joinery and recessed in-wall lighting.

with architects Allied Works Architecture to

and the curved banquet seating, creating a

Lita Mini luminaires for the joinery and

come together.

The restaurant was intended to be a graceful

These project-focussed luminaires have

of the unique and impressively large

where layers of accent and ambient light

further expanding the Lita product family of

for a light source to fulfill the brief and

transition through all hours of service.

www.tryka.com

and soft highlights came to an end when

from lunch to evening dining, the lighting

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hospitality focus

Historic Inspirations AFX’s linear lighting solutions were a key choice in Susan Lake’s design for the Titanic-inspired Hilton Belfast.

A

s part of a wider redesign, with the aim

As with all of the Hilton’s redesigns, a new lighting

each hotel, the Hilton Belfast recently

Lighting designer Susan Lake, who had worked on

of injecting unique personalities into

underwent a large renovation. Hilton

wants to relate each design to its location, while

maintaining the same high-levels of comfort and

familiarity, such as the luxury of the guest rooms.

The Hilton Belfast, which prior to the refurbishment had a corporate look and feel, sits close to the

Titanic Museum. It was therefore a perfect match

for the redesign team to draw inspiration from the

infamous ship. One striking example can be seen in

the main restaurant area, where the ceiling pattern is

reminiscent of that from the cruise liner’s dining hall, while the sinks in the toilets are replicas of those used by the Titanic guests.

The bar in the hotel has a clubhouse feel, which is

designed as a nod to the smoking lounge from the

Titanic. Throughout the hotel, guests will see accents and inspiration from the cruise liner, all balanced

with a modern twist to provide the ultimate in luxury and style.

design was needed to bring the refurbishment to life. many of the Hilton projects, was appointed to deliver the lighting scheme for the Hilton Belfast. Lake’s

design looked at the features of the hotel and ensured

they were illuminated, while maintaining a balance of task and ambient lighting.

As part of her design, Lake chose a number of solutions from AFX. All of the linear lighting in the public areas are from AFX’s extensive product portfolio, and the solutions have been integrated into joinery pieces,

furniture and ceilings. In the reception area, the linear lighting from AFX is used to wash light down the

curtains, making a feature of the triple height space. To achieve this, a new bespoke AFX solution was created, named Erbeus.

The renovation has delivered the desired effect,

ensuring the hotel is an inviting space that blends local inspiration with modern décor, while offering guests the highest levels of luxury and comfort. www.afx.lighting

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hospitality focus

Pic: Gavriil Papadiotis

Double Vision Susan Lake Lighting Design worked with Stoane Lighting to create a stunning first impression for guests at Bath’s DoubleTree Hilton Hotel.

S

usan Lake Lighting Design recently

Flood optic), a clean beam and is very durable, even

DoubleTree by Hilton in Bath, UK.

further complements the rest of the interior.

carried out a renovation at the

With a brief to create a subtle lighting

within the lighting scheme, when all of the layers

to give the hotel an “air of refinement that would

feeling of relaxation and luxury,” said Lake.

attract guests and visitors alike to the hotel’s food and beverage offerings”.

of lighting are combined the result is an overall

Elsewhere, ADL.CP Type X, with Xicato’s 19mm LES XTM module for 2700lm (initial) output were used

To do this, Lake utilised fixtures from Stoane

in the ballroom. This output was needed to ensure

fitting, Mole, in the reception area, to create a

space, which occasionally hosts conferences.

“We used the Mole recessed floor uplights to create

part of Stoane Lighting’s ongoing push towards

Lighting, namely its IP66-rated miniature recessed welcoming first impression for visitors.

lux levels were high enough for the multifunctional The use of older fittings such as the Mole is

a dramatic backdrop by enhancing the grain of the

sustainability and the Circular Economy. Recently

ceiling,” Lake explained. “Uplighting the ceiling

with the GreenLight Alliance, the company is

timber wall panels and adding a soft glow to the helped to create a sense of space, and make the ceiling appear higher.”

certified as a B Corp company and heavily involved very active in such conversations, and as such,

all of its fittings are designed and built to last, be

Mole is not a new product from Stoane Lighting

disassembled, repaired or upgraded via its ReNew

simple form and technical capability has helped it

Sustainability and longevity are crucial, especially

– its release actually dates back 15 years – but its to remain popular to this day.

The fixture is small and very easy to integrate into flooring. At Bath’s DoubleTree by Hilton, it has

been used as a tool to create a sense of drama in

the space and make the interior feel luxurious. It

offers a high output for its size (123lm using a Wide

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“The uplights form an important layer of light

scheme that both complements and emphasises the interior design, Lake sought to use lighting

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under lots of foot traffic. The antique bronze finish

service, and eventually recycled.

in hospitality projects, due to the constant use and maintenance required. This is the primary reason why Lake and her team were keen to work with Stoane Lighting on this impressive project. www.stoanelighting.com www.slld.lighting

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Three Principles for Healthy Living with Light and Lighting Amidst the growing awareness of the importance of light and darkness for human health, Asst.

Prof. Dr. Karolina Zielinska-Dabkowska and Dr. Ruth Kelly Waskett offer some key advice on how the lighting industry can respond.

