arc December/January Issue 125

125 DEC/JAN 2021/22 www.arc-magazine.com

Creating the Future Es Devlin and Atelier Ten’s UK Pavilion steals the show at Expo 2020.

EXPO 2020 • SALLY STOREY • TRANSPORT LIGHTING TARTU IN LIGHT • HOW TO BE AN ALLY • LIGHTS IN ALINGSÅS

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Photo credits: Rohspace

Hyundai Garden Conservatory Seoul, South Korea Product: Cells Lighting design: Lichtvision Design Architecture: Casper Mueller Kneer

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ARCHITECTURAL & FACADE LIGHTING Learn more. Visit lumascape.com

UK P PA AVILION - EXPO 2020 2020,, DUBAI To illuminate the pavilion, an impressive array of solutions from leading LED lighting specialist Tryka have been utilised. These include thousands of metres of their UV stabilised, IP67 encapsulated, Continuity T and Continuity S products. These flexible linear systems are designed to withstand the extreme weather conditions experience in Dubai, and were supplied in different colour temperatures and power outputs to suit the application.

The UK pavilion also features high performance Tryka downlights, with a CRI Ra95+ output coupled with a black-coated re lector and trim. Complete with a DALI driver, Tryka downlights effortlessly combine aesthetics with performance and usability.

@trykaled |

@trykaled

Organised by

In collaboration with

Supported by

Trophies created by

www.darcawards.com

2020 WINNER

2020 WINNER

2020 WINNER

2020 WINNER

The Iron Bridge, UK

Acropolis of Athens and Monuments, Greece

The Copenhagen Panorama, Denmark

Norwich Cathedral, UK

2020 WINNER

2020 WINNER

2020 WINNER

2020 WINNER

Santa Marina Hotel Welcoming Tunnel, Greece

Magical Shores at Siloso, Singapore

Search of the Glow, Taiwan

Grow, Netherlands

2020 WINNER

2020 WINNER

2020 WINNER

2020 WINNER

Carousel of Light, Italy

Acropolis Lights - Audiovisual Launch Event

minimumMAXIMUM - LAM32 Experience

Nano Tini - DGA

2020 WINNER

2020 WINNER

STRUCTURES: Best Exterior Lighting Scheme Low Budget

SPACES: Best Landscape Lighting Scheme Low Budget

ART: Best Light Art Scheme Bespoke

KIT: Best Lighting Products Decorative

Coordinates - Flos

STRUCTURES: Best Exterior Lighting Scheme High Budget

SPACES: Best Landscape Lighting Scheme High Budget

EVENT: Best Creative Lighting Event

KIT: Best Lighting Products Technology

DALI Gateway - Casambi

Entry deadline: 17th January 2022

PLACES: Best Interior Lighting Scheme Low Budget

ART: Best Light Art Scheme Low Budget

KIT: Best Lighting Products Exterior

PLACES: Best Interior Lighting Scheme High Budget

ART: Best Light Art Scheme High Budget

KIT: Best Lighting Products Interior

DON’T MISS YOUR CHANCE TO ENTER! Did you know there were over 14,000 votes cast at last year’s [d]arc awards?

If you’ve been part of a great lighting project or have a new product you want to shout about, then entering the awards is the perfect way to showcase it to the lighting and design community. The [d]arc awards are a unique concept utilising arc and darc magazines’ reputation as being the most widely read and respected international lighting design publications in the world. In collaboration with creative consultants Light Collective, the peer-to-peer awards process provides a unique opportunity for every practice to get involved. So what are you waiting for? You may just be a winner…

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076 Expo 2020 Expo 2020 finally opened its doors in Dubai this October.

In a bumper review, we look at some of the standout pavilions from the event.

Contents

DEC/JAN 2021/22 014 016 018 020 024 030 032 120 122 136 138

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

www.arc-magazine.com

034 Meet The Author Sally Storey, Founding Director of LDI, sits down with arc to talk about her stellar lighting career, and her newly-released book - Inspired by Light: A design guide to transforming the home.

072 How To Be An Ally Following Carmela Dagnello’s research into gender equality in the lighting industry, Neil Knowles, Director of Elektra, offers some advice to men in the industry on how to be better allies.

108 Hope For The Future Alexia Gkika, Senior Lighting Designer at Buro Happold, tells us about The Hope Sculpture, created for the COP26 climate conference, and how it spotlights the global goals of the event.

116 Dancing in the Dark More than 40,000 visitors travelled to the Estonian city of Tartu this October for the third instalment of Tartu in Light.

118 SPA Treatment During [d]arc room pop-up earlier this year, Tryka launched the SPA collection. Following the launch, David Morgan took a closer look at the new range.

042 Stockholm Central Station, Sweden For the newly designed lighting of Stockholm’s Central Station, Light Bureau pay tribute to its landmark status, while bringing the grand hall back to life.

Pic: Kai Piippo

Projects

DEC/JAN 2021/22

048 Dubai Route 2020 Metro Link, UAE To mark the arrival of Expo 2020, the Route 2020 Metro Link project is an extension of Dubai’s metro line that welcomes visitors to the Expo site. Lighting for the station extensions was designed by dpa lighting consultants.

054 Manchester Airport Terminal 2 Expansion, UK As part of the ongoing redevelopment of Manchester Airport, Terminal 2 has been expanded and revamped, with a dynamic and welcoming lighting scheme designed by Hoare Lea.

062 Rotes Rathaus, Germany The bright, monochrome finish within Berlin’s new Rotes Rathaus subway station is a bold contrast to its historic setting, with a complementary lighting scheme from Licht Kunst Light

068 Transport Lighting case studies An assortment of manufacturer case studies covering their latest transport lighting projects.

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EDITORIAL

Front cover: UK Pavilion, Expo 2020, Dubai, UAE (Pic: Alin Constantin, courtesy of Es Devlin)

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

Check your privilege...

WIL research has us asking what it means to be an “ally”...

In our last issue, we spoke with Women in Lighting’s UK

Amabassador Carmela Dagnello about her research into gender

equality in the lighting industry. The research surveyed participants

on their own experiences of gender bias, from pay discrepancies and

diversity in leadership roles, to examples of sexism and harassment.

The results included some shocking anecdotes. But, while the

findings were eye-opening and alarming, they were at the same time completely unsurprising. We all know that these issues exist - we

may have experienced them ourselves or, dare I say it, even directly contributed to them, be that consciously or unconsciously.

As we have learned this year, particularly in the wake of Sarah

Everard’s murder, we need to do more; not by educating women to

better protect themselves, but by educating men to understand and acknowledge their inherent male privilege, and the unconscious

bias that comes with it. As a cis, hetero, white man I can say that I

haven’t experienced any inequalities in my life based on my gender,

race or sexuality. But while that’s fine for me, I recognise that a lot of

people out there don’t have the same luck, the same opportunity, the

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

same privilege, and its up to us with the privilege to do something

Design

male supporter of initiatives such as Women in Lighting. Later in

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

about this. This is why I would class myself as an “Ally”, and a

this issue, my fellow male supporters of WIL have put together an

informative and useful guide on how to be an ally, and I would urge

all of our male readers to take note, and think about how they too can be better allies.

On another note, as you’ll have seen from our amazing front cover, Expo 2020 finally opened its doors in Dubai this October. With so

many amazing pavilions it was hard to narrow down what to feature, but we hope that you enjoy our review later in this issue.

Finally, all that is left for me to say now as we somehow reach the end of another year (wasn’t it 2020 five minutes ago??) is that, on behalf of all of us here at [d]arc media, I’d like to wish you all a very happy holidays, and we’ll see you in 2022!

Enjoy the issue!

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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proled.com ARCHITECTURAL LIGHTING

Fotograf: Raumpixel - Oliver Hallwirth

NEWS

Headlines [d]arc media launches LiGHT 22 (UK) – Taking place on 22-23 November 2022, LiGHT is the UK’s only dedicated lighting event.

Building on the success of the highly-regarded ARC Show, which ran from 2004 – 2009, LiGHT 22 is a lighting exhibition for specifiers and designers, brought to you by [d]arc media, publishers of arc and darc magazines, and the team behind the incredibly popular [d]arc awards and [d]arc sessions.

Held on 22 & 23 November 2022, at the Business Design Centre in Islington, London, LiGHT will revive the lighting design and specification exhibition that has been lacking for too long. High-end lighting manufacturers will exhibit their latest product collections alongside a two-day talks programme and late-night drinks event. [d]arc media Managing Director Paul James said of the new event: “I am very excited to announce the launch of the LiGHT exhibition at the Business Design Centre next November. The lighting industry has many happy memories of The ARC Show at the BDC over a decade ago and we want to bring that spirit back to the lighting event calendar.

“There is a new breed of lighting specifiers and suppliers that weren’t part of the industry then so didn’t have the chance to experience the event. This will bring friends, old and new, together to do business and network in a friendly, dynamic environment. I am confident that the time is right to create a boutique lighting event in a fantastic venue in London, the world hub of lighting design. I look forward to welcoming everyone there.”

Max Bull, Executive Director of Venue Sales at Business Design Centre, added: “We are absolutely delighted to welcome the launch of LiGHT at the BDC in November 2022. The BDC has always been regarded as the natural home for high quality design interiors events and I am confident Paul and his team’s vision will be extremely well received by the community it serves.

“I am personally looking forward to supporting this show for many years to come and we are fully behind the organisers in wanting to create one

of the most exciting launch events the UK next year.”

The UK has the second largest design industry in the world and with London experiencing a boom in design-led businesses since 2010, lighting has become a vital aspect of the design industry and process.

Of the 217 lighting design practices in the UK, over half (116) are in the Greater London area (source ILDS 2021). This is by far the biggest concentration of lighting designers in one city in the world. And that’s not to mention the thousands of interior designers and architects that are based in the UK’s capital and beyond. Most of these designers not only specify in the UK but have a significant portfolio overseas.

LiGHT 22 caters to this ever-growing design sector and is a new offering for lighting design built on [d]arc media’s knowledge and experience of the lighting specification market.

For more information email John-Paul Etchells at jp.etchells@mondiale.co.uk or head to www.lightexpo.london

Barbara Horton given Lifetime Achievement Award by IALD (USA) - Horton becomes only eighth lighting design professional to receive this distinction.

Barbara Horton, Senior Principal Emeritus at HLB Lighting Design, has been recognised by the International Association of Lighting Designers (IALD) with its Lifetime Achievement Award.

This award is given to individuals who are classed as pioneers in the industry, and have “gone above and beyond to give back to the lighting design community throughout their careers”.

Horton is among a select group of professionals to have received this distinction, being just the eighth lighting design professional to receive the award in IALD history – among previous winners are founding HLB Principals Stephen Lees (honoured in 2019) and Jules Horton (honoured in 2000).

The recognition follows two further Lifetime Achievement Awards for Horton earlier in the year from Women in Lighting and the Edison Report.

For the past 40 years, Horton has served as a leader and mentor to HLB staff and the greater lighting industry. During her tenure, HLB grew to 15

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Princpals/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.

For the past year and a half, she has been working side-by-side with firm leadership and new CEO Carrie Hawley in preparation for her retirement and the continued legacy of HLB. In honour of both Horton and Lees, and their contribution to the industry, a business excellence leadership fund in their name is currently being developed to promote the continued success of the profession. Lighting design leaders are preparing for a formal announcement and launch of the fund in early 2022 – its mission is to empower individuals with business education to grow and sustain successful lighting design practices globally.

Following the award, Horton said: “Volunteering with the IALD gave me fundamental leadership skills and a community to share global perspectives and make an impact on the lighting design profession.” www.iald.org www.hlblighting.com

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Grace of the Sun UK

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Little Sun, co-founded by Olafur Eliasson, collaborated with Scottish artist Robert Montgomery on Grace of the Sun – a solar powered light poem urging commitment to renewable energy at the UN climate conference (COP26) in Glasgow, Scotland.

The artwork has been constructed using 1,000 solar powered Light Sun lights and stands 11-metres wide and five-metres tall. The giant solar light poem – in place for the duration of COP26 – illuminated every day at sunset as a beacon of hope for Glasgow.

After the artwork’s installation, the work was dismantled, with the lights joining Little Sun’s wider efforts to provide clean, affordable solar power to the 600 million people living without electricity in Sub-Saharan Africa, where the non-profit has brought solar light power to more than three million people to date.

Located at arts and climate justice pop-up The Landing Hub on the Sustainable Glasgow Landing site, the installation was part of Little Sun’s Reach for the Sun initiative. This engages creatives in the global movement to highlight the power of solar to tackle climate change and end energy poverty. The project is enabled by global green energy tech pioneer Octopus Energy Group, and supported by Montgomery’s agency MTArt

EYE OPENER

Agency, the first certified B Corp UK company with the art sector.

Robert Montgomery said: “This project is a beacon of hope. Instead of looking underground for energy we should have all along been looking up.

A solution is visible to us all the time, every day: the sun. There’s a great beauty in the realisation that the sun is there to save us, if we only make the effort to reach out to it.”

Olafur Eliasson, Little Sun Co-Founder, added: “I’ve long been convinced of the power of art and culture to counteract widespread numbness and create change in the world. The climate crisis is here; we know what needs to be done. We have the knowledge and technology necessary to transition within the next decade to a world powered by renewable energy. Yet knowledge may not be enough. A work of art like Grace of the Sun can help us recognise that our lives are inextricably linked to our surroundings, to structures and systems and people beyond our local context. If we expand our sphere of care to encompass the natural elements that support life as we know it, we can formulate a vision of a positive future for the generations to come.” www.littlesun.org www.robertmontgomery.org

Photography: Philip Volkers

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Drawing Board

ESET Slovakia Plans have been unveiled for the new 55,000sqm ESET Campus in Bratislava, Slovakia. The campus – a tech neighbourhood designed by Bjarke Ingels Group (BIG), Pantograph, Buro Happold and Arup – will create a strong electricity-powered cybersecurity, AI and innovation ecosystem in the heart of Europe.

Located on the site of a former military hospital between the Carpathian Mountains and the centre of Bratislava, the winning proposal of the global design competition saw BIG retained as the architect in 2019, tasked with designing a creative, green, collaborative hub where bold cybersecurity solutions come to life. The campus is expected to break ground in 2024, with a planned opening in 2027.

Spanning the forested nature site, the campus consists of 12 individual buildings of varying sizes and uses organised around a central courtyard. The buildings on the outer perimeter will be designated public spaces, while four of the buildings on the

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inside of the site will be home to ESET’s 1,500 employees – with the potential to scale up to 2,400 employees.

BIG’s design for the new neighbourhood replicates the spatial hierarchy of nature – the low and broad perimeter of the shared public spaces is easily accessible to all, allowing public life to flourish within the network of streets. The higher peak of the architectural ‘mountain’ reminiscent of the Carpathian Mountains nearby houses the ESET business, providing the company’s teams with innovative facilities while maintaining privacy.