T

he lockdown measures applied to cities

and towns during the worldwide Covid-19

pandemic have had a widespread impact on

people’s lives. Some have found themselves confined to their homes, with limited social contact and a reduced quality of life. Others

have found that the lockdown improved their

wellbeing, as more time was spent outside, instead of commuting and working in an office building, plus the benefits of spending increased quality time with loved ones.

The pandemic raised public consciousness about the need to take

control of our own wellbeing and health: in particular, to take greater care of immunity. There was also concern about the consequences of extended time spent in indoor spaces, which can create mental fatigue that can manifest itself in a number of ways, including

reduced productivity, lack of concentration and in some cases,

depression. Many people soon realised the simple things in life that

had previously been taken for granted, such as access to daylight and contact with nature, play a vital role in mental health and wellbeing.

Research in the past two decades has led us to a key moment, where we have a growing body of knowledge about (a) how important

daylight exposure is for human health and (b) how damaging electric light exposure at night can be to humans and ecology. It’s now time

to put this together and return to the bright day and dark night cycle that evolution engraved in us.

In the developed world, it is recognised that sleep problems

connected to increased light exposure at night are associated with

exacerbating existing illnesses and many prevalent diseases. Of great concern is the fact that poor and insufficient sleep has increased

significantly in children and adults. Technology, diet and low activity levels are undoubtedly to blame for this, but light is the thread that

runs through all of them. During the daytime, not enough time spent outside results in not just low activity levels but also greatly reduced light exposure. At night, interaction with indoor lighting and digital technology leads to an excess of sensory stimuli and light exposure,

leading to excess cognitive activity and disrupted hormonal balance before bed.

By and large, people have control over the lighting in their own

homes, so it makes sense for lighting professionals to help them make their home lighting environment healthier. The three

principles of Healthy Living with Light and Lighting, as introduced here, should support this quest.

What Next?

Lighting practitioners, manufacturers and researchers have an

obligation to focus on how to facilitate the recommendations outlined here. We also have a responsibility to help people make healthier choices with light, in the same way that the food industry has a

responsibility to help people make healthier choices with food. After many years of campaigning and government policy development, food products must now be labelled with calorie content and

nutritional information. Armed with the scientific evidence and knowledge we now have about the impact of light upon human

health, it seems logical that lighting products should also provide

helpful guidance for consumers. In addition to lumen output, this

should include spectral information (SPD), as well as colour rendering index (CRI), correlated colour temperature (CCT) and flicker metrics.

Finally, the right to access daylight, coupled with the promotion of Dr. Ruth Kelly Waskett, Associate, Hoare Lea

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Asst. Prof. Dr. Karolina ZielinskaDabkowska, designs4people/GUT

healthier light sources in the evening, needs to be implemented into government policies.

Comment

Three Principles of Healthy Living with Light and Lighting Bright light

Day

• During the day, try to get exposure to daylight on your face/eyes before 10am, without wearing sunglasses or a hat, to activate your biological clock. This could be achieved by walking outside for a minimum of 30 minutes. Keep in mind that exposure to daylight in the morning will have a direct impact on your quality of sleep at night.

• Short-sightedness (myopia) has been linked with a lack of exposure to daylight and time spent outdoors.

Exposure to outdoor daylight can also reduce the symptoms of Seasonal Affective Disorder (SAD).

• As low vitamin D status can be associated with an increased risk of Covid-19 infection, from late spring to early autumn, try to gradually increase your skin exposure to direct sunlight for 5-10 minutes each day to produce vitamin D. Note that at high latitudes in winter, it is not possible to produce vitamin D from sun exposure, therefore supplementation with vitamin D3 is necessary.

• In indoor spaces, try to rely on daylight as much as possible, and position your desk next to the window, preferably with a view out, especially when you have to work long hours. If daylight is unavailable, use electric lighting that provides a continuous spectrum of light with a high blue wavelength content, to mimic aspects of the spectral composition of daylight.

Evening

Less Light • During the evening at home, use lighting with a warm colour appearance at night and a Correlated Colour Temperature (CCT) below 3000K. Allow for a mixture of ambient and focal lighting, ideally with a continuous light spectrum and very little to zero blue wavelengths of light. Use dimming to lower light levels and create a relaxing atmosphere.

• Use LED light sources with continuous light spectrum, rather than compact fluorescent lamps (CFLs).

• Blue light from electronic devices can supress the production of melatonin and adversely impact your sleep.

This is particularly important in children, for whom sleep disturbances can severely impair and reduce the production of growth hormone, and hinder memory function. It is the interaction with technology, however, that matters most. Avoid using mobile devices such as mobile phones or tablets for two hours before bedtime. If available, features such as “night shift”, which reduce the blue energy content of the light emitted from a device screen, can be used. Such features, however, do not completely reduce the blue wavelengths of light, so will not completely mitigate the impact of such devices.

No Light

Night

• Sleep should take place in complete darkness, preferably with no electric lighting. If any light trespass from street lighting is present in the bedroom, use blackout curtains or window shutters, or wear an eye mask to minimise it.

• The National Sleep Foundation (NSF) recommends that the best time for getting ready for bed is between 8pm to 12am. The hours of sleep before midnight have been shown to benefit organ function.