“Rather than a single hermetic entity, we have dissolved the ESET Campus into an urban village of interconnected buildings, framing public paths and urban squares,” said Bjarke Ingels, Founder and Creative Director, BIG. “The diverse cluster of individual pavilions are unified by the undulating solar roofs – forming a single silhouette rising from

the forested park like a man-made addition to the Little Carpathians mountain range. Together with the adjacent University, the ESET Campus is set to spark the formation of Bratislava’s new innovation district.”

On the north-west side, the campus opens up to the park – providing protection from both the busy main street and the railway, and connecting the wilderness of the Carpathian Mountains with the city. Embedded into the existing natural landscape, the park is filled with public areas for recreation, interaction, and relaxation while boosting local biodiversity and creating pockets suitable for outdoor working.

The main courtyard, located at the centre of the four ESET HQ buildings, acts as a focal point for the local community. Public spaces serving retail, educational, sports, and cultural purposes are scattered around this courtyard, animating the ground floor and activating the network of streets.

The overall massing of the campus has multiple frontages; the open corners of the four ESET HQ blocks, in combination with views into each building from the surrounding streets, create inviting moments that further connect the exterior with the interior.

Upon entering the main ESET HQ lobby – located in the largest building of the campus – ESET employees are greeted by a cascading staircase that connects the ground floor with the upper levels. While each of ESET HQ’s four buildings have a central atrium – lit with skylights in areas of the floorplates that would otherwise be dark – the stairs in the main ESET HQ lobby atrium are surrounded with social spaces and biophilia, enhancing the connection of the active ground level to the upper office levels.

The campus will be powered by all-electric energy, relying on renewable sources – including PV roofing – that will contribute to the campus’ carbon negative goal. ESET’s exterior will utilise timber and glass to help create high-performance façade system; balconies will provide additional outdoor spaces and shading while providing natural ventilation to maximise the campus’ energy efficiency. www.big.dk www.burohappold.com www.arup.com

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drawing board

DesertRock Saudi Arabia The Red Sea Development Company (TRSDC) is taking immersive experiences to a new level with the DesertRock development – a luxury hotel carved into a rock mountain.

Set in one of the most dramatic desert landscapes in the world, the Desert Rock resort is being integrated into the mountainside, offering panoramic views of the mountain canyons below and the canopy of stars above.

Inspired by the surrounding mountains, volcanoes and wadis, Desert Rock will comprise 48 villas and 12 hotel suites. A variety of accommodation styles will be available to meet guests’ needs, from ground level dwellings to crevice hotel suites midway up the mountain; a select number of rooms will sit within the excavated rock-scape.

The unique rock formations surrounding the resort were produced by a series of cataclysmic seismic events thousands of years ago, and so the architecture has been designed to keep this natural beauty intact while also reducing energy consumption, supercharging the ecosystem, and regenerating native flora.

Guests will enter the resort through a hidden valley nestled between the mountains. Most roads leading into the resort will follow the edge of the main wadi, hidden behind landscape mounds, to provide uninterrupted views while also minimising sound and light pollution, allowing guests to fully absorb the surrounding dramatic desert landscape.

Drawing inspiration from the unique surroundings and in line with TRSDC’s Dark Sky Initiative, the lighting design approach for DesertRock, led by lighting director Myrian Patricia Lopez Yanez, revolves around environmental principles, taking special care of the sky quality and sensitive species in the area.

The lighting concept developed by Delta Lighting Solutions, respectfully

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follows the architectural language from lead designers Oppenheim Architecture. The buildings, fully integrated into the rocks, are lit from within, with minimal façade lighting, enhancing the striking silhouettes and night.

All of the lighting for the resort is specified in a very warm colour temperature to minimise the impact on the environment. Architectural lighting is intended to remain anonymous and fully integrated within the unique interior design features from Paolo Ferrari.

Following TRSDC’s vision of a residential approach to lighting, the locallyinspired decorative fixtures will be the protagonists of the different interior spaces.

In keeping with the barefoot luxury approach, the landscape is lit to enhance the natural geometrical language created by Melk, with the use of light, shadow and patterns also assuring the necessary lighting for safety and wayfinding for guests.

The use of smart technologies applied to the lighting is also important, as it will help with energy saving, and also to carefully adjust the light intensity at nighttime, according to the sunset, sunrise and operational needs. All of these elements combined create an unforgettable experience for guests after dark, who can enjoy beautiful spaces and a magnificent stargazing experience.

“The intent is to leave this natural beauty better than it is,” said Lopez Yanez. “A sensitive approach is implemented to direct the process, deep analysis and research is undertaken to eliminate or substantially reduce the impact of lighting on fauna and flora and preserve the impressive dark sky aesthetic qualities to achieve TRSDC’s vision.” www.deltalightingdesign.com www.theredsea.sa

13–18 March 2022 Find us at Hall 4.2 Stand G25 Frankfurt am Main

Light...

Siloam, Mona, Tasmania KKDC Product Used: MoMo 508 (High output) Lighting Design: MEGS Lighting

Spotlight Rove Expo 2020 Hotel UAE The only hotel situated on Dubai’s landmark Expo 2020 site, the Rove Expo 2020 Hotel features a lighting scheme created by Nulty.

Located adjacent to the Al Wasl Plaza and its awe-inspiring coloured dome, the hotel has been designed as a vibrant centrepiece that reflects the Expo’s theme of ‘Connecting Minds and Creating the Future’.

The hotel’s interior draws inspiration from the subthemes of the Expo, in particular the neighbouring Sustainability Pavilion. A sustainable consciousness runs throughout the LEED Gold design concept, including Nulty’s lighting scheme, which is all LED and controlled by a DALI system that allows individual areas to be adjusted throughout the day.

Nulty worked in partnership with architecture practice RSP and contractors Arco Group to create a contemporary lighting scheme that evokes a sense of place by weaving

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in references to Dubai’s rich heritage and culture. Within the hotel’s expansive open-plan ground floor, where lobby, lounge and co-working areas merge with a bar and all-day dining café, layers of illumination add character and creativity to each individual area. The lighting scheme also brings a sense of rhythm and cohesion to the ground floor to mark the subtle transitions between each space.

On entering, guests are greeted by the lobby area where industrial design details have been set against a warm but refined material palette inspired by Dubai’s urban and desert landscapes. Oversized orange pendants adorn each desk and complement a series of ornate metallic structures used to frame the reception area. Linear lines of light illuminate each reception desk to create a floating effect and are replicated across the ceiling to add further visual interest.

The oversized orange pendants are a recurring theme,

SPOTLIGHT

Pics: Arco Group

extending to the neighbouring bar area, where they have been paired with intricate white metalwork to create a striking central feature. Linear lines of illumination pick out the materiality of the wooden bar and help demark the space as an area where guests can socialise and relax after a day at the Expo site. Contemporary ceiling pendants offer a further nod to the industrial Dubai theme and work alongside suspended track lights to strike the right balance between decorative and functional lighting.

Within The Daily, the hotel’s all-day dining café, the lighting is deliberately pared-back to complement with blue and green textiles and a corresponding restrained approach to lighting. Diffused lines of light have been strategically placed throughout to create a comfortable and inviting working environment, while large blue pendants bring pockets of atmospheric illumination for focused work and get-togethers. www.nultylighting.co.uk

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SPOTLIGHT

me + you USA In celebration of its 175th anniversary, the Smithsonian Institution has reopened its long-closed Arts and Industries building with FUTURES, the National Mall’s first building-wide exploration of the future, which launched on 20 November and will run until July 2022. At the exhibit’s centre, in the 90ft high rotunda, sits light and artificial intelligence installation me + you, designed by artist and architect Suchi Reddy.

To bring the design to fruition, Reddy invited lighting designer Levia Lew, Principal and co-founder of Reveal Design Group, onto the team as lighting consultant.

“The sculpture comprises three illuminated elements: a shimmering cloud of light points at the ends of more than 1,000 translucent, glowing acrylic rods; nine dynamic hemispherical LED portals; and a 20ft high central pillar called the ‘totem’, composed of radiating fins with LED panels hidden within,” said Lew. Exhibit visitors are invited to speak their future vision in a single word into an LED portal. Engaging AI techniques, the artwork translates the vision word and reflects its emotion and tone into a unique,

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kinetic mandala of colour and light, which then flows up the centre totem, where input from the other eight portals is combined into an ever-changing expression of “collective futures”.

The incorporation of AI into light objects was a new experience for Lew, who embraced the opportunity to expand her expertise and delve into the future.

“When Suchi presented her incredible concept, I was thrilled with the opportunity to support her artistry as well as push my own creative boundaries,” she said.

“Certainly, there are elements of the sculpture that could be quickly solved from a lighting standpoint, but there were other aspects outside of my usual parameters of expertise.

“Custom-build LED light objects, along with processing and programming for real-time AI data interaction, presented a rare opportunity for a design challenge not often encountered in architectural lighting. Luckily, we know several brilliant designers and willing manufacturers who were game to join us on this journey to bring Suchi’s vision to life.

Together, we pushed our own artistry and knowledge into the future of art and design.” www.revealdesigngroup.com

E

Do you know the 3A's for Human Centric Lighting?

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Architecture Iku recessed downlights make vertical surfaces visible and thus improve your perception of space.

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Activity Iku, with its good light, supports communication between people.

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Atmosphere Iku creates the right light at any time of day – also via sensor or app.

Discover Iku & Iku Work recessed downlights www.erco.com/iku-site

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Design DNA USA

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As part of its ongoing obsession with light and data, Light Collective was commissioned to create a new project to follow on from the previous iterations of the International Lighting Design Family Tree. Though each version of the Family Tree got bigger, none of the data had been realised in light until now.

Design DNA is a project created by Light Collective in conjunction with US partners ArchLIGHT Summit and The Lighting Exchange. Seen as the ‘baby’ of the International Family Tree, it was envisioned as an opportunity for designers to find their own unique professional DNA signature.

“Your professional DNA is something that either makes you stand out from the crowd or helps you identify those that you have most in common with,” said Light Collective. “Looking at career/experience, location, professional memberships, educational backgrounds and networks enables us to identify our differences and commonalities.”

The idea for the installation was that attendees to the ArchLIGHT Summit, held in Dallas at the end of September, could compare these DNA strands with other attendees, as well as others in the lighting industry around the world, who could also input their data, even if they weren’t able to attend the show.

Light Collective was invited to create something specific for the show by event strategy manager Cindy Foster-Warthen. The duo developed an idea that made the most of the opportunity to get data from in-person attendees, while

SPOTLIGHT

also including others unable to travel, and from there designed an installation that realised the data in physical form using light and colour.

Design DNA was partnered by Jonathan Ayala, as his company, The Lighting Exchange, is all about connections. The Lighting Exchange has a bank of roughly 10,000 users that comprise all different areas of a sales process. Ayala created the results database and helped with the process of programming and translating the results into light.

The installation consisted of linear programmable RBGW luminaires from Ligeo. As there are five answer choices for each question of the survey, each of the DNA strands was represented by a pentagon, and each pentagon is rotated by six degrees – a play on the six degrees of separation theory that also transformed the view along the pentagons into a shape similar to the DNA helix.

After inputting personal data at the show, the user could see their Design DNA visualised in light. To enhance the experience, the number of pentagons was doubled to give two pentagons per strand – the installation was bookended by mirrors to create an infinity effect.

Participants can still input data by answering a series of seven questions, with each answer having five choices and therefore the possibility of more than 16,000 different answers. Users can check out their comparative results at www.lightingdesignfamilytree.com. www.lightcollective.net

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STUDIO SWITCH With backgrounds spanning architecture, industrial design and interior design, Bergamo-based Studio Switch brings a mixture of art and science to its diverse portfolio of projects in both Italy and abroad.

Pietra Perduca Travo, Italy In the stunning Trebbia Valley, with its gentle and charming hills, a dedicated association called Organico Perduca is establishing a permanent journey in which art meets nature. The final step is an extraordinary natural amphitheatre which faces the mystic Pietra Perduca rock massif.

The Pietra Perduca was left by an ancient ocean’s presence 250 million years ago. Many deep meanings and an aura of sacredness surround this place; Celts worshipped the Penn God there, and then Christians dedicated the site to Saint Anna. Pietra Perduca, within neighbouring Pietra Parcellara, is the symbol of this part of the valley.

Organico Perduca asked Studio Switch to design the lighting, a challenging request given how many aspects must be considered: respect for a historical site, devotion, emotion, communication, engagement.

The lighting concept was inspired by the Perduca’s holiness: a red emotional light turns on the holy fire which breaks the darkness, drives to the art and warms up visitors like a big fireplace.

Meanwhile the Pietra Perduca becomes the valley’s red heart, transforming the hills into a macro amphitheatre and bringing together the entire community around an ancient fire.

The same light represents communication because it announces that the amphitheatre is hosting a show, offering engagement within the theatrical backdrop.

The lights for the amphitheatre had to solve further needs related to the Perduca’s light. The terraces for the seats are illuminated considering both the setting of the welcoming scenography and the visual needs of the users. The choice to light just the vertical sides of the terraces was taken due to the Perduca’s fire being located in front of the terraces. Finally the stage has its own lights hidden on the trees.

Château de Wallerand Vireux-Wallerand, France Built in 1714, the historic Château de Wallerand is now a luxury hotel in the French Ardennes, welcoming travellers who are looking for an exceptional location, a verdant estate and attentive service. The hotel has 10 rooms combining old-world charm with contemporary design, comfort and tranquillity.

The lighting design had to fulfill a number of different needs: highlighting the architecture and its external volumes; studying the individual rooms and the restaurant, taking inspiration from the huge world of decorative and design lighting fixtures that complete the complex level furnishings, ensuring visual comfort and the right amount of light; illuminating the orangerie, which becomes the main feature in the park; creating the right atmosphere for the wonderful spa; and giving the right mood lighting and spots within the park, which is the transition between the hotel and the river.

The biggest challenge was ensuring that all the different lights speak the same ‘language’ while satisfying different individual needs. The design team resolved this by defining a master guideline to follow.

The guideline was built on two simple words that inspired and governed all decisions: gentleness and elegance. Every time a decision was needed on the type of light, emission, temperature, lamp design and what kind of scenography they show, the designers asked themselves: “is this choice gentle and elegant”?

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SNAPSHOT

Shrine of the Blessed Virgin of Tears Treviglio, Italy Santuario della Beata Vergine delle Lacrime (Shrine of the Blessed Virgin of Tears) is an architectural jewel full of history, culture and faith. Built in 1594, it contains the miraculous picture of 1522, that, according to the legend, saved the city from destruction by the French troops. Remarkable for the presence of frescoes and paintings by the Montaltos, a seventeenth-century vault in the nave of the entrance

by Molinari and the transept with its majestic dome overlooking the intersection with the nave.

In every single place of worship, light has a significant symbolic value: it represents the divine, it provides a sacred and separated atmosphere from reality to the building.