• If you need to use the bathroom during the night, use yellow, amber or even a red coloured light source with zero blue wavelengths of light in the spectrum, and ensure the light source emits diffused, low levels of light.

• Try to get at least seven hours of undisturbed sleep. REM sleep phases last around 90 minutes, meaning four full sleep phases. Good quality sleep is particularly vital during illness, because the regeneration and repair of cells occurs during sleep. Sleep also boosts the body’s metabolic rate to facilitate weight loss, and several studies have linked exposure to artificial light at night to weight gain and obesity.

References • Argys, L.M.; Averett, S.L.; Yang, M. Light pollution, sleep deprivation, and infant health at birth, Southern Economic Journal 2021, 87, 3, pp 849-888. https://doi.org/10.1002/soej.12477 • Brown, T. et al. Recommendations for Healthy Daytime, Evening, and Night-Time Indoor Light Exposure. Preprints 2020, 2020120037 https://doi.org/10.20944/preprints202012.0037.v1 • Changing perspectives on daylight: Science, technology, and culture. Science/The American Association for the Advancement of Science, Custom Publishing Office Washington, DC, 2017. https://bit.ly/3cH8esd • Commission Internationale de l’Eclairage (CIE). CIE Position Statement on Non-Visual Effects of Light. Recommending proper light at the proper time, 2nd ed,. CIE Publication: Vienna, Austria, 2019; Available online: https://bit.ly/2NysTq0 (accessed on 17 March 2021).

• Graw, P. et al. Winter and summer outdoor light exposure in women with and without seasonal affective disorder. Journal of affective disorders 1999, 56, 2-3,163-169. https://doi.org/10.1016/S0165-0327(99)00037-3

• Grubisic, M. et al. Light pollution, circadian photoreception, and melatonin in vertebrates. Sustainability 2019, 11, 6400. https://doi.org/10.3390/su11226400 • Lagrèze, W. A.; Schaeffel, F. Dtsch Arzebl Int. 2017, 114, 575– 580. https://doi.org/10.3238/arztebl.2017.0575 • Liu, N. et al. Low vitamin D status is associated with coronavirus disease 2019 outcomes: a systematic review and meta-analysis, International Journal of Infectious Disease 2021, 104, 58-64. https://doi.org/10.1016/j.ijid.2020.12.077 • McAlpine, C.S., Kiss, M.G., Rattik, S. et al. Sleep modulates haematopoiesis and protects against atherosclerosis. Nature 2019, 566, pp.383–387. https://doi.org/10.1038/s41586-019-0948-2 • Münch, M. et al. The Role of Daylight for Humans: Gaps in Current Knowledge. Clocks & Sleep. 2020, 2, 61-85. https://doi.org/10.3390/clockssleep2010008 • Park, Y.M.M. et.al. Association of exposure to artificial light at night while sleeping with risk of obesity in women. JAMA Intern Med; 2019, 179(8), pp.1061–1071. https://doi.org/10.1001/jamainternmed.2019.0571

• Wright, K.P. et al. Entrainment of the human circadian clock to the natural light-dark cycle. Curr Biol. 2013, 23, 16, 1554-1558. https://doi.org/10.1016/j.cub.2013.06.039 • Zielinska-Dabkowska, K.M.; Xavia, K. Protect our right to light.

Nature 2019, 568, 451–453. https://doi.org/10.1038/d41586-019-01238-y • Zielinska-Dabkowska, K.M. Make lighting healthier. Nature 2018, 553, 274–276. https://doi.org/10.1038/d41586-018-00568-7 • Zielinska-Dabkowska, K.M. Vitamin D. The truth about Vitamin D and sun exposure demystified. Finding the balance for personal health. Professional Lighting Design 2014, 93, 40-48. http://bit.ly/394q9rJ • Zielinska-Dabkowska, K.M.; Rohde, M.F. (Eds.) New Perspectives on the Future of Healthy Light and Lighting in Daily Life., 1st ed.; callidus. Verlag wissenschaftlicher Publikationen.: Wismar, Germany, 2017; ISBN 978-3-940677-61-7 https://bit.ly/3bWg5Dh • Zielinska-Dabkowska K.M. Home Sweet Home. Connecting the dots for healthy evening residential illumination. arc magazine 2019, 111, pp.055-060. ISSN 1753-5875 http://bit.ly/30TqCss

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Ultimate Design LED Linear shrinks luminaire design to a new level with its latest range, Ultima.

Originally due to launch during Light + Building 2020, the Ultima range has now been revealed virtually.

David Morgan delves in to find out more.

T

he world of lighting changes fairly

gradually but one continuous trend that I have experienced over many years of

luminaire design is the miniaturisation of luminaires and light sources. LED

Linear has always achieved a high lumen output from small profile products and

has now taken luminaire shrinking to a new level with its Ultima range.

LED Linear was founded by Dr. Michael Kramer, who was

responsible for sales and marketing, and Carsten Schaffarz, who looked after innovation and production. They were colleagues at Vossloh-Schwabe Optoelektronik before

launching LED Linear in May 2006, initially operating from a

garage. The company has rapidly grown to become one of the most recognised brands in the specification linear lighting

market, with 150 directly employed staff. The company was

acquired by the Fagerhult Group in 2016 and, after three years transition, the two founders have now moved on.

LED Linear has based its systems on the use of flexible LED

tape, which is assembled in-house, along with all the various luminaire types at a facility in Duisburg, Germany. Sales

are global with branch sales offices in major markets and a network of distributors in smaller countries.

The latest luminaire series to be launched by LED Linear is the Ultima range that was due to be launched at Light + Building

2020 but which, due to the Covid pandemic, has been launched virtually. The complete range, which has a very wide range of

housing and mounting options, all incorporate an innovative, miniature, linear light engine and heat sink assembly only 13 mm wide x 10 mm deep. The heart of the Ultima range is the

light engine, which incorporates chip scale 1mm x 1mm 0.2W LEDs mounted on an 8.5mm pitch. It is understood that LED Linear is the only manufacturer so far that has been able to

mount chip scale LEDs onto a flexible PCB with the required

precision to work correctly with optics. The light output from

the LEDs is controlled with a miniature moulded reflector, only 7mm in diameter, and a nano lens optical film combination.

The light engine is mounted in an extruded aluminium heat sink housing onto which a moulded miniature glare control louvre is fixed, providing glare control up to UGI 13. The

NanoRay 2 optical film used in the Ultima is understood to be 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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a further development of the earlier nano optic system used in the LED Linear Mars system.

There are seven distributions available in the Ultima range, from a narrow 10º spot up to a wide 60º beam and an opal

window option for a diffuse effect. There are optics for batwing

DAVID MORGAN

and asymmetric distributions, allowing the system to be used in a

no visible colour over angle issues. The batwing version was equally

Maximum output is 1,870 lumens from the 4,000 K 80 CRI version

One of the advantages in reducing the size of luminaires, in addition

wide variety of lighting applications.

with a power consumption of 25W per metre.

The Ultima S range - the stand-alone version - was the first to be

launched in 2020. This is the basic 13mm x 10mm profile, which can be mounted with various clip designs and also magnetic strips that can be fixed with double sided adhesive tape to the body extrusion.

Specific clips allow this version to be mounted onto T-bar ceilings where the width of the luminaire fits unobtrusively between tiles

The Ultima T track mounted range was then launched. This combines

a four conductor low voltage track system with the Ultima luminaires allowing them to snapped in and repositioned as required without

tools. Suspended, surface mount, and trimless recessed versions of the track are also available.

The latest version is the Ultima P pendant version, which I was given

to test. In this instance the linear strip is mounted in a robust steel U

channel to provide additional weight thus making a very neat pendant.

The samples I was given were the medium flood with a 40º beam and black louvre, and the batwing distribution fitted with a white louvre.

The lit effect of the 40º distribution was fairly dramatic producing a high intensity cut off beam, which was uniform and has almost

impressive with a wide clean distribution.

to production cost reduction, is to minimise the environmental

impact and carbon footprint by reducing the weight of materials

used. The Ultima range would fit well into a circular economy model as the mechanical and optical components all snap together very

neatly. However, I am not sure how easy it would be to remove the

LED tape from the heat sink extrusion after five or more years in use.

It is understood that the Ultima range was developed over a two-

year period following discussions with lighting designers in various countries who expressed a strong interest in specifying smaller

luminaires with high output and good optical control. The Ultima design and development was undertaken in-house with the top management team involved throughout the process. Franziska

Heckmanns was the key product designer for the range, I understand.

The company reports that feedback from lighting designers and customers has been positive to the Ultima range and a number

of projects have already been completed. This latest example of

luminaire miniaturisation has been well executed and looks set to be a successful addition to the LED Linear portfolio. www.led-linear.com

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New Additions

A look at some of the latest products and innovations to hit the market from across the lighting industry.

Jilly Erco High visual comfort meets maximum flexibility: Jilly linear downlights for track adapt to any furniture arrangement thanks to simple repositioning in the track.

Ideal for loft offices and co-working spaces with high ceilings of up to 5-metres: Jilly linear provides standard-compliant light for workstations and numerous options for individual control of the light.

The Erco individual service offers extensive options for individualising Jilly for track, including additional light colours and housing colours. www.erco.com

ZTA.70 Stoane Lighting Stoane Lighting’s ZTA, a product range that offers true circular manufacture, is expanding.

ZTA.70 is bigger, whilst maintaining the same clean and simple aesthetic, can offer tight beams and higher output (more than 3000lm initial in ≥90 CRI), and has the same flexible choice of light sources, optics, mounting methods, finishes and accessories.

Like all in the range, it carries circular economy principles in product design to easily allow upgrade in future, be that for light source, control or mounting methodology. www.stoanelighting.com

Artelys Kingfisher Lighting Combining elegant Italian design with powerful reflector technology, the Artelys series is the perfect solution for street, architectural and public realm lighting.