The painting of Our Lady is the focal point of the whole Sanctuary: it was necessary to dedicate an intense spotlight to the painting, in order to instantly direct the attention of the faithful to this sacred image as they enter the church. The issue was dealing with the hyper-reflective covering glass and the considerable depth of the frame: two spotlights were installed on the cornice at the height of 16.9-metres, out of the volume of offence of the picture; also necessary was the presence of one additional spotlight from below, hidden behind the altar.

The other main goal was to enhance the artistic content, avoiding disturbing effects on paintings, made particularly difficult by very dark pigments mixed with gold inserts.

The amazing vault was lit through high-CRI and high-efficiency LED strips, covering half width from each side of the cornice. The assembly below is illuminated by on-track spotlights.

The dome is 34-metres tall: at 20-metres both indirect (LED strips) and direct lighting (track spotlights) has been installed. Different lighting scenarios have also been set, according to the different liturgical functions.

Winefully Bergamo, Italy Winefully, the wine portal based in Bergamo, is exclusively dedicated to wines of excellence and high quality liquors. Its cellar, dating back to the 19th century, has now been restored and equipped with all features ensuring a proper preservation and a balanced ageing of the wine.

The priority of the client was to have a place with an elegant, but at the same time pleasing and relaxing, atmosphere, paying particular attention to lighting and acoustics. The location covers two floors, each of which has a precise function, clearly underlined through different light scenes.

On the ground floor, mainly dedicated to customer reception and wine tasting, the lighting has been designed with the aim of recreating an intimate and elegant atmosphere. The accents and contrasts between lights and shadows point

to the main features and valorise the natural materials of architecture. High CRI spotlights have been necessary due to the distinction of the different shades of wine colours.

The basement floor displays and presents the bottles, and is illuminated by indirect light; here lighting is softer, enhancing the brick vaulted ceiling and the clay shelves, and making more welcoming and comfortable the whole atmosphere.

At the same time, through the use of track spotlights, a direct light strikes the wine exhibit highlighting the bottles and their labels.

Today Winefully is a special place for customers, in which wine is not only sold, but also told and experienced, as a vector of intense emotions and sociality, just like the lighting conceived for it.

Studio Switch Studio Switch is a lighting design studio based in Bergamo, Italy. Founded in 2019, it is an independent and creative atelier, with team that comes from backgrounds as diverse as architecture, interior design and industrial design. This gives the studio a full breath of experience, spanning the art and science of the lighting design profession, and proven growth ability during many years of experience in the field.

Light sculptors, lighting designers or lighting consultants, whatever you call them – Studio Switch believe that light has the power to change lives: regulating our bodies, fueling our emotions and inspiring our souls. www.studioswitch.it

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BRIEFING

Paul Crisp & Alex Ruston Following the acquisition of Precision Lighting and Remote Controlled Lighting (RCL) by Luminii in October, Managing Directors Paul Crisp and Alex Ruston tell us how the opportunity came about.

How did you both get into lighting?

Paul Crisp (PC): I first encountered the lighting industry when I ran an injection moulding business specialising in clear plastic moulding.

The business was built around expertise in optical engineering, and we utilised this to develop a range of standard optics as LED technology first began to enter the lighting market. I soon realised the introduction of LEDs would change the shape of the lighting industry. I was hooked and have been working in the lighting industry ever since.

Alex Ruston (AR): In 1996 my father asked if I would help him out as he set up the UK office of a US lighting company called Translite. What was supposed to be a few weeks’ work, however, turned into 25 years.

Can you explain your lighting journey so far?

PC: My experience with the optical business was a great place to learn and understand the technology platforms and development roadmaps that were driving the move to LED technology and enabled me to engage with lighting businesses across the UK, Europe and North America. This proved a perfect grounding to move up the value chain and work with traditional lighting manufacturers managing the transition of their businesses to LED technology. In recent years, I have used this experience to work with several organisations looking to expand or develop their businesses, which is how I became involved with Luminii.

I was immediately impressed with the company’s vision and ambition to develop a great architectural lighting business, and I am delighted that RCL and Precision Lighting have become part of this vision.

AR: We founded Precision Lighting in 2000, and then RCL followed in 2001. I was running Precision Lighting and my father was running RCL, and then in 2013 he stepped back from the day-to-day operations of RCL and I took over running both companies.

How did the acquisition come about?

AR: Precision Lighting and RCL have been pioneering lighting innovation on the international stage for decades. As we’ve continued to grow and establish our credibility, we have come to believe we should trust our light to lead the way. When Luminii approached us about these acquisitions, we saw significant and immediate opportunities to grow our story in highly interesting and new ways, with a shared vision related to product development. Luminii’s keen interest in expanding industry leadership internationally beyond the US and Canada merged well with our interest to introduce our distinctive advantages in new markets.

What was it about RCL and Precision Lighting that stood out?

PC: Luminii understands the ever-rising demand for constant innovation in lighting and is committed to a business posture that is ambitious enough to meet its customers’ expectations. RCL and Precision Lighting are highly strategic pieces to that puzzle. Among the many distinctions Precision Lighting has established over the years, the company has made impressive advancements in Micro-LED products and technology, complementing Luminii’s robust efforts to build upon its existing STENOS Micro-Linear platform. RCL, as well, offers highly complementary capabilities to Luminii’s portfolio-wide capacity to equip lighting professionals with highly flexible solutions.

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Alex, what benefits do you believe this move will have for both Precision Lighting and RCL? AR: We believe our strengths in product innovation and sales in categories and markets Luminii had yet to tap into will deliver major early wins for Luminii. We also can flex our abilities to serve as expert ambassadors of Luminii’s products in the European and Middle Eastern markets where we’re already well established. Conversely, availing our products to the broader Luminii portfolio through these acquisitions means our influence multiplies in new markets – and within Luminii’s existing customer base.

How will Precision Lighting and RCL fit into Luminii’s portfolio?

PC: In my role as the new Managing Director for Precision Lighting and RCL and in close collaboration with Alex, we are not focused on subtracting from or adding to the companies’ strengths – but in multiplying them within Luminii’s ecosystem and sphere of influence.

For example, the acquisitions promise new avenues for both Precision Lighting and RCL to enhance our own engineering, operations, and manufacturing capabilities with those of Luminii.

In particular, the acquisitions represent a leap ahead for Luminii’s portfolio in areas of product miniaturisation and remote-controlled lighting. Likewise, the acquisition of RCL creates an entirely new product category for Luminii, and complements Luminii’s highly flexible solutions in ways that will also bring RCL products to life in new ways. While there are various pathways still being forged between all of Luminii’s brands, the bottom line for all brands is win-win across the board.

What can we expect to see from the brands post-acquisition?

AR: Both RCL and Precision Lighting have many new and exciting products in development. We continue to be incredibly focused on R&D and advancements that will result in industry-leading luminaires and control technologies.

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

PC: The recent pandemic has brought into sharp focus the importance of wellbeing and great user experiences in all that we do. Public spaces will have to pay much more attention to the quality of the experience they provide, and lighting will have an even more significant role to play in helping to create the public spaces of the future. LED adoption has gone past the necessary obsession with lumens/watt and efficiency and is increasingly focusing on light and beam quality and the effect of light on wellbeing and creating beautiful spaces.

AR: I think that control technologies will continue to be at the forefront of the lighting industry. Our clients and specifiers are looking for complete control over all aspects of their lighting installations, and that’s something we will continue to tighten our focus on. www.luminii.com www.precisionlighting.co.uk www.rclighting.com

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INTERVIEW

Meet The Author Following the release of her new book, Inspired by Light: A design guide to transforming the home, Sally Storey sits down with arc to look back on her career to date and what led to the release of the book.

O

ver the past 30 years, Sally Storey has

worked on a series of high-profile projects

as both Founding Director of Lighting Design International and Creative Director of John Cullen Lighting.

Establishing LDI in the mid-80s, at the dawn of the lighting design movement in the UK,

Storey is one of the pioneers of the UK lighting design community, but her appreciation for the power of light only began in earnest during her studies.

“I read architecture at Bristol University, and what really fascinated me about architecture was the way that natural light modulated a building, not only from the outside but also how it penetrated

inside,” she said. “Then I realised that we weren’t being taught

anything about how to light a building inside, so that ended up being the focus of my dissertation.”

It was during her second year at university, as her passion for

lighting was burgeoning, that she met the late John Cullen, himself just branching out as a sole trader having come from working as a light technician for the BBC before moving into the world of residential lighting.

“He said that I could work for him during my holidays and learn

about light,” Storey continued. “The first thing that I did for him

was to design his showroom on Smith Street – I had to say yes and

then worry about it later. I designed it as an interactive lighting pod where you could transform the space to give different impressions of wallwashing, uplighting, downlighting, spotlighting, cold light,

warm light. For my thesis, I then used this space to analyse people’s perception of the light and what the mood was.”

From there, Storey was hooked, shifting her focus from architecture

to lighting design and joining John Cullen Lighting permanently. It’s an obsession that remains today. “I had the option to go back into architecture, but I was obsessed by then, and I still am. I still love

every bit of it. I love design, I love historical design and contemporary design, and working with light, you become a master of a tool, the

fourth dimension of architecture, and you can apply that mastery in a number of different ways to solve different problems.

“The solutions that you have for a classical project are very different to a contemporary project, but you still find a solution, whether its ambient, task or feature lighting, but the solution was different.”

Working alongside John Cullen in the advent of the “Halogen

Revolution” (what Storey refers to as the first lighting revolution of her career), the company was primarily focused on residential

lighting and creating architectural lighting products for the home.

“It was interesting at the time, because very little was available,”

Storey explained. “There was either very glary halogen downlights, or rather large dark light fixtures, but there wasn’t anything in

between, so that’s how the John Cullen downlight range and the first Polespring developed.

“It was very much concentrating on residential design, so we ended

up finding or developing a product to support the design for a house, which would be something that I’d want in my own house, rather than the big, industrial things that you’d find in a hotel. It was

almost like trying to bring the museum quality light to the home, on a miniature scale.”

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“The best projects are those where the environment feels so wonderfully welcoming and good, but you don’t know why.

That’s the hidden magic that the lighting designer brings.”

Sally Storey As John Cullen Lighting began to grow, so too

in the wider design world was a particular

within Harrods.

of lighting design as a profession. It was

alongside her ambition to make the world

names, which is a fabulous testament to

to establish Lighting Design International

by at the time was that people didn’t

to invest – particularly the hotels,” Storey

time, there weren’t that many lighting

“You weren’t taught it at university, one

way that people went on holiday, and part of

Lighting, particularly for residential projects,

so much. The one thing I was taught was

were beginning to understand that lighting

service.

for the office, and that was it.

Amongst the big names that LDI has worked

came, and they were willing to pay for

didn’t know how to use it. The evolution of

diverse, meaning that the studio hasn’t

opportunity to have an independent lighting

If you go back in time, when you had lots of

a signature way of approaching projects.

work that we were doing.”

atmospheric environments. You then went

recently on lots of projects in Harrods, but

and later Goldman Sachs’ offices on Fleet

lit but ambience and layering were gone.

one is an entirely different retail experience

expanded its reach into hotels, shopping

magic of layers of light. I’m passionate

then Harrods Dining Hall is all about historic

organically to the position it is in today as

important light is in every aspect.

about dynamic retail lighting.

“We come from an architectural background

be in? How do we create a level of contrast

the Firmdale Group on Ham Yard and the

if it’s decorative, and if it isn’t decorative,

one of the things that we’ve really pioneered

Paris; they’re both in the luxury space but

architecture,” Storey said of LDI’s design

work that we do. I think the best projects

“I think we have a signature style, in that

“As we expanded, the team came from

enjoy being there; the lighting is integrated

come up with, we will go on and on to get

design – in the early days there wasn’t a

feels so wonderfully welcoming and good,

believe in time spent to set it up and make it

though, a lot of the people you employ

magic that the lighting designer brings – it

projects that we work on are timeless. An old

exciting to know that there is diversity in

and interior designer can remain the hero,

to be updated to LED now, but you would

backgrounds. The passion that brings us

nicer to be in.”

Alongside her role as Founding Director of

team is very different, so our inspiration

landmark, high-profile projects and clients

Cullen Lighting, taking over the company

“I would say that I’m an intuitive designer, I

Manhattan Bank and Goldman Sachs offices,

While balancing her time between the two

how it should be lit, whereas other people

the Savoy, Claridge’s, the Corinthia, the

to some, Storey feels that there is a clear

The lack of any real education or

worldwide, to name but a few. More recently,

particularly with John Cullen Lighting’s

did the understanding and acknowledgement

driver for Storey in the early days of LDI,

“We’ve got a track record of really big

this growing understanding that led Storey

“a better lit place”. “What I was so appalled

what we were doing, but they were willing

in the mid-80s. She explained: “At the

understand light,” she said.

continued. “They were trying to change the

consultancies, and that’s why John Cullen

of the things that displays the building

it was all about the experience, and people

was making lights and providing a simple

potentially doing a lux grid with fluorescents

helped the experience.”

“But then in 1986, Chase Manhattan Bank

“I think because it’s technical, people

with, the scope of work has been incredibly

design. I then realised that there was an

light was practical, rather than aesthetic.

developed a signature style as such, but rather

consultancy and charge a proper fee for the

candles and oil lamps, you had a lot more

Storey continued: “We’ve been lucky to work

From working with Chase Manhattan Bank

to fluorescent tubes and the space was

what’s been interesting about them is each

Street, the newly-formed design practice

So, we were then trying to bring back the

– the technology side is really high tech, but

centres and building exteriors, growing

about educating people to understand how

restoration, and the shoe departments were

one of the UK’s leading design studios.

“How do we make an environment better to

“Similarly with the hotels, we worked with

where we think that light should be seen

that adds to the interest of the space? I think

bowling alley there, and then George V in

it should be concealed, yet reveal the

and kept on doing is creating that in all the

with different interpretations.

approach.

are those that people go to, and they just

I like to feel that the lighting solutions we

product design, interior design, theatre

with the architecture, and the environment

the perfect results. We believe in detail, we

degree or an MA in lighting. Nowadays

but you don’t know why. That’s the hidden

happen, but we also believe that a lot of the

will have a degree in lighting, and it’s

doesn’t have to be the hero. The architect

halogen scheme, for example, might need

the team because we come from different

because what we’ve done is made the space

probably end up doing a similar thing.”

together is light, but what we bring to the

Over the past 35 years, LDI has a number of

LDI, Storey is also Creative Director of John

comes from different points.

to its name, from the aforementioned Chase

after John Cullen sadly passed away in 1986.

go into a space and have a gut feeling about

to hospitality projects such as One Aldwych,

companies may sound like a challenge

will design in different ways.”

Connaught, and many Four Seasons hotels

distinction between the two companies –

understanding about the importance of light

the studio has worked on a series of projects

residential focus.

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Interview

The Edwardian Manchester (Pic: Andrew Beasley)

Deirdre Dyson (Pic: Andrew Beasley)

Private Spa, as featured in Inspired by Light (Pic: Christian Richter)

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interview

“Working with light, you become a master of the fourth dimension of architecture.”