Available in two body sizes as well as in a decorative lantern, and with an array of options such as optics and output, low colour temperatures, mounting styles and control compatibility throughout; this truly is a versatile luminaire. www.kingfisherlighting.com

48V DC 32W eldoLED eldoLED’s 48V DC 32W LED Track Driver maximises quality of light amidst track lighting miniaturisation and form factor constraints. It’s the only programmable track driver on the market that meets flicker performance industry requirements while achieving high-quality deep-dimming (0.1%) and tunable white applications. Make any hospitality lighting dreams a reality with DALI2 DT8(Tc) lighting controls and eldoLED’s intuitive LightShape colour temperature and intensity control technology. www.eldoled.com

Darklight IBL The new architectural Darklight downlights from IBL are available in sizes ranging from 60mm-100mm in diameter and a power consumption from 4.5W to 20W. The low glare specular reflectors come in polished chrome, polished black, matte black and polished gold (on request). Offering precise optics using the IBL Light Gathering Lens (LGL) technology, they can be dimmed using any dimming protocol. Two trimless options, with standard or plaster-in trimless kits are also available, as is a large selection of CTT, including dim-to-warm. www.ibl.co.uk

Jalouise Valmont Structures Jalouise is a light pole enhanced and reimagined, designed to fit your vision. These sculptural columns from Valmont Structures are customisable to match the aesthetics of wherever they’re installed. The poles are lit internally, illuminating streets at night while making a statement during the day. Jalousie uses high-precision laser cutouts and carefully designed aluminium, with custom options including Bose loudspeakers and 360° cameras. www.valmontstructures.eu

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new products

Arpool Filix The Arpool Iris family of IP68 underwater adjustable luminaries brings a revolution in pool and water feature lighting design. With a 360° rotation and 20° tilt, the penetration of light through water goes beyond the optical capabilities. Multi-zoning, covering dark sports and creating depth illusions are easily achieved with vertical and horizontal installation. With a single IP68 connection feed, easy maintenance and replacement of engines is possible without removal from water. www.filixlighting.com

Compact downlights LightGraphix LightGraphix has launched four new downlights - LD780, LD782, LD790, and LD792 - with single colour, 2-tone, fixed and adjustable options, rated IP65 for interior, exterior and marine applications.

Bezel diameters start at 46mm, achieving an excellent size to output ratio delivering over 400lm. Colour temperatures range between 2200K-5000K and beam angles include several medium and a super tight 10° narrow. A single deep recessed optic ensures ultra-low glare, superior beam shape and no multiple shadows. www.lightgraphix.co.uk

Aart Hacel The new Aart Power Spot range by Hacel combines a contemporary style and minimalistic design with powerful performance and functionality. Featuring an adjustable beam in midi and micro sizes, the Aart is ideally suited to retail and spotlighting applications.

Available in a choice of lumen outputs, delivering up to 3845lms, it features adjustable beam widths (10° 20° 35° 50° 60°) and tilt adjustment 0° to 90°. www.hacel.co.uk

Coin 24CV Recessed/Surface ELR Coin 24CV Recessed and Coin 24CV Surface puck lights are LED module hybrid luminaires derived from ELR’s Coin-24CV low height LED module, operating on 24V DC constant voltage that allows multiple luminaires to be driven by a single non-dim or phase/0-10V/ DALI/DMX dimmable driver. These puck lights are equipped with built-in ATePSTM technology that protects LED lifetime against abnormally high temperature conditions and comes in ProART CRI~95, are especially suitable for applications within display shelves, kitchen cabinets, countertops, etc. www.elr-group.com

Ruby Series CLS With the introduction of the new Ruby Compact series and many new variants of the larger Ruby, CLS offers an incredibly wide and deep portfolio of surface mounted and suspended fixtures. No less than 40 different lighting sources are available including RGBW, RGBA, Tunable White and Dim To Warm versions. Control options are DALI, DMX 512, Wireless DMX and Casambi Bluetooth. The Ruby series are furthermore available in four different power and four different mounting versions. www.cls-led.com

Micro Alpha / Kubik Unilamp The Micro Alpha and Micro Kubik are compact in size and provide an unobtrusive lighting solution that will enhance any exterior setting’s beauty.

Colour temperature choices include 2700K, 3000K and 4000K with narrow beam, medium beam, wide beam and elliptical beam distributions.

An earth spike and tree strap are available as standard accessories. With public safety always in mind, the Micro series operates with low voltage. www.unilamp.co.th

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Pics: Jackie Chan

Palace of Radiant Happiness An embodiment of Korea’s rich history and tradition, the beautiful Gyeongbokgung Palace in Seoul has been cast in a respectful new light, with fixtures from Erco allowing the architectural masterpieces to shine.

O

nce an imposing residence

portrayals of the pagoda style – a traditional

the Palace on water look like under the

in the 14th Century, the

by striking multi-storey buildings with

experience as authentic and comprehensible

for the Korean royal family Gyeongbokgung Palace, located

in the heart of Seoul, is an architectural

pagoda masterpiece. Spanning over an area of 400,000sqm, it embodies centuries of Korean history and tradition, and is now

a monumental historical site and tourist

attraction that draws millions of visitors

from around the world. Lighting from Erco helps to create a magical atmosphere that

enhances the architectural features of the various buildings at night.

The initial construction of the palace dates

back to as early as 1395. After suffering major destruction as a result of wars and conflicts, the site was rebuilt and refurbished in 1868.

However, during the Japanese colonial period (1910-1945), it was further damaged and

partially demolished. It was not until 1990

that the modern-day Gyeongbokgung Palace, with its current array of residences, was reconstructed to its original form.

Visiting the palace now takes guests back

to 14th Century Korea and its architecture.

The residences within the palace are ideal

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Korean style of architecture characterised

individual levels separated from one another by projecting cornices. The buildings

are adorned with curved roofs, many of

which are colourfully and richly detailed.

Traditionally, the pagodas served to house the remains of particularly enlightened Buddhist monks.

The lighting designers behind the new

lighting for the palace, bitzro & partners,

sought to take visitors on a journey through time with light. “We now live in the 21st

century, but the nights we see are exactly

the same as what people saw 500 years ago,” said Kiyoung Ko, Founder, CEO and Design Principal of bitzro & partners.

“The idea was to plan the lighting so that people who are visiting the palace today

could experience a similar feeling to those who were visiting and living there half a

millennium ago. What did the King see and feel as he walked around his palace under the starry night sky? How did the women

of the palace feel as they strolled through the gardens? What did the reflection of

moonlight? We wanted to make that as possible for the visitors.”

Historically, traditional Korean lighting

usually involved kerosene lamps, which

exhibit a warm tone of light that would softly permeate through the hanji windows to

shine and create a mystical aura when viewed from the outside. As such, by predominantly relying on indirect illumination consisting

of warm white 3000K light, bitzro & partners aimed to recreate this atmosphere at the Gyeongbokgung Palace.

The designers also purposely decided not to completely illuminate the buildings in the dark, instead opting to highlight specific

architectural features, such as roof cornices, columns, and ornamental details. “To

perfect the aura that we want to create at the palace, we had to be sure that the lighting is

precise and controllable, and that it is free of spill light,” added Ko.

In the middle of a spacious courtyard at

the heart of Gyeongbokgung Palace is the

Geunjeongjeon Hall, a building designated

as a national treasure by the government of

case study

South Korea. Arguably the most well-known

various festivities and state banquets. The

low maintenance Erco outdoor lighting tools.

Throne Hall in English, this was where the

ancient dualist philosophy of the yin and

of the LEDs retain more than 90% of their

complex in the palace, known as the Main King issued official declarations, received

foreign envoys, and carried out various royal activities and ceremonies. The primarily

wooden structure rests on a two-tiered stone platform, has detailed balustrades, and is

decorated with various smaller sculptures

of mythical creatures such as dragons and phoenixes. The Hall is illuminated from a

large distance with Erco’s Kona projectors and precise six-degree narrow spot

distribution, utilising the high luminous

flux of the 42W LED module that makes the Kona ideal to illuminate from a distance.

Given that the Hall is an officially designated national treasure of huge significance for

the Korean heritage, it is illuminated from a distance of about 70-metres, with high

precision through a total of ten projectors mounted on two masts.

The Gyeonghoeru Pavilion, a single-storey

building mainly made of stone and timber,

is situated on a small island in an artificially created lake within the Palace. Accessible

via three bridges, the Pavilion was a site of

columns are positioned to represent the

yang. To illuminate this structure, bitzro &

partners uses square Tesis ground-recessed luminaires to create a uniform wallwashing effect, which highlights the coloured

ornaments on the cornice and traces the

upward curving of the roof on the sides of the Pavilion.

“An advantage of the luminaires is that they could be installed rather inconspicuously in the ground and on the stones,” continued

Ko. “Visitors are guided solely by the light, which reveals the refined architectural

details of the Pavilion. The luminaire itself is barely noticeable.”

In order to meet the lighting concept and the level of architectural intricacy of the

Palace, bitzro & partners used state of the

art LED technology: vital to this was a high colour rendering (CRI > 92) and reliable

colour consistency in order to illuminate

and display the fine decorative details of the structures without distortion. Furthermore, in order to fulfil requirements pertaining to conservation, the designers chose to install

Even after 50,000 hours of operation, 90%

original luminous flux, with the failure rate of individual LEDs during this period being

less than 0.1%. By replacing the old lighting systems with new LED luminaires, about 80% of energy could be saved.

“The textures and the details of the wood and stone surfaces that the palace had

somewhat lost for a long time now once

again perfectly come to the fore,” said Ko.

“Thanks to the various high-precision beam angles that we utilised for our design at the Gyeongbokgung Palace, we were able to

completely realise all of the details that our lighting project had hoped to achieve.”

The Gyeongbokgung Palace complex is not just a simple tourist attraction for visitors from around the world. With the new

lighting concept, it is now also a prominent cultural landmark that simultaneously

brings Korean history and tradition to life in a new light.

www.erco.com

www.bitzro-partners.com

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High-Wire Act As part of the extension to Leeds’ White Rose Shopping Centre, Studiotech worked with Valmont to bring dynamic, colour-changing lighting to the public realm spaces.

D

uring the extension of the White Rose

by the Studiotech Team with technical support from

was brought in by architects The Harris

the UK facility of Valmont in Teesside.