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1. Storey and LDI have more recently completed a number of projects for Harrods. These range from the modern retail environments of the Technology and Shoe departments, to the more classical design of the Dining Hall.

(Pic: Andrew Beasley) 2. LDI’s design concept for the Lanesborough Club & Spa in London was for it to work as extension of the more classic British design of the main Lanesborough Hotel, combined with details inspired by the Roman Bath Spa to create a luxurious new members club.

(Pic: The Lanesborough Club & Spa) 3. One of LDI’s landmark hospitality projects was a complete restoration of the lighting scheme for The Savoy hotel.

During the renovation, warm white light sources were used throughout, with lighting elements layered to highlight features within the space.

(Pic: The Savoy Hotel)

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Sally Storey

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“With LDI, I’m at the forefront of creativity and

“What I’ve always believed is that you should use

means that I’m aware of trends, or creating trends,

may be projects that come in that I feel are well

also gives us inspiration for the product range at

commercial projects out there that would need the

“The reason we ended up doing a product range

“I think in a way I’m lucky, but it was just being in

and I’d say that it probably inspired lots of other

history of being involved in design and product

“I’m inspired by what I see, and I see if there’s a

In amongst Storey’s varied portfolio of projects,

downlight to go in a shelf that was only 18mm

remained. “Commercial gives you that excitement,

Minim was developed. There is a design service

to dilute it and bring the right elements into the

designed to fulfil every role in every project.”

This fascination has led to her recently publishing

and John Cullen Lighting are very much separate

Light: A design guide to transforming the home.

are passionate about their independence”, but she

of residential lighting projects, was conceived as

and manufacture.

to better understand the impact that good lighting

if I started 10 years ago – it might just be design.

“I felt that too many people that I was talking

in both. I feel it’s a privilege.

didn’t understand LEDs. There wasn’t enough in a

and want to have something slightly adapted. So,

important that the cheap LED in your home has

it will become a new product. Likewise, we’ll be

proper quality has another, and how much had

have a new range based on our adaptations.

The book is broken down into three sections;

what is happening in the lighting industry. It

the product that’s best suited for the project. There

and I’m aware of what’s available. That experience

suited to John Cullen, but there are other more

John Cullen Lighting,” she said.

full consultancy advice and other products.

with John Cullen is because nothing existed,

the industry at the right time that has led to my

products in the marketplace.

development resulting this way.”

little gap. For example, I wanted a small, no-glare

the core focus on residential lighting has always

thick, but most miniature fixtures are glary, so the

and I think part of that excitement is knowing how

there, but it’s linked mainly to residential; it’s not

home,” she said.

Despite her involvement in both companies, LDI

a new book alongside RIBA, titled Inspired by

entities, with Storey adding “the designers at LDI

The book, which is filled with beautiful examples

finds great benefit in being active in both design

an entry point for interior designers and architects

“It would be interesting to know where I would be

can have on the home.

But what is interesting is being able to be involved

to – mainly architects and interior designers –

“Within design, so often we will look at a product

technical but layman’s way to explain why it was

somebody might adapt a John Cullen product, and

one effect, and the more expensive product with

working with other people’s products, and they’ll

become possible because of LEDs in lighting.”

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1. Completely devoid of natural lighting, the ESPA spa at Corintha in London is reliant on spa lighting to provide the atmosphere and mood to put guests at ease. Using entirely concealed lighting, LDI took a carefully considered approach to create the right mood across all four floors of this multi-functional spa.

(Pic: Richard Powers) 2-5. A selection of the beautiful residential projects from across LDI’s portfolio that featured within Storey’s new book.

These vary in style from classical to more contemporary architecture, and span around the world with examples from London to Kuala Lumpur.

(Pics: James Balston [2], Ray Main [3], Robert Miller [4], Heckfield Place Hampshire [5])

the first covers the more technical aspects,

back catalogue of impressive retail projects, with

lighting scheme and how various effects would

featuring. She recalled that collecting the various

demystifying LEDs and covering the basics of any work before explaining layers of light. “The idea is, just as an architect or interior designer plays

with a palette of textures and colours, the lighting designer plays with a vocabulary of layers of light and beam widths and different aspects. And it’s

by layering those that you get the richness of the scheme,” Storey explained.

The second section detailed how those techniques

could be applied to different rooms, with examples from both classical and contemporary design

to show how the solutions could vary. The final

section took six case studies from very different

projects such as a chalet, a barn conversion, a villa in Dubai and a duplex apartment, to showcase the different results that could be achieved from the

various lighting techniques. “You don’t use every idea on every project, it’s about deciding which ideas you use,” Storey said.

“I’d love to think of it as an aspirational book, but also a very usable book, so that an architect who

couldn’t afford a lighting designer would be able to learn and get ideas.”

Throughout the book, Storey called on an extensive

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work from both John Cullen Lighting and LDI

images was a challenge, but an enjoyable one

nonetheless. “A lot of the projects did have my

touch on them, but there were others that didn’t, but I loved the image and I thought it needs to be

celebrated – particularly when I was trying to get a balance between different styles of projects.

“A lot of books hold together because there’s one

photographer, because there is either a continuous photographic style or a continuous design style,

but I think by looking at the projects, because the

hand of so many designers were involved in terms of architects and interior designers, there’s so

much variety that I hope it adds to the richness of it.”

Published in October, Storey said that she has received lots of positive comments about the

book since its release. “I can’t say how it has been received, we have to look and find out what other people think, but so far I’ve had lots of lovely

comments. The proof will be in the pudding, but so far people say it’s really useful. And I hope, because technology changes all the time, I’ve

tried to make it open, so people get the guidelines

INTERVIEW

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on things like the technology of LEDs, but

power of light, regardless of the budget.

project what it is? What do we need and what

changes, some of what I’ve said won’t

we’re going to light things with less energy,

equipment? One needs to be bringing that to

it’s also loose enough that as technology change.”

While working on the book, there were a

number of other areas that Storey was keen to explore, from shelf and art lighting to

garden illumination, but was limited by page constraints. As such, she said that she has

already started thinking about further books down the line.

“At one time, I was interested in the

connection between the home and the hotel, because I’ve found that over the years,

homes were influencing hotels, then hotels were very much influencing the home.

“But the good thing about the home is

that it’s a good toolbox for those that do

hotels and everything else as well because it explains the rationale. Even if you’re

designing other things, the rules are the same. It’s just how you apply them.”

With more book ideas in the pipeline, Storey is hoping that she can continue her passion of “spreading the word in lighting,” and

raising awareness on the transformative

“What I find fascinating is working out how but more effectively,” she said.

“You tend to use light in really amazing,

rich spaces, but in places with low budgets,

lighting can transform. Think of what you can do in spaces with a low budget to make the

mood different. It’s about trying to persuade

people that actually, where budgets are tight,

you can create very simple environments, but make them very important.”

Alongside this, Storey believes a

continued push towards more sustainable, environmentally-conscious lighting

solutions is the way forward for the industry.

“We’re at an interesting turning point in

lighting and the world of sustainability, so

what is important for us is looking at how to make all of our schemes more sustainable

so that you can still create the layers, but be more conscious. That’s the direction that we’re going in,” she said.

“What I want to do is, at the beginning of the scheme, think of the key elements.

don’t we need? Could we do it with recycled the table earlier on in the project.

“The ultimate aim should always be beauty, but one should also think ‘did we save in creating that beauty?’ You shouldn’t put

things in for the sake of it. What is it adding?

Do we need it? Is this enough? I think just

having those questions is quite interesting.”

Having been involved in the lighting

industry for nearly 40 years, Storey has seen

a lot of changes in her time, but her love and

passion for light still burns as bright as ever.

She concluded: “I still get so excited when you take a space and, out of the darkness, create visual focus. You can change the

way people perceive the space, or control a

person’s mood by the way it’s lit. I find that really fascinating.”

www.lightingdesigninternational.com www.johncullenlighting.com

Inspired by Light is available now on the

RIBA Books website.

What are the key elements that make the

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Back To Life For the newly designed lighting of Stockholm’s Central Station, Light Bureau sought to pay tribute to the site’s landmark status, while bringing the grand hall back to life.

PROJECT DETAILS Stockholm Central Station, Stockholm, Sweden Client: Jernhusen Lighting Design: Light Bureau, Sweden Building Antiquarian: AIX Arkitekter, Sweden Electrical Consultant: MSIB, Sweden Electrical Contractor: Caverion, Sweden Photography: Kai Piippo

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Transport Lighting

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transport lighting

W

ith more than 200,000 visitors

relighting, the assignment for the project began

Central Station is one of the busiest

historical lighting and building appearance,

passing through each day, Stockholm transport hubs in Sweden. Listed as a

with extensive surveys of visual conditions,

analysing the existing lighting installations within

“building of national interest” - the highest grade

the grand hall and the current functions of the

of the first things that travellers into the city see

the existing lighting was far below the

of listing in the country - the station has been one for the past century.

While the station was first inaugurated in 1871, its

space. During these studies, it was determined that requirements of the space, with levels as low as 65lx at night, with very little contrast or accent lighting.

grand central hall was first opened in 1927. It has

However, one of the original features of the hall is

updates as its functions have grown and changed.

that are suspended below the arched ceiling. As

lighting scheme, courtesy of Light Bureau, which

bring these beautiful pieces back to life, to

since undergone a number of renovations and

Most recently the station has had a revamp of its

a series of ornate, golden lamps called “Luzette”, part of the renewed lighting, Piippo wanted to

was tasked with creating a new design that would

reinvigorate the accent lighting within the space.

the commercial requirements of the space, and the

were these beautiful lamps that were designed by

balance respect for the original architecture with needs of the passengers passing through.

Light Bureau won the lighting of this landmark

“When the station was first constructed, there

the architect who built the hall in the 1920s. They

had incandescent light sources in them, and after

project with proposal that Kai Piippo, Head of

dark they were the only electrical light sources in

design”.

coming in from above and from the side, and then

Design, described as “classic architectural lighting “There are only three light characters - general

lighting, uplighting and accent lighting - so it’s a very simple concept, but it took us five years to

complete because a lot of what seems simple at

first is not, it took a lot of testing and a lot of hard work,” he explained.

Once the team had won the competition for the

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the station. During the day there was daylight these beautiful, golden luminaires,” he said.

“In the 1950s, fluorescents came in, so they took

the light sources away from the Luzette and went

with fluorescent lighting along the side of the hall.

In the 1990s, they were reconstructed by two

lighting designers who redeveloped them and restored them, but they installed compact

While the new lighting for the Central Station showcases the grand arches while providing effective general lighting to the concourse. Alongside a traditional lighting scheme, the lighting designers created special coloured scenes for special occasions, such as Swedish National Day.

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1. The lighting scheme for the Central Station has been kept relatively simple, comprised of general lighting, uplighting to the ceiling, and accent lighting from the Luzette.

2. Part of the original 1920s design, the Luzette pendants have been given a renewed lift - fitted with LEDs, the addition of a hidden LED strip to uplight the golden frame brings the pieces back to life.

3. General lighting has been hidden within the framework of the ceiling, allowing architecture itself to take centre stage.

4. The desire for the design team was to create a lighting solution that would showcase the splendour of the site, while creating a warm and inviting space for travellers passing through.

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fluorescents in them, so you couldn’t see the

allowed for the installation to be programmed with

“We wanted to do something special with them,

additional, eye-catching displays for special

sunrise coming in, shining on the lanterns so that

“I wanted to add a little bit more to the space,”

character. So we did a lot of light tests, and

be a beautiful space. On a normal day, 200,000

finished in gold, so that they blended into the

Stockholm. The first time people come here, this is

To improve the general lighting of the space - what

“I thought about ways that we could use the light

new ambient lighting was installed along both

‘Welcome to Stockholm - the capital of Sweden’.

to reduce visual and physical disturbance on the

space that they could use the station to highlight

A combination of medium and narrow beam

Day, Easter, and so on.

varied contrast and light distribution, as well as

sense of value for the client, so that they know

event areas.

different scenarios programmed in that they can

vast, arched ceiling, was intended to, in Piippo’s

event, etc - we can help them to create whatever

ceiling to hug the people, and show the glory of its

them a system that is rich, that gives them

The uplighting incorporates DMX-controlled linear

Throughout the project, Piippo, Project Leading

white, mounted discreetly to the edge of the

Designer Andreas Ejhed and Technical System

ceilings. The introduction of coloured lighting

cooperation with the project leaders to create a

golden upper part of the luminaire at all.

everyday static or slowly dynamic scenes, with

and we came up with an idea when we saw a low

occasions.

they really glowed. It was a wonderful, perfect light

Piippo explained. “I wanted the station to not only

integrated some linear LEDs pointing upwards,

people go through here, it’s the busiest place in

fixtures and brought them back to life.”

what they are greeted with.

Piippo referred to as the first “light character”,

within the space to manifest the message of

sides of the station’s central skylight. The aim was

So we proposed to the company who owns the

ceiling by using small fixtures with a sharp cut-off.

occasions such as Christmas, Swedish National

luminaires with DALI control allows for more

“One of the biggest things for me is to create a

the ability to highlight the station hall’s three

they are getting a good investment. We had 10

The second “light character”, the uplighting of the

choose from, and then if there is anything - an

words, “create a hug of light”. “We wanted the

they want with the system. We wanted to give

construction,” he said.

something more.”

RGB fixtures and white fixtures in warm and cool

Lighting Designer Karolina Hahn, Senior Lighting

building to dramatically light up the spectacular

Specialist Fredrik Winqvist worked in very close

transport lighting

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solution that would showcase the splendour of

everything going on at the moment, it’s not a

for travellers passing through. The team also

it’s a ‘need to have’. It’s a key issue to use as little

would be using the space the most, to give them

Looking back on the project now, Piippo

“One of the first people that we met was the

the status that it does within the city of

said. “He has been working there for 20 years or

to get the new lighting scheme right. However,

interviewed him and asked him about what we

buildings means that he was able to find a

be easy to control, easy to access the controls, so

“You do the Central Station in Stockholm once in

that will actually live and work with the lighting.

yourself,” he said. “But because of this project,

to have the knowledge about the daily use.”

historical projects. It’s super interesting to

a new lighting scheme that fills the space with

how to make it a successful project. There are a

architecture and creating a welcoming, inviting

but it’s interesting.

levels now measuring up to 700lx, ten times

design, but it’s a beautiful space to be in; it’s

varied light levels throughout the year, the new

proud to go there. The building managers are

system for the general lighting, meaning that in

on Instagram, etc.

abundant, the general lighting dims down,

it is a beautiful space, it has come alive again.”

the site while creating a warm and inviting space

‘nice to have’ to think about the environment,

made extra efforts to speak to the people that

energy as possible.”

what they want.

explained that, with the Central Station having

maintenance manager of the station,” Piippo

Stockholm, he couldn’t help but feel the pressure

so, and he knows everything about the site. We

his experience of working within heritage

should do and should not do. He said it needs to

solution that would work.

we took this into consideration as he is someone

your lifetime, and you put that pressure on

This is a key part of my design process - you need

and several others, I have become a specialist in

This attention to detail has led to the creation of

understand the process and the pros and cons of

light in a considered, subtle way. Showcasing the

lot of different things to take into consideration,

space for those using the space - with light

“Going into the station now, it’s a simple lighting

what was previously there. With Stockholm’s

inviting and welcoming. I’m very happy and

scheme also has an improved daylight control

using the different scenarios, and you see it a lot

the summer months where daylight is more

“Before, it was dark and dull and boring, but now

saving energy in the process.

www.lightbureau.com

“It’s very good to have,” Piippo added. “With

lighting specified iGuzzini Laserblade LEDLab Ledstrip Delta Lumiled Lumenpulse Lumenfacade Interior Lutron Controls Örsjö Luzette Pendant Pharos Controls

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PROJECT DETAILS Dubai Route 2020 Metro Link, UAE Client: Dubai Roads & Transport Authority Lighting Design: dpa lighting consultants, UAE Architect: Atkins, UAE Interior Design: Aedas, UAE Photography: Phil Handforth Architectural Photography

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Transport Lighting

Earth, Wind & Fire To mark the arrival of Expo 2020, the Route 2020 Metro Link project is an extension of Dubai’s metro line that welcomes visitors to the Expo site.