Shopping Centre in Leeds, UK, Studiotech Partnership, to assist with the detailed

Valmont Structures, which produced the columns at Each of the wire ropes were attached to bespoke

design and delivery of a full feature lighting scheme.

brackets and tensioned to ensure it would remain

designed a deliverable and achievable scheme

For the canopy of the illumination, Studiotech

Taking the Harris Partnership’s concept, Studiotech

within budget, utilising lighting poles from Valmont Structures. The concept included various areas

taught across the 25-metre distance.

worked directly for the fabric specialists and created a bespoke, powder-coated mounting bracket to match

throughout the extension, including recessed linear

the supporting column. The team liaised with the

and RGB colour changing feature lighting. Each one

positions, cable routes and clamping mechanisms

trades to ensure that the lighting integrated within

improved, as opposed to hindered, the aesthetics

amenity lighting, catenary lighting, handrail lighting of these aspects required coordination with various

tensile specialists on aspects including mounting to ensure the lighting and supporting elements

the structure and didn’t appear obtrusive to the

of the structure. Lighting was angled upwards to

One of the main challenges in the project involved

soft, indirect lighting to provide adequate ambient

scheme.

the installation of the 65 catenary-mounted

luminaires above the public realm, as it required a

directly illuminate the tensile canopy, but also used illumination to the play area beneath.

The most dynamic feature involved the installation

considerable amount of design and engineering to

of RGB colour-changing fixtures to the cinema

rope was manufactured to an exact length and was

allowing it to capture the architectural features of

create the desired aesthetic effect. Each steel wire fixed to the buildings at positions agreed with the

structural engineer. Where there was no building to fix to, Studiotech supplied and installed a series of seven-metre columns that enabled the full public realm to be illuminated using only the catenary

lighting. The columns were bespoke designs driven

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façade. The lighting as installed behind mesh panels, the design. The result is a truly eye-catching display that is programmed in line with key calendar dates and events, to allow for even further community engagement.

www.studiotech.co.uk

www.valmontstructures.eu

case study

Past, Present, Future Zumtobel has returned to 160 Tooley Street in London to update a lighting system the company first supplied 12 years ago, with a new control system that will future-proof it for years to come.

Z

umtobel has supplied a lighting

indirect illumination. The downward LED

illumination over the workplace.

headquarters at 160 Tooley

primary mixing chamber, after which the

combination of Panos Infinity downlights,

original installation it supplied 12 years ago.

glare control. The scheme has been designed

Vivo LED spotlights. With its wide range of

Tooley Street is edged between narrow urban

exactly with the pre-existing Freeline

of applications with brilliance – from

existing Victorian buildings, and provides

positioned to be identical.

or horizontal surfaces to emphasising

accommodation.

DI also illuminate the offices, providing

Southwark Council is now in the process

been installed and include: Lincor, Slotlight

Slotlight Infinity produces excellent lighting

lighting controls system. Thanks to the

Panos Infinity, Linaria and Vivo, with a

no distracting reflectance or glare and on

the need to change the hardware and

Litenet lighting controls.

continuous length. It has been used in

enable digital services, now or in the future,

with the existing Tecton continuous-row

which offers direct light that is perfectly

the use of energy consumption.

copes effortlessly with various lighting

radiates from the outer wings to brighten the

system is the key to being able to offer

and for future changes. The Tecton trunking

and glare-free working light.

harvest digital data via the system. Through

system, it’s a simple matter of replacing or

an optical system, use minimal energy to

enable numerous benefits that can include

optics as required.

have been utilised in the offices for areas

CO2 emissions, temperature, noise, air flow,

Lincor luminaires for suspension in the

conventional approach to the lighting

to the cloud.

with superior and independent direct/

output delivers the exceptional uniform

upgrade for Southwark Council’s

light points are first homogenised in a

The corridors are illuminated with a

Street, London, renewing the

light is directed to the task areas with perfect

Linaria batten light line luminaires and

Part new build and part refurbishment, 160

with flexible suspension positions to match

models, Panos Infinity meets the challenges

side-streets, a raised railway viaduct, and

luminaires, the cable entry has also been

homogeneous illumination of vertical

more than 205,000sqft of prestigious office

Slotlight Infinity and Slotlight Infinity

highlights.

A variety of Zumtobel’s luminaires have

soothing pure light from uniform light lines.

of upgrading Zumtobel’s existing Litenet

Infinity, Mellow Light Infinity, Linetik,

effects and uniform light distribution, with

latest lighting controls solutions, without

planned upgrade of Zumtobel’s existing

the fifth floor is installed in a 60-metre

through utilising existing PIRs, Zumtobel can

The new luminaires have been integrated

conjunction with Mellow Light Infinity,

for data analysis of space management and

lighting system. Tecton is a system that

complemented by the diffuse element that

Using Zumtobel’s Litenet lighting controls

requirements, both at the time it is installed

ceiling and the room, ensuring ergonomic

this type of digital service, where you can

forms the functional backbone of the

Linetik free-standing luminaires with

using this technology, the ambient sensors

adding lighting modules, light sources or

deliver a precise light distribution. They

tracking movement, energy consumption,

Zumtobel produced a range of special length

where the architecture prohibits a more

amongst other items all translated via an app

office areas to deliver high visual comfort

installation. The reflector for the direct light

www.z.lighting

www.arc-magazine.com

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Centura 40 System IP20 Modular, interior, flexible or custom fixed-shape, linear LED lighting system Downlight: Up to 5,000 Lumens per Mtr.