Lighting for the station extensions came from dpa lighting consultants.

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transport lighting

T

he Route 2020 Metro Link project

“The lighting approach had to be robust enough to

Authority sees an extension of the

flexible enough to accommodate each station’s

from Dubai Roads and Transport

allow for the technical considerations but also

Dubai metro service, connecting the

signature architecture and interior design.

interchange at Jebel Ali with the flagship metro

“We didn’t attempt to mimic natural daylight in

extension – of which approximately 12km is above

varied in design and approach and was its own

stations and branches from the existing Red Line.

interchange station at Jebel Ali was a particular

architect Atkins (as part of the original Metro Bid

existing station, thereby putting the existing and

the design and specification of all architectural

Earth, Fire, Water and Air were the guiding

all six new stations and the one existing

design of the new line stations, but also dictated

number of unique lighting challenges, as Lee

development. Lighting design for the stations was

explained to arc: “Several challenges presented

design and engineering teams to enhance the key

station at the Expo 2020 site. Consisting of a 15km

the underground stations either. Each station

ground and 3km underground – it features seven

unique element within the overall journey. The

dpa lighting consultants was approached by the

challenge, as an extension building was added to an

team) to be involved in the project. Responsible for

contemporary interpretations into close context.”

lighting to the interiors, façades, and landscape for

principles that informed not only the lighting

interchange, the project presented the team with a

the architectural language of the new

Sweetman, Director at dpa lighting consultants,

developed alongside the architectural, interior

themselves at each stage of the process, from the

principles inherent in the original Metro concept,

to the integration and ongoing maintenance of

night-time identity for the newly commissioned

“Lighting of the prefabricated Expo station canopy

were to sit alongside more dynamic and

interpretations were developed in order to provide

the approach to illumination.

of all existing stations on the Red Line were

concept schematics with the newer interpretations

disadvantages associated with each station theme

technical guidelines also needed to be incorporated

differing design languages of each station through

while also maintaining and developing a unique

appropriate lighting equipment,” he said.

line. Subtle and contextual lighting interventions

was a particular instance and many design

characterful areas in order to balance and contrast

the most appropriate solution. Extensive site visits

“The challenge was in dovetailing the existing

undertaken to assess the advantages and

of the design,” continued Sweetman. “Certain

and type.

in order to provide safe and navigable levels of

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Across the new stations, guided by the elemental principles of Earth, Fire, Water and Air, subtle and contextual lighting interventions sit alongside more dynamic and characterful areas to balance and contrast the approach to illumination. Lighting also sits within the wider architectural and interior design to create a more unified, coherent feel to each station.

transport lighting

illumination to each individual space. Over illumination was always a

this more refined approach to the illumination helps to raise the

versus the aesthetic requirement.

This project also represented a rare opportunity to evolve and

large-scale pendants needed to be balanced in such a way that they

network, helping to provide cost effective and efficient transit

architectural lighting needed to ensure that these elements were still

Sweetman said: “Once again the architectural form is the main

concern given the conflicting criteria of the technical requirement “Several design-led features such as the ceiling features and

maintained their impact without being overbearing. Likewise the visible in the overall scheme.”

The Expo station and its canopy were key considerations throughout

hierarchy of the canopy above the surrounding architecture.”

enhance the after dark identity of Dubai’s critical public transport options to wide sections of the local community, commenting

driver of the identity of the new line. Its differential between the existing system is subtle yet noticeable and it was always our

the project and represented the primary focus of the lighting design.

intention that the careful and coordinated arrangement of the

announce the station and its arrival plazas within an often congested

the hours of darkness.”

illumination of the canopy celebrates the unique colour, contrast,

Mohammed bin Rashid Al Maktoum, Vice President and Prime

The canopy in particular, presented a unique opportunity to

illuminated environment. A subtle, yet sophisticated approach to the

internal lighting elements would give form to the stations during This iconic project was ceremonially inaugurated by H.H Sheikh

form and texture of this iconic architectural intervention.

Minister of the UAE, and Ruler of the Emirate of Dubai in July 2020

had to take into consideration this potential architectural/lighting

the project, Sweetman said: “Overall I believe that the design has

Sweetman added: “The site is densely packed and the lighting design conflict. The lighting of the canopy was developed to enhance the

colour, form and texture of this striking element while also providing

and became fully operational in the early part of 2021. Reflecting on achieved the required balance between the heritage of the existing

line identity coupled with the more contemporary interpretation of

a more sophisticated approach and one that was not overly

the new line. The external identity of all stations has been enhanced

the underside of the structure was eventually chosen as the most

experiential elements of the journey itself across the whole length of

theatrical. After many lighting trials, the soft, subtle illumination to appropriate solution, given the complexities of installation and ongoing maintenance.”

For Sweetman, there was never the worry that by creating something

more subtle, the design would get lost among the wider visual noise of the Expo, telling arc: “I believe the structure itself is the main player in the interaction of architecture and light. Light is used to enhance the structure’s character and night-time identity and I believe that

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while the interior lighting has endeavoured to emphasise the

the railway extension. In particular, lighting to the Expo canopy and station are significant additions to the overall night-time visitor

experience, helping to reflect the great levels of importance and civic pride which the UAE has invested in all aspects of the Expo infrastructure and design.” www.dpalighting.com

Casambi Award 2021 winner: Harrods Dining Hall by Lighting Design International

CASAMBI AWARDS 2022

Casambi Awards 2022 is now open for entries!

Submit your nomination for the best Casambi project or the best Casambi Ready product by 1st of February at www.casambi.com/awards

PROJECT DETAILS Manchester Airport Terminal 2 Expansion, Manchester, UK Client: Manchester Airport Group Lighting Design: Hoare Lea, UK Architect: Pascall + Watson, UK Engineer: Laing O’Rourke, UK

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Transport Lighting

Gateway to the World As part of an ongoing redevelopment of Manchester Airport, Terminal 2 has been expanded and revamped, more than doubling its capacity for passengers. The new-look terminal features a dynamic and welcoming lighting scheme designed by Hoare Lea.

P

re-pandemic, Manchester Airport was the third

largest airport in the UK, with almost 30 million passengers travelling through each year.

Spanning across three terminals, the airport is

undergoing a vast, £1bn transformation, first announced in 2015

by Manchester Airports Group (MAG) and spearheaded by

architects Pascall + Watson. The huge transformation programme comprises a series of 60 enhancements; key elements among

these include new piers, aircraft stands, forecourt and multistorey car park.

The centrepiece of the transformation though, is the extension of Terminal Two. Completed earlier this year it offers state-of-the-

art facilities and provides a first-class experience for passengers, in a modern, bright and spacious environment.

The new terminal features a series of open, double-height spaces and floor-to-ceiling glazed façades, ensuring a bright and airy

interior awash with natural light, while more dynamic touches

have been introduced to create a vibrant and welcoming space for travellers.

Hoare Lea has designed the lighting strategy for the expansion, working alongside Pascall + Watson, and principal contractor Laing O’Rourke on the development.

David Linville-Boud, Associate at Hoare Lea, explained how the

lighting concept first took shape: “The general look and feel had been developed by the architect, and CGIs had been produced by

them, which included lighting elements. We took their conceptual designs and investigated how we could achieve the desired intent, what typical products would allow this to be achieved and what

their general performance specifications would need to be (beam angles, outputs, optical controls, etc) in order to achieve the design principles required for each space.

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“As designs started to become more detailed, if there were

the scope areas,” he added. “From there, full designs were

the contract, this was detailed, designed out and presented

also considering the appearance within 3D space to ensure

the giant, colour-change hexagons in the departure

Working within a large-scale, £1bn redevelopment

design of skylights above the space.”

such, the design team had to work hard to ensure a level of

the lighting to enhance the experience for users of the

within an airport also presented a number of challenges

is an important visual element, the experience of the

challenges included the sheer scale of the project, covering

appreciation of each space while being able to undertake

coordinated between each space.

it is a functional task such as security, or a leisure task such

requirements exist for certain applications and careful

time waiting for departure. Different lighting treatments

achieve the specifics while ensuring the appearance was

space usage and assist in defining each space and guiding

meet the requirement but at a cost of reducing the

Taking the architectural design intent and the building

Linville-Boud added that, due to the size of each space

Boud explained that the concepts for each space were

architectural designs, lighting the volume of each space,

performance requirements, product types and installation

were integral factors that were “as important as achieving

lighting design approach.

“With the concepts set out at the earlier stages of the

utilised to build lighting design models to make it easier to

to suit each space exactly,” he continued. “This resulted in

opportunities for alternative or additional lighting within

undertaken for every space to ensure compliance whilst

accordingly. A good example of this is the introduction of

the best passenger experience.”

lounge, which were introduced to replace the original

programme, the scope of the project is incredibly vast. As

The primary focus for Linville-Boud and Hoare Lea was for

consistency across the site, while the logistics of working

space. He continued: “While highlighting the architecture

for Hoare Lea, as Linville-Boud explained: “The main

journey of travellers through the airport and their

multiple areas and ensuring a cohesive design that

the tasks within each is the primary requirement – whether

“Due to the nature of being an airport, some very specific

as circulating around the departure lounge, or just passing

development of the lighting was required in order to

react to the architecture, the varied ceiling heights, the

coordinated and integrated to prevent a solution that may

travellers through the arrivals or departures activities.”

aesthetic of the overall space.”

blocks defined within the basis of the design, Linville-

within the terminal, and their respective, clearly defined

fleshed out as individual elements to define the exact

providing visual interest and creating the right ambience

requirements to fit the architecture and the overall

the lighting on the working plane”.

“Following on from this, the complete BIM model was

design process, these needed to be rolled out and tailored

handle the design for each space due to the large size of

a few adjustments to fit the geometry of each area as the

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ambition was to ensure consistent details, such as product spacing

which weren’t designed at that time.

maintained.

methodology employed already here for a consistent approach

areas utilised a baffled ceiling with lighting integrated into the baffle

architecture, need to be read as one and not seen as a refurbished

downlights in-between rafts. This methodology was consistent

products and consistency in the lighting design and lighting control

The idea of a consistent methodology and identity throughout is an

terminal, allowing better management of the building services, more

which will eventually see other areas expanded and renovated.

more pleasant environment.”

plan may have been a challenge, Linville-Boud didn’t see it that way.

employed for all the lighting integrated into the existing building

actual lighting design or solutions, but it does complicate the design

exception of the large colour-change hexagons, which operate from a

quantity of the lighting products required.

design, and this was then rolled out across the various spaces with

check-in hall – this ensured the designs were exact for each and not

by Laing O’Rourke, operates almost 20,000 drivers, more than 3,000

transfer correctly into the actual architecture.

O’Rourke the Large Indoor Project category at the 2020 DALI Awards.

must be met alongside the general typical requirements for usability

improve the user experience within the terminal, as Linville-Boud

process, providing integrated solutions was possible, rather than

employed increases the quality of the travellers’ experience, while

“The extension to Terminal Two and the new pier also set the

airport operator – whether it’s dimming, scene setting, colour

spaces as and when they are developed. Due to this, it was important

“The system is also linked to the flight information to be able to raise

to allow them to be tailored to similar yet different spaces – some of

The large colour-change hexagons are positioned adjacent to a

across each open area to allow the pattern and rhythm to be

“Other areas are being looked at, and the designs will follow the

“Each area type had its own design solution; for instance, circulation

throughout the terminal and piers. The designs, as per the

layout, whereas the security area was based mainly on suspended

building and a new build. In addition, the commonality of lighting

throughout, giving the coordinated layouts and identity to each area.”

will create a seamless integration of the extension to all areas of the

integral factor to the wider redevelopment of Manchester Airport,

efficient operation, and provide visual uniformity, creating a calmer,

However, while working within the context of a wider redevelopment

For this large-scale operation, a new lighting control system was

“The large-scale nature of the project doesn’t overly complicate the

management system. DALI was utilised in every luminaire, with the

delivery due to the sheer size of the spaces and the associated

DMX protocol. Lighting control types were set as part of the basis of

“Each space was designed in full, whether it was a WC, corridor or

adjustments to suit individual situations. The DALI system, created

based on a rollout of theoretical design parameters that may not

sensors and 500 application controllers – the project won Laing

“There are specific requirements for ‘task’ areas in an airport, which

The introduction of a dynamic control system was part of a push to

of the spaces. As these were generally known during the design

explained: “The lighting control system and the way it has been

needing to add additional lighting as an afterthought,” he said.

also giving full controllability and the associated benefits for the

methodology and design approach that will be continued into other

control or event activation.

that at the early stages, the design solutions had a certain flexibility

and lower light levels around gates depending on their utilisation.

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transport lighting

two-storey media wall, and they have the ability to

space and the ceiling height, which can vary

“The ability to group and control sets of luminaires

“All of the lighting is part of the architecture to

through the spaces – areas not in use can be

more harmonised. In specific areas, such as the

lighting through their travels.

elements are included – in the check-in hall to

with many users circulating in all directions with

departures to add active features to make enticing

Every aspect that can reduce this confusion can

time and be immersed into the environment.”

destination, whether this is through signage,

Two in July of this year, Linville-Boud is satisfied

separation of lighting treatments and light levels

the wider architectural design, creating a

and negotiate through spaces to the desired

He concluded: “The final appearance of the

As Linville-Boud mentions, airports can be hectic

performance and appearance, and creates people

of a dynamic lighting system, he believes that the

from the moment they arrive right through to

calming and uplifting environment for travellers

The lighting is successful and integrates very well

“All lighting has been selected to be low glare to

spaces that flow from one area to the next, forming

circulation spaces, lighting is mainly shorter linear

gives a quality and relaxing experience in such a

ceilings, giving visual guidance to travelling routes.

www.hoarelea.com

respond to the content being shown on the wall.

substantially.

allows the lighting to be used to guide travellers

give a pleasing appearance to make the spaces feel

dimmed, allowing the passengers to follow the

check-in and departures, additional feature

“Airports can be alien and confusing environments

create an impressive welcome mat and in

limited knowledge of the layout of the spaces.

spaces where passengers can enjoy their dwell

come together to ease the ability to locate their

Following the opening of the revamped Terminal

architectural designs and materials or lighting. The

that the final lighting scheme sits in keeping with

into specific areas enhances this ability to navigate

welcoming space for travellers.

destination.”

lighting meets the design intent in both

and stressful places. Therefore, with the addition

focused spaces that enhance the user experience

lighting design will help to facilitate a more

boarding a plane.

both arriving and departing from the terminal.

with the architecture, which itself creates amazing

enhance visual comfort,” he said. “In transient

a fully coordinated and effective transition that

fittings integrated into the layout of the baffled

busy and active environment.”

Larger spaces utilise alternative solutions with the appearance suitably scaled to suit the size of the

lighting specified Optelma Firo Optelma Fortimo Optelma Quad 62 Optelma Varibeam PJC Acoustics Large Bespoke Barrisol Hexagons Whitecroft Avenue Suspended Whitecroft Avenue Metro Suspended Whitecroft Bespoke Hexagon Fitting Whitecroft Convor Whitecroft Florin Whitecroft Foil XS Line Whitecroft Kolo Whitecroft Minion Recessed Whitecroft Mirage Comfort Recessed Whitecroft Mirage Comfort Surface Whitecroft Spectre WE Whitecroft Starline Flex Whitecroft Tegan Slim Whitecroft XR1

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24 Hour Party People As part of the renovations to Manchester Airport’s Terminal 2, JPLD designed the lighting for its Duty-Free stores, creating a scheme that celebrates the city’s eclectic heritage.

A

s detailed in the previous article,

for the store concept,” said Poore.

has undergone a dramatic overhaul,

is a critical element in any design, especially when

Terminal 2 of Manchester Airport bringing a new life and sense of

vibrancy to one of the UK’s busiest and most frequented transport hubs.

PROJECT DETAILS Manchester Airport Terminal 2 Duty-Free, Manchester, UK Client: Dufry & Manchester Airport Authority Lighting Design: JPLD, UK Interior Design: The Design Solution, UK Lighting Specified: DGA, iGuzzini, Pharos, Pulsar, Vexica, XAL

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Key to this refurbishment is the redesign of the

terminal’s huge duty-free store, which has been

designed to deliver an experience that spans more than just shopping.

The lighting for the store was designed by JPLD,

who wanted to use it as an opportunity to celebrate Manchester’s rich heritage. James Poore, Creative

Director of JPLD, talks us through the key elements of this complex scheme.

“Flowing through the fabric of the city,

Manchester’s energy and creative expression can be felt 24 hours a day, and this formed the inspiration

“Sense of place is an often-overused term, but it

the space becomes an important gateway to the city in which it dwells. Working closely with the retail designers and architects, we developed a strategy

and scheme that encompasses the many facets of the identity of this wonderful city.

“The category worlds within the store celebrate

a city that is always on the go both night and day.

From its industrial roots through to its world-

renowned nightclubs and eclectic musical culture, to say Manchester is a rich source of inspiration is something of an understatement.”

Using the city’s cultural standing as an inspiration, the design team has brought all of these elements together to inspire a series of installations and

worlds that create a Duty-Free store that breaks

transport lighting

from the norm and has a strong attitude and unique personality.

area, comprising the perfume and cosmetic zones, was designed to

intrinsic to the main store, with materiality and lighting synergising

lighting with warmer colour temperatures and considered lighting

experience,” Poore added.

“A key feature in the Magic Garden to emphasise the more natural

create a dynamic and vibrant environment “befitting of the gateway

lighting. In addition, oversized flowers and a giant, iconic “worker

“One of the key features was the way digital technology was

narrow spotlights that give a nod to the more dramatic concerts and

customers as they pass nearby,” Poore added.

As the VIP bar is the “Island” at the heart of the liquor zone, the

areas, and these are able to communicate messages at certain points

This is complemented with concentric lighting details in the

elements of the lighting to emphasise the message, while bringing

concealed lighting detail to emphasise the materiality of the curtain

Some elements are more subtle than others, such as the large

then used to further underline the ‘softer’ nature of the space.

bays, but one of the standout areas of the store is the central “VIP”

inspiration from the industrial side of Manchester. “Originally home

Here, a circular DJ bar has an array of linear luminaires mounted

up-to-date structures and buildings that reflect the extraordinary

out across the ceiling structure. These RGBW fittings take the same

“We have created a clean, crisp lighting scheme that is aspirational

transform the imagery into a complementary, abstract light show.

elements, including the linear edge details and gantries traversing

counter, and these are complemented by track-mounted spotlights

With the backdrop of Manchester’s rich history as an inspiration,

add further drama and contrast to the space.

dynamic, and entertaining destination – much like the city itself.

“The ‘24 Hour Party People’ vibe of Manchester’s 90s music scene is

“celebrate the softer side of Manchester with natural tones, softer

together to bring all the elements of the night out into the retail

highlighting the change in materials and surfaces,” Poore explained.

One of the key facets of JPLD’s design was to therefore use light to

aspects includes the green backdrops, illuminated with subtle up

to this exciting and energetic city”.

bee” complete the theme highlighted with high level, concealed

integrated, enabling us to communicate multiple messages to

theatrical performances that the city is also renowned for.”

As such, a series of ‘digital echoes’ were strategically placed in key

dramatic circular central area is the fulcrum of the Magic Garden.

in the customer journey. These ‘echoes’ are carried through into

ceiling and a highlighted gold curtain feature, which incorporates a

cohesion between the digital and lighting elements.

and make it ‘pop’ against the ceiling. Plastered in downlights are

pendant hoops over the Gin Zone, or the thin trim around the wall

Moving on to the Sunglasses, Jewellery and Watches zone, JPLD drew

zone.

to the manufacturing industry of the last century, the city has many

vertically around its base, which then seem to cascade upwards and

vision of the city,” Poore said.

video feed as the digital media feature screens behind the bar and

and uses cooler, crisper tones and several integrated lighting

Pendant fittings from Tom Dixon populate the area over the bar

the space in a cooler colour temperature.”

hidden up among the ceiling structure, which punch down through to

the Duty-Free store of the newly revamped Terminal 2 is a vibrant,

Continuing the journey through the store, the “Magic Garden”

www.jpld.co.uk

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Deep Roots The bright, monochrome finish within Berlin’s new Rotes Rathaus subway station is a bold contrast to its historic setting, with a complementary lighting scheme from Licht Kunst Licht.

PROJECT DETAILS Rotes Rathaus, Berlin, Germany Client: Berliner Verkehrsbetriebe Lighting Design: Licht Kunst Licht, Germany Architect: Collignon Architektur und Design, Germany Photography: Frieder Blickle

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Transport Lighting

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transport lighting

T

he Rotes Rathaus (Red City Hall) in Berlin is a new

downlights, were fitted with pairs of inground luminaires.

government district to the Berlin subway station.

whether the light should come from the cove at the edge of the

subway station that connects the main station of the

“Initially, the architect wanted a light ceiling appearance, and asked

Designed by Berlin-based Collingnon Architektur und

mushroom columns. We rejected this idea because it would have

Design, the station opened in December 2020 after more than 10

focused too much attention on the columns. As an alternative, we

the station was transformed into a public space that aids flexibility in

the platform and using the indirect reflection of a brightly painted

Back in 2010, underground remains of the gothic styled town hall

a little sceptical about whether this could work, but we were able to

decided to preserve and incorporate it into the new architectural

demonstrated. But, the radical reduction of the concept to simple

the development of a mushroom-shaped column structure that

the room itself would benefit from this effect.

The new design for the station revolves around a simple yet dramatic

way around. This means that the ceiling was poured first with the

ceilings, dark and subtly sparkling walls made of polished concrete,

removed and the rest of the room was added,” continued Smida. “For

which results in a radiant reception flooded with light when entering

be installed in the ceiling years before the luminaries. At the time of

arc caught up with Edwin Smida, project leader from Licht Kunst

the end, contemporary LED luminaires were installed. The

years of construction. With lighting design from Licht Kunst Licht,

put forward the idea of using downlights for the general lighting on

movement and safety.

floor for the ceilings,” said Smida. “At first, the Collignon office was

were discovered. In a bid to conserve the historic structure, it was

show some images of other projects in which this effect was easily

design. After numerous revisions, the final agreed upon design led to

downlights was convincing in the end, because we could foresee that

mimicked the original vaulted ceiling.

“The project was not built from the bottom up as usual, but the other

black and white colour scheme. Boasting gleaming white floors and

mushroom columns attached, and then the soil from underneath was

the anthracite-toned staircases remain in dark colours to add drama,

the lighting, this meant that the concrete recessed housings had to

the 140-metre-long station hall.

planning, we were still calculating with metal halide lamps, but in

Licht, to discover more about the studio’s approach to lighting the

manufacturer, We-ef, mastered the balancing act between the early

the architect, Licht Kunst Licht worked closely with the architectural

housings and the later contemporary lighting technology excellently.

changing concept.

constant monitoring of the progress of the construction site. For this

lighting design simply consists of integrated downlights in the

endless commitment.”

white floors and ceilings produced the desired, pure lighting effect

waterproof concrete floor to form the bottom of the pit. A “cover”

staff. Luminaire wattages and beam angles were adjusted by Licht

ceiling of the station. The flared support heads were completed early

varied ceiling heights in the hall and on the side wall of the connecting

This had consequences for the ceiling-integrated lighting concept.

space. Continuing the lighting studio’s established relationship with

system coherence of the downlights and the concrete cast-in

project team to create three proposals to fit in with the ever-

This was only made possible with close contact to the client and

Deciding to not use additional, complex lighting structures, the

we must explicitly thank We-ef employee Detlef Herfter for his

concrete ceiling. The calculated interplay with the reflection from the

In the beginning, side diaphragm walls were built, followed by a

along with a high level of visual comfort for passengers and station

was then concreted over the pit to form what would later be the

Kunst Licht to ensure each fixture was correctly fitted across the

on, but the supporting columns grew in a later construction phase.

bridge. Platform ends, where ceiling protrusions prevented the use of

The first installation step was the mounting of concrete installation

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VO R SA D OT M I N I AT U R E | P O W E R F U L | A D A P TA B L E

ACTUAL SIZE

LO N D O N | PA R I S | D U B A I | M U M B A I JOHNCULLENLIGHTING.COM

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transport lighting

housings, which was carried out early on. We-ef

the station’s location.

In addition to a formwork element for the recessed

emphasise this modern look, and paired with the

entries for the redundant wiring. Later, operator

atmosphere. “It’s charming to end up in a bright

any risks as reliability was a top priority.

underground,” said Smida. “Ours almost looks like a

the HIT discharge lamps commonly used at the time.

ground. But the way to the hall could still have a bit

worked together to select the future-proof LED

slopes as connecting pieces in contrasting black. We

lighting to be seamlessly incorporated into the

contrasts would have had to be much stronger. It

installed in 2017 during the fit-out of the hall. A

Overall, the new station is not only a place of

above the platforms. With 24 LEDs in warm white

iconic piece of design in the city centre.

48W, they produced a symmetrical medium-beam

to focus on the lighting atmosphere rather than on

than 100 DOC220 recessed luminaires with 12 LEDs

knowledge at the service of the architecture, i.e., we

with lower ceiling heights. ETC140 inground

architecture. This principle usually produces strong

the ends of the platforms and feature a non-slip ASC

various trades is perceived as a unity,” added Smida.

Taking cues from the architecture, the lighting

achieve these studio-driven principles at the Rotes

Collignon (head of the architecture firm), which was

lighting scheme under challenging circumstances.

delivered the customised modified housings in 2013.

The monochrome colour contrasts continue to

installation detail, they also featured additional

lighting, create an open, bright and comfortable

Berliner Verkehrsbetriebe (BVG) decided not to take

and friendly-looking room on the way

In 2010, it became apparent that LEDs would replace

hall, the likes of which are usually only found above

We-ef, the architects and lighting designers all

of drama, so it made sense to design the stairway

technology. This also accounted for the emergency

never saw a problem here in terms of adaptation; the

scheme. The lamps were finally delivered and

was all purely intentional.”

total of 70 We-ef DOC240 lamps were installed

significance for Berlin commuters, but also as an

(3000K) and a connected wattage of a maximum

“In virtually all of its projects, Licht Kunst Licht tries

light distribution. Additionally, there were more

the luminaires themselves. We always put our

and symmetrical medium-beam optics in the areas

try to find a concept that works in harmony with the

luminaires with 24 LEDs in 3000K were installed at

and expressive results in which cooperation of the

coating in accordance with DIN 51130.

It is safe to say that Smida and his team were able to

matches the modern aesthetic created by Oliver

Rathaus station and create a stunningly simple

designed as a purposeful contrast to the history of

www.lichtkunstlicht.com

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The monochrome finish within the station creates a modern feel that is a deliberate contrast to the history of the station’s location, while giving the underground station an open, bright and comfortable atmosphere.

lighting specified We-ef DOC220 We-ef DOC240 We-ef ETC140

CEILING LUMINAIRES Architecture Enable the seamless continuation of lighting from interior to exterior with the new DAS100-PM and DAC100.

Transport lighting

Pics: Tomas Rodriguez

Aviation Fascination A new multimedia exhibition has been installed in Frankfurt Airport, detailing the flight paths of planes as they take off and land. The dynamic installation is illuminated by Lightnet’s Light Line fixtures.

I

n the centre of Frankfurt Airport, in Hall C of Terminal

same time, a very precise and flexible control system was needed for

only multimedia exhibition all about the fascination of

control via DALI would not be sufficient. Instead, Boissel opted for

1, flying becomes a new experience through the world’s aviation. Over 325-metres and two storeys, the central

the running light. It became clear relatively quickly that the usual

a technical platform that is the standard in show business but has

element of the exhibition winds its way through the new visitor

hardly been used in architecture so far. Each of the 2,300 boards

planes as they take off and land. A 14-metre-long and eight-metre-

developed a completely new sub-board with DMX controller, the

centre and precisely traces the flight paths and holding patterns of wide model of the airport incorporates a unique light installation using Lightnet’s Light Line into the exhibition’s model runway.

can be controlled individually via DMX. For this purpose, Lightnet software for the control was also newly programmed by Stageled.

“For me, the subject of control was new, I am actually responsible

The true-to-scale model of the entire Frankfurt Airport extends into

for light art and light planning,” said Boissel. The installation also

aid and explanatory object. According to Jochen Gringmuth from

explained: “The light installation refers to the flight lines from the

the design, the idea of the main exhibit was to show the size of

there is the exceptionally cool light colour of 5700K.”

the exhibition via the light installation as a signpost orientation Coordination Berlin, the architectural practice responsible for

had to meet special requirements in terms of light colour, as she airport, one thinks of the vapour trails from the sky. That’s why

the airport not only on the ground but also in the air: “To display

The elongated shape of the installation required the utmost precision

physical installation; using Liquid Line was the only solution for

offered only a very small number of points for suspension and

the approach and departure of the planes and to back it up with a us,” he said.