www.radiantlights.co.uk

|

+44 ( 0 ) 208 348 9003

|

david@radiantlights.co.uk

Freshfields Bruckhaus Deringer, 100 Bishopsgate, London Lighting design by 18 Degrees Photography by Tom Lee

|

arc ad Apr-May 2021.indd 2

All products designed by

06/04/2021 15:17:16

ADVERTISERS INDEX ACEVEL.............................................7

Filix................................................. 11

Lumascape.................................... 15

Alto................................................. 13

formalighting................................ 27

Luminus........................................ 45

Applelec Lighting........................ 129

IBL.................................................. 81

Pharos Architectural Controls.. 115

Casambi Technologies........... 38,39

Insight Lighting................................2

Proled............................................ 73

Clear Lighting................................ 83

Intra Lighting................................ 31

Radiant Architectural Lighting.. 126

CLS-LED............................................6

John Cullen Lighting..................... 91

Recolight..................................... 131

Colors............................................ 95

Kingfisher Lighting..................... 115

Seoul Semiconductor.....................8

[d]arc awards................................ 68

KKDC.............................................. 35

Stoane Lighting............................ 17

dpa lighting consultants............ 127

LED Linear................................... 132

Tryka L.E.D................................... 4,5

eldoLED......................................... 65

LightGraphix............................... 109

Unilamp............................................9

ELR................................................. 23

Lighting Design International... 127

Unonovesette............................... 79

Erco...................................................3

Lightly Technologies.................... 53

Valmont......................................... 67

Feelux............................................ 59

Ligman........................................... 29

Wibre........................................... 105

ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK

dpa lighting consultants has the following position for a suitably talented candidate:

Lighting Designer - Oxfordshire (rural location - car required) We are currently looking for a Lighting Designer to join our studio in Clifton, Oxfordshire. The role will involve being part of a design team and providing support in the production of concept presentations, layout drawings, details and specifications etc. with the opportunity to progress within the Practice. We will consider both graduate level candidates and applicants with some lighting design experience.

Applicants should have AutoCAD and Photoshop skills. An understanding of InDesign, Visualisation programmes and other lighting related packages such as DIALux. BIM/Revit experience would also be advantageous but not essential.

Excellent written and spoken English is essential.

The leading international magazine for lighting in architecture Subscribers benefit from: - Reviews of the most exciting projects in the world - In-depth profiles of leading figures from the lighting design and architecture profession - Special features on stand-out products and collaborations - Coverage of international exhibitions and conferences - Bonus subscription to International Lighting Design Survey

www.arc-magazine.com/subscribe/

Remuneration will be commensurate with experience and includes bonus opportunities. Please note that our Oxfordshire Studio is in the rural hamlet of Clifton, therefore candidates would need a car to travel to the office as there is no public transport available.

For further details about dpa, please refer to our website: www.dpalighting.com Please email your application letter and CV along with a portfolio of examples of completed projects where you have had a significant contribution, to: Elizabeth Grundy at dpa@dpalighting.com.

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.

LEDTEC ASIA 21-23 April Ho Chi Minh City, Vietman

LEDUCATION 17-18 August New York, USA

ARCHLIGHT SUMMIT 21-22 September Dallas, USA

www.ledtecasia.com

www.leducation.org

www.archlightsummit.com

[D]ARC AWARDS 29 April Online

STRATEGIES IN LIGHT 24-26 August Santa Clara, USA

[D]ARC ROOM 22-25 September London, UK

www.darcawards.com

www.strategiesinlight.com

www.darcroom.com

LIGHT 19-21 May Warsaw, Poland

PLASA 5-7 September London, UK

TRENDS IN LIGHTING 28-30 September Bregenz, Austria

www.lightfair.pl

www.plasashow.com

www.forum-trends.lighting

INTEGRATED SYSTEMS EUROPE 1-4 June Barcelona, Spain

EUROLUCE 5-10 Sepember Milan, Italy

LIGHT MIDDLE EAST 28-30 September Dubai, UAE

www.iseurope.org

www.salonemilano.it

www.light-middle-east.ae.messefrankfurt.com

GILE 9-12 June Guangzhou, China

BIEL 8-11 September Buenos Aires, Argentina

[D]ARC SESSIONS 5-7 October Mykonos, Greece

www.guangzhou-international-lighting-

www.biel-light-building.ar.messefrankfurt.

www.darcsessions.com

exhibition.hk.messefrankfurt.com

com

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www.arc-magazine.com

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

THE BACK PAGE BUCKET LIST Curated by

#21 envision lighting design / Lisa Reed “The defining responsibility of the artist is to go to the edge of human experience and send back reports.”

Webb Chiles

What: Hike Half Dome (or just do anything that terrifies you a little).

Where: Yosemite National Park, California, USA. How: While this climb is a famous day hike, I recommend backpacking to the base and camping overnight.

Your circadian clock will thank you for evenings around a campfire and morning sunlight filtered through trees. Backpacking also allows you a head start to beat the midday crowds on your ascent and descent of the Half Dome Cables.

When: The sooner the better! Every footstep on that trail makes the granite more smooth, increasing the challenge year by year. Note: the cables are only up during summertime months, roughly May through October.

Why: Doing something that terrifies you requires great preparation, but allows you to bask in the achievement forever. “I DID THAT!”

Photo: Lisa Reed

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www.arc-magazine.com

www.envisionlightingdesign.com

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ALL CO E VE LE RE D C B T

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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.