The enormity of the flight paths could only be captured by creating

in shaping, while at the same time the existing functional ceiling cable routing. For fire protection, the installation also had to be

interrupted at firmly defined points. The sum of these requirements

them on a scale of 1:1500; the airport is shown twice as large.

meant that only one manufacturer applied for the tender.

steep angles of the take-off movements are very clearly recognisable,

surprising: “This project was made for us – on the one hand, with

Nevertheless, the light installation remains very close to reality. The and the frequency of the running lights is based on the actual flight movements in 2019.

What visitors experience intuitively was new technical territory in several respects for lighting designer Anne Boissel and her

manufacturing partner Lightnet. In order to realise the architect’s

vision, a profile was needed that was flexible enough to be bent both horizontally and vertically, allowing for a variety of branches. At the

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For Axel Tiebel, Managing Director of Lightnet, this was not

Liquid Line we already had a product in our portfolio that can

implement very diverse curves in all dimensions. On the other hand,

we combine very deep expertise in mechanics, electrical engineering, and surface finishing inhouse, coupled with a way of thinking that makes it possible to react openly to unusual tasks like this one.” www.lightnet.de

www.liquid-line.de

COMPACT DOWNLIGHTS

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www.lightgraphix.co.uk

transport lighting

Underground Network Delmatic has delivered an advanced lighting management system to the Doha Metro, providing dynamic scene-setting and energy optimisation across its 37 stations.

D

oha Metro is one of the largest and most advanced

lighting accents and scenes, as well as support and security functions.

advanced lighting management systems provides

IP communication across the station IT networks, while seamless

driverless metro networks in the world. Delmatic

dynamic scene-setting and energy optimisation with

smart data sharing throughout the 37 stations.

Delmatic’s IP DALI modules deliver addressable control, regulation

and monitoring of lighting throughout front-of-house concourses, mezzanines, platforms, ticket offices and public facility rooms as

well as back of house and external spaces. Its network of smart DALI controllers, DALI multisensors, DALI presence detectors and DALI

daylight photocells optimises energy-efficiency and sustainability and provides advanced scene-setting control and the versatility to

configure dynamic lighting schemes to achieve the aesthetic vision of the stations.

The stations’ unique design takes inspiration from traditional

Bedouin tents and reflects the heritage of Qatar. The architectural

vaulted spaces direct daylight deep into the station interior, and the

Delmatic systems dynamically adjust lighting to replicate the effects of daylight in subterranean areas. Lighting scenes sequence in real

time to the varying conditions of occupancy and daylight coupled with astronomic calendar scheduling. Integrated light lines within the

station ceiling and pillars double as wayfinding elements, while the

system initiates a configurable range of daytime, evening, and night

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DALI dimming and monitoring combines with open protocol Modbus integration with the stations’ building management system shares key data as well as optimising operational efficiency. To ensure

reliable and robust operation, the systems provide total distributed

intelligence and deploy independent standalone control in the event of loss of comms with the BACS network.

The systems provide sophisticated control and operational

flexibility, enabling lighting modes and scenes to be configured, managed, and adapted across the network through animated

graphical software. Delmatic’s graphical interfaces and applications continuously monitor the complete lighting ecosystem, providing real-time data and intelligent analytics on station lighting

performance, including energy usage mapping, hardware and

network tracking, fault detection diagnosis and individual lamp

and driver failure diagnostics. The systems monitor and display the

operational status of every lamp and driver, flag failures in real time, and generate re-lamping plans to ensure luminaires are sustainably replaced at the optimum point. www.delmatic.com

How To Be An Ally Following Carmela Dagnello’s research into gender equality in the lighting industry, Neil Knowles, Director of Elektra Lighting and Male Supporter of WIL, offers some advice to men in the industry on how to be better allies.

D

o you have a penis? Read this article.

The deserved success of the Women in Lighting project has left a lot of men standing on the

sidelines thinking “what can I do? How can I help?

Fear not! Below is your handy cut-out-and-keep guide to How to be an Ally.

This article is addressed to men, and phrased accordingly.

What is an ally?

Ally: Someone who makes the commitment and effort to recognise their privilege and acts in solidarity with oppressed groups in the

struggle for justice. Allies understand that it is in their own interest to end all forms of oppression, even those from which they may

benefit in concrete ways. An ally is someone who uses their privilege to support the rights of the marginalised. (www.blueprintforall.org)

Why Should I?

You know this already. Women are routinely discriminated against, harassed, assaulted, murdered. Even in the workplace, sexual

discrimination is rife, put-downs, harassment, touching are all

common. You know these are wrong. Now is the time to step up and say something about it.

If that doesn’t get you, self-interest should. A diverse workforce is better than a homogenous one. Especially in design, take 10

identikit men (what Grayson Perry calls “default male”) and you’ll get 10 similar answers to a design problem. Add some women, you get a different perspective. Add some people of different religion, Neil Knowles, Director, Elektra Lighting

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background, ethnic group, class and so on, you get a much deeper

and broader perspective on the problem and a much better solution.

women in lighting

Pic: Edgar Chaparro, courtesy of Unsplash

I don’t feel privileged!

hire you after all, and you aren’t going to turn the job down. But

have privilege that others don’t have. You might not feel this is the

inequalities in the world. Reach down and help up others, support

normal. I’d urge you to watch this very powerful short (4 minute)

and privilege to do so.

Let’s start with some basic principles; sexist people exist in the

What can I actually do?

Some are more subtle – no problem with a woman at work but what

Remaining silent (or worse, joining in) when others make sexist

The first step is to realise that as a man (or more, a white man) you case, because this is so ingrained in life that you just accept it as film, it will change your mind: https://youtu.be/buYh81cvrYs

world. Some are explicit, thinking a woman’s place is in the kitchen. if she has to take time off to look after her children (what, and men

don’t have children)? And some are almost unsaid – we want a team player, someone like us we can all get on with. Unnoticed that the

speaker is white, male, middle class, and will, without realising what he is doing, hire another white, male, middle class person.

If you’ve been interviewed for a few jobs, and each job has 2-3

panellists interviewing you, some of these people will have been

directly or indirectly sexist. You’ve benefited from this by getting the job instead of a woman. Her career is held back. If you have pitched

for 100 projects in your career, a fair number of them will have been decided by a sexist person, and you have won that job instead of a

woman. Her career has been held back by this. Ever wondered why

there are so few people in senior roles in FTSE 100 companies? This is

why. It only takes one hire/not hire decision to turn a meteoric career path to a lesser one, and after 20 years of this, the only ones left with a meteoric career path are men.

Male privilege exists. Pretending that it doesn’t is not helping. It

doesn’t mean your life is not hard, it means that your genitals are not one of the things making it hard.

Don’t worry. We’re not blaming you. It wasn’t your decision to

having reached a position of relative power, you can help right the them. Help right the wrongs of this situation by using your power

Don’t remain silent

jokes or remarks gives the impression that you agree. Already

marginalised and bullied, now the target feels like they have no support. This prevents them taking action.

Recently I was at a hotel opening where the interior designer, a talented woman who had been publicly praised in the opening

speech by the hotel owner, had her bottom pinched during the drinks reception. She didn’t want to do anything about it, as “this company is just all like that, and they won’t take it seriously”. If she thought instead that the company was not like that, that most people were on her side, that HR would act appropriately over what is after all classified as a sexual assault, the situation would be different.

Do not sit there, silently. Stand up and be counted. No, I’m not

putting up with this. Yes, it does come with an element of personal risk; if it didn’t it wouldn’t be brave of you. But don’t you want to

think of yourself as a brave person, the kind of person who stands up for others? Be the best version of yourself, the kind that doesn’t sit there and say nothing.

Fight their fight

Why is this your fight though? So someone’s been put down,

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Emilio Hernandez Ström

The topic of unconscious bias has come up in our discussions on how we can better support the Women in Lighting movement. When I look back this is probably the more common stereotyping taking place day to day that I have been witness to and usually this is on site.

I’m mindful I need to be careful how I broach this as these aren’t examples of things that have happened to me. But I’ve witnessed too many patronising assumptions about the capability of a colleague to carry something or climb a tower and aim a fixture to count.

I have to be very clear that more often than not the bias I’ve seen comes from a place of ignorance, a generation unaware of how these actions could possibly demean someone. But at the more cynical end of the spectrum, I’ve witnessed contractors offer the interior designer or a colleague ham-fisted excuses about why their design ‘isn’t able to be built’ as per their intent, and then barely able to conceal their contempt when a persuasive ‘please’ needs to become a formal instruction.

In one instance when the fit-out contractor and interior architect formed a formidable team, rumours that the relationship is something more than professional were not far behind and in another I’ve had a colleague come back from site and describe how her host had essentially steered her around with his hand on her shoulder or back, which needed to be escalated pretty quickly both internally and with the management.

Whilst the perception of women often isn’t helped by the often ludicrously ill-fitting PPE clothing provided on sites (again unconscious bias at the PPE ordering stage) crucially, in my opinion, the lack of women working in the trades in positions other than administrative roles is the lead cause of this behaviour not changing at a more acceptable speed.

Contractors need to do more to encourage and welcome women in on-site roles to normalise working relationships with women on the tools. Clients need to stipulate this need in their tender process to encourage progressive approaches to equality on the construction site, and as allies, we need to be more aware of behaviour towards women at work and make a commitment to call out any poor examples at the time. www.lightingbystrom.com

Male Privilege This is best defined as the special rights and status that accrue to men in a patriarchal society. The default assumption that a person is male has a huge impact on women’s lives and it is so ingrained that it is often not noticed. When the first female MPs were elected almost 100 years ago, there were no women’s toilets in the House of Commons. The Member’s Lounge was male only and the sole female MP (Nancy Astor) could do all her networking and discussions alone, in the Women’s Lounge.

Even today, medicines are routinely tested on men and assumed to just work or not guaranteed on women, car crash test dummies are male size and don’t accurately reflect the female body and what happens to it in a crash. Try reading Caroline Criado Perez’s book, Invisible Women, for a host more examples. As a man, the world is designed and shaped according to your whims, and women are expected to fit into boxes that are clearly the wrong shape. This is male privilege.

and then doing nothing about it doesn’t help.

Well, not always, no. By definition, the people this

“performative allyship”. Nobody is fooled.

use what power they have. “Don’t want to make a

Don’t ask people what you can do to help. Work it

happens to have less power and are often afraid to fuss” or “nothing will happen” or “it’ll harm my career if I make a fuss”. Why should they be the

ones whose career is harmed? Why not you? Take

a stand. You know it’s right. This is your chance to

You’re just doing it to look good. This is called Mental load

out and do it.

Anyone who is in a management position knows that supervising and instructing people is a job in itself – assigning tasks, dividing labour. By

do some good in the world, and stick it to The Man

asking “what can I do to help?” you are adding

If confrontation isn’t your style, there are other

Someone has had a sexist comment made at them,

on their side. Standing silently will not let them

in shock, and don’t quite know what to do.

at the same time.

ways to be supportive. Let them know that you are

to the mental load of the person you are asking. or had their body touched. They are probably

know you are on their side. Saying clearly “oh my

Additionally, many people have an instinctive

this. Offering help afterwards, a witness, writing

OK,” so in this situation the question “how can I

gosh, that’s awful, are you OK?” will let them know to HR, writing to the offender’s manager, telling them what happened.

reaction of “pretend it didn’t happen and it’ll be help” is worse than useless, adding to her mental load and achieving nothing. Express sympathy,

You should do this even if there are no women

support, then act. Find this person’s name, their

just because there are no women to hear it is not

Better, educate yourself on what to do. Ask for

present. Letting a sexist remark go unchallenged good. You have privilege and access to circles that some women do not, because of this privilege.

Don’t use your privilege to belittle others, use it

managers name, call the police if appropriate.

support from other bystanders. Which brings us to Bystander syndrome.

to support them to change the attitudes that are

Bystander Syndrome

Above all, get involved. Saying you are anti-sexist

an event are more likely to do nothing the more

entrenched.

www.arc-magazine.com

d-lighting

I am from a theatrical family and have worked in the theatre – this is an industry that has always been tolerant to all and inclusive, where talent and ability are recognised over gender, race or sexuality. Growing up in this environment, equality to all is my normal, my default position.

Moreover, when you move into an industry where you are surrounded by incredibly talented female designers with so much to say, it is natural to become a champion to shout for their equality and their glory.

I wish for the day when the WIL movement is simply a celebration of the talent and achievements of women as opposed to an advocacy and struggle to level the playing field for women’s rights and opportunities. www.d-lighting.co.uk

assaulted, whatever. Can’t they deal with their own problems?

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David Gilbey

Bystander Syndrome is when people who witness

women in lighting

Bystander Syndrome

Martin Lupton Light Collective

First noticed in 1968, this is the lessened likelihood of people to intervene, the more of them there are. A series of psychological experiments by social scientists Darley and Latane were set up with actors playing the roles of victim, aggressor and from none to several bystanders. One subject witnesses an event, and they intervene or they do not intervene. Subjects alone were 70% likely to help, but this dropped to 40% if they were with someone else, and lower still if there were many witnesses.

James Poore JPLD

In my early days in lighting, I recall a couple of incidences where I was on site with a more senior female employee and witnessed site managers talking in a condescending manner or even ignoring them. I have also been in meetings or on site where there are no females present and it seems this can be carte blanch to roll out the sexist comments.

If you’re in a meeting or group at work where only men are present, it doesn’t make sexist comments OK just because no women are hearing those comments. Sexist attitudes in the workplace affect everyone!

It’s no secret that a workplace that allows or fosters sexism has a serious impact on women’s opportunities, mental health, behaviours, and success. The impact on women should be enough of a motivator for any company’s leadership to look for ways to improve, but a survey by Catalyst (workplaces that work for women www.catalyst.org) found that an amazing 94% of men report feeling some level of masculine anxiety (pressure to act more masculine) at work and more than 22% of these experience high levels. This same study found that men who experience more masculine anxiety are also less likely to report or intervene in sexist comments and behaviours from their co-workers, so the cycle of a toxic work environment continues. Unfortunately, some of the behaviours are so ingrained in culture and society that the individuals often don’t even realise they are doing it. This is especially evident in some of the “old guard” in the industry who may have behaved in that way for years without being challenged or made aware of their inappropriate behaviour.

It is essential to keep talking but also to keep educating and exploring and understand this is not a male bashing exercise, it is all about evening up the playing field.

Of course, this paradigm attitude shift not only applies to gender but to race, sexual orientation, sexual identity and physical disability too. None of these should be seen to affect an individual’s skill, talent or relevance.

I think in order to really address many of these issues we need to look at the definitions and expectations of masculinity.

There is a lot of talk about masculinity being taken away and there will no doubt be individuals who feel that. But perhaps there are elements of what is perceived as masculinity that can and should be taken away, although one could argue that, if you can take those away then they are not defining you as a man and they are just a mask or an armour that you have been conditioned to wear.

It is this conditioning and expectation that is put upon boys and subsequently men, which in turn leads to many of the unacceptable traditional stereotypes, which manifest as sexist behaviour.

If we consider these and acknowledge them then we can start to tackle these issues. www.jpld.co.uk

A colleague was taking part in a lighting trade show. It was one of the first “in person” events in 2021 and people were still relatively cautious and nervous about face to face interaction. At one point in the day, she was alone on her company stand when a man came up to the stand.

He asked if he could take a picture of the stand with their slogan in it - “Better Than Normal” - he kept asking her to move left/right etc, and after the photo was done he explained that he was positioning her so that the caption in the photo of her and the stand read “Better Than oral”.

If we need proof that these attitudes still exist in our industry, then this is a prime example. More than 50% of our profession is women – why would we all want to deal with a company that has this sort of culture? If we refuse to do so we will force the change that is required. Allyship is not just the right thing to do, it makes your company better and more commercially successful and it is your responsibility to see that gender equity and sensitivity is ingrained within your company. www.lightcollective.net

Mental Load This is normally used to describe the unfair division of household tasks, in particular the way that women end up doing the management. Even if a man goes shopping, the list and meal plan is often prepared by women. Sure, men might drop the children off at school, but the time they need to be there, what they need to take today, has this form been signed for the trip, these tasks generally fall to women. This additional task, that of managing or running a household, is a job in itself, and it’s called mental load.

When a man says: “what can I do to help”, this doesn’t help.

Plan a meal, look in the fridge, go to the supermarket, come back and cook it without either asking what to do or asking for help – that’s actually helpful.

witnesses there are. Everyone thinks someone

But what can you specifically do in the lighting

to do it. You’re in a meeting and someone makes

woman in a less senior position isn’t necessarily

else will do it, or someone else is more qualified

an inappropriate remark about a woman present.

What are you going to do? Instinctive reaction

is nothing. Your boss will do something, right?

Or the architect, he’s more senior. He’s also probably thinking the same thing. Nothing

happens. Nobody says anything, the woman feels unsupported and alone and unable to make a fuss

for fear of being branded a troublemaker, a killjoy.

But the opposite can happen. Years ago, I was on the tube when someone was the victim of racist

insults. A guy just got on the carriage and started ranting at an elderly Asian couple, minding their

own business, about why they didn’t “go home”.

It was unpleasant to watch. I didn’t do anything.

Then someone got up and said “I’m not going to

tolerate your racist behaviour. I’m going to make

you stop, and you’re getting off at the next station.

I’ll do it alone if I have to but I’m sure others agree with me”. And then someone else stood up and

said the same thing, and before you know it, the

whole carriage forced him off the tube. It was great

and we all felt amazing about ourselves afterwards.

Actually, just writing about it now brings back flood of emotions. This is what can happen.

industry? Be aware that this happens. Be aware a less hard working, less talented. She might have just missed out on what men would call a “lucky

break”. Support her, even to your own detriment.

Push women forward to positions, let them speak.

Don’t talk over them because you are senior or

just more confident. Recognise that they might need a hand up, or a break. Give it to them,

without waiting to be asked. Follow and promote

successful women on social media, talk them up, even to your detriment.

Be the first person to stand up. Use your privilege to help others achieve. Remember, you are not promoting them above their ability, or giving

them undeserved prizes. You are helping them

achieve what, in a fairer world, they would have achieved anyway.

You have power as a man, and in the words

of Spiderman, with great power comes great

responsibility. Recognise you have power, use your power to restore equality to the system. www.elektralighting.co.uk

www.womeninlighting.com

For more information on how you can pledge your

support to the Women in Lighting initiatives, visit

www.male-supporter.paperform.co

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Terra Firma One of the flagship structures of Expo 2020, the Sustainability Pavilion, designed by Grimshaw Architects, features a seamlessly integrated lighting scheme created by Buro Happold.

PROJECT DETAILS Terra – Sustainability Pavilion, UAE Lighting Design: Buro Happold, USA Architect: Grimshaw, UK Exhibition Design: Thinc Design, UK Lighting Specified: Ecosense, Lucifer Lighting, Osram Photography: Phil Handforth Architectural Photography

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A

s one of the main attractions of Expo

through a series of closed loop systems, designed to

Pavilion aims to illuminate the

local topographical and floral features, combined

2020, Terra – The Sustainability

ingenuity and potential of architecture

as society looks to intelligent strategies for future sustainable living.

Designed by Grimshaw Architects, the pavilion

draws inspiration from complex natural processes such as photosynthesis, with its dynamic form

specifically designed to be functional as well as

aesthetically stunning; it captures energy from

sunlight with its “forest” of solar trees, while fresh water is also drawn from the humid Dubai air.

Situated in a prominent location within the Expo

grounds, Terra’s structure works in tandem with a considered landscape of demonstration gardens, winding pathways and shaded enclaves to create

an aura of magic punctuated by the sights, smells

and tactile opportunities of nature. The gardens are both experiential and functional, setting the stage for the exhibition contents within and creating

shaded gathering areas that manage and distribute crowds while offering retail, food and beverage opportunities.

Flora and fauna sourced from the surrounding deserts are arranged throughout the gardens,

creating a water efficient landscape that functions

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filter, supply and recycle water. The framing of these with the technologies of water recycling and reuse, provides visitors a newfound appreciation of the unique region and its biodiversity.

The wider design for the pavilion is driven by

maximising efficiency, which it does by seeking

shade either below ground or underneath its soaring canopy. The canopy houses more than 6,000sqm

of monocrystalline photovoltaic cells embedded in

glass panels, allowing the building to harness solar energy while providing shade and daylighting to

the visitors below. The experience in the courtyards below calls to find the feeling of being beneath a

large shade tree, with dappled light projecting onto the surfaces below.

With more than 6,000sqm of exhibition space, the

Sustainability Pavilion will remain in place once the Expo is over, transforming into a science museum

and becoming a destination for locals to learn about sustainability.

Working alongside Grimshaw, Buro Happold

consulted on a number of MEP aspects, including

the lighting design. Chris Coulter, Associate at Buro Happold, explained how the lighting concept was

formed. “When we were involved, the form of the

Expo 2020

building was virtually laid out in terms of the big solar

like the pavilion becomes a black hole on site.

had some preconceived notions for the lighting as well,

and while some of the land will be redeveloped, we don’t

canopy, so we took that and started sketching. Grimshaw but we leaned on the sustainability principles that we

were trying to achieve for the project, and the story that we were trying to tell.

“It was a very collaborative effort, bouncing ideas back and forth off each other. It was an interesting process

looking through the sketches and trying to figure things out.”

While Grimshaw worked with Thinc Design on the exhibition design – including the lighting – Buro

Happold predominately focused on the exterior lighting, and on creating “special moments” within the grounds, while adhering to the pavilion’s strict sustainability targets.

Coulter continued: “We looked at the entry sequence and how you bring people in, knowing that Expo is going to

be running almost around the clock. How does lighting

reinforce the sense of arrival and what are the conceptual notions of this?

“We were shooting for net zero energy, with a minimum baseline target of a reduction of 20% lighting power

density throughout, with a 50% reduction in the exterior landscape lighting. Within the context of the Expo

site, we were faced with the challenge of being true to

ourselves and the sustainability targets, while not feeling

“Further to this, once the Expo is over, Terra will remain, want it to become a bright spot on the landscape either.

“With this in mind, we were always thinking ‘what are we doing that ensures that we’re making the most out

of what we have?’ So for us, it became all about marking moments as you pass through.”

Through this mindset, Buro Happold opted for a lowkey, subtle lighting scheme throughout the gardens

and landscape beds – an approach that Coulter believes brings things down “to a more human scale” beneath the vast canopies above.

He added: “From a landscape architect standpoint, it’s a very sparse sprinkling of lights throughout, but it

made us be very selective as to where we highlight these moments, and so it actually became a stronger concept

in terms of reducing the power but also making sure that we apply the light in the right, most effective way. By keeping the lighting on site to a minimum, it allowed those lit spaces to be more impactful.”

While the extra sustainability goals for the pavilion meant that the Buro Happold team “always had a

keen eye as to making sure that we had very efficient

fixtures”, Coulter added that in the interior spaces, it became more about “making the most impact” with fewer fixtures.

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“It was about lighting surfaces, rather than

we didn’t have that hands-on experience like we

through the space, you don’t need a lot of light,

“But it was a very pleasant surprise after all the

make it feel brighter,” he said.

result. When I saw the first photos of the canopy,

and the sun is very intense, so we didn’t need a lot

good, but it looks way better than I could have ever

ways of lighting the big, coffered ceiling in the

was an honour to be working on one of the main

of what would be beautiful, but when we thought

Although Coulter has yet to visit the Expo since its

lighting in small spaces that, at that grand height,

with how the lighting sits within the wider design

almost thrown away.

He concluded: “The lighting is really well

the most impactful approach with the fixtures

or feel like there was a completely separate

right applications of light to make the most out of

afterwards.

As with many of the pavilions at the Expo, a lot

lighting is integrated with the architecture and

Coulter unable to visit the site during construction.

all be on the same page, and if I can make the

the end result even sweeter, especially given the

“There was a lot of work to make sure that it was a

“With the design of the pavilion being so grand,

make it feel like it is what it should always have

get it right, and as we weren’t as involved during

this is what it is because this is what fits, this is the

risk with projects internationally – we were a little

the real success is.”

functional light on the floor – if you’re just walking

normally would,” he said.

so by pushing light onto the surface, it’s going to

late nights and hard work when we saw the end

“There’s also a strong connection to the daylight,

I had a feeling that it was going to look really

of additional light. We were looking at different

imagined. We really rose to the challenge, and it

grand entry and thinking of all of these grand ideas

pavilions at the Expo.”

about the wattage implications of things like cove

opening, from what he has seen he is very pleased

while there’s an aesthetic benefit, the wattage is

of the vast pavilion.

“It became an interesting way to think about what

integrated into the design – it doesn’t look

would be – making the right selections and the

lighting designer that came in and did their thing

these spaces.”

“What I really strive for is to make sure that the

of the design work was carried out remotely, with

that it feels like one thought of work. If we can

It was a challenge for him, but he said that it made

architecture look better, that’s a win.

focus on Terra as one of the core pavilions on site.

collective push to work through different ideas and

there was a little bit of added pressure on us to

been. If you can get to that point and say ‘of course

construction as we normally are – which can be a

design that makes the project work’, that’s what

nervous as to how it was going to turn out because

www.burohappold.com

O YA

Responsible lighting solution

x x x

Dimming Video

Programmable

Power Pilot Detection

Diagnostic

Bluetooth

Network

www.ghm-eclatec.com

Poetic Light Atelier Ten worked with renowned designer Es Devlin on the striking UK Pavilion - a conical structure transmitting a message of multicultural harmony.

PROJECT DETAILS UK Pavilion, UAE Lighting Design: Atelier Ten, UK Designer: Es Devlin, UK Architect: Veretec, UK Structural Engineer: Atelier One, UK Lighting Specified: Tryka Photography: Phil Handforth Architectural Photography; Alin Constantin, courtesy of Es Devlin

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C

onceived as “an expression of

at Atelier Ten, explained how they designed

explained: “There was a lot of design work to

Britain” by artist and designer

and enhance the illuminated artwork: “Es

We did lots of mock-ups and lots of work

the ideal of a culturally diverse Es Devlin, the UK Pavilion is one

of the most striking structures of Expo 2020.

A conical, cross-laminated timber

(CLT) pavilion reminiscent of a musical instrument, the UK Pavilion features a

large, striking display of light, in which AI generated “poems” are broadcast to the world for the duration of the Expo.

Each of the anticipated 25 million visitors to the Expo over its six-month tenure is

invited to donate a word at the pavilion’s

‘mouthpiece’. These words are then selected to be collectively illuminated in both Arabic and English.

In creating this dramatic structure, Devlin worked in partnership with structural

engineers Atelier One, creative agency

Avantgarde and executive architects Veretec, alongside environmental design consultants Atelier Ten, which also designed the architectural lighting for the space.

Elga Niemann, Associate Director of Lighting

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the architectural lighting to complement

[Devlin] had some pretty good ideas of where she wanted to go with the lighting; when

you look at the pavilion, the lighting is what really makes it. She had a concept for the

pavilion and the artwork, and then we tried to reflect that in the lighting design.

“The idea was to emphasise the cone - this

giant musical instrument that communicates with space. We wanted to highlight its shape

with the lighting, so that it starts off dimmer at the smaller end of the cone, and then gets brighter as you approach the poem tiles at

the front, which are shouting out into space.”

To create this glowing effect, Tryka’s

Continuity S and Continuity T linear lighting is integrated into each of the 19 CLT layers, uplighting the layer above it so that you

don’t see the source and instead are given

the impression that light is emanating from within the cone itself.

However, creating this effect was not without its challenges, as Niemann

be done to work out how to create this effect. with the guys who were pre-fabricating the CLT cassettes to get the effect that we were looking for, especially the tapering. There

was a lot of coordination involved in making that happen.

“It was tricky to balance because we wanted there to be enough light externally so that you get the impression of light emanating out, but not so much light internally that you’re overpowering what’s happening inside the pavilion. The solution was to

locate the lighting as far as you could outside effectively, while still getting an even effect on every layer, so that you still get the idea that it’s coming from the inside.

“There’s quite a depth within the panels though - some of them are a couple of

metres wide, so by the time you get into the cone, you just get a soft glow, almost as if it was daylight coming in from outside.”

Unlike many of the other pavilions at the Expo, there is no exhibit inside the UK

Expo 2020

pavilion. Instead, the focus remains on

trying to convey. “It’s different in that it’s

Atelier Ten faced in turning this pavilion

greeted with a curved void with LED-tile

it isn’t a traditional one that houses some

strong team ethic and clear vision between

the building and the poetry, as visitors are covered walls that also display the donated

words. This is harmonised with a soundscape recorded by multicultural choirs from across the UK.

Atelier Ten’s approach for the interior was

to add a subtle yet beautiful light that would showcase the design of the cone without

overpowering focal point of the poem tiles.

“It’s all about doing something that just

sits beautifully with the form, but doesn’t overtake the artwork,” Niemann added.

“You’ve got people walking in there, and you just want them to be looking at the poem, but at the same time, you’re creating a beautiful, sculptural space.”

The UK pavilion is very different, not only

in its appearance, but also in its approach, from other pavilions at the Expo, in the

sense that its message and ‘display’ is a lot more outward-facing. This is something that Niemann feels was very deliberate,

given then message that the designers were

an artwork; it’s in the form of a pavilion, but sort of exhibit. This was the idea, that it is

communicating with the outside world, and I think it’s been really successful in getting that message across.”

Leading up to the cone’s entrance, visitors

pass through a maze of display vitrines that

are intended to guide them up to the pavilion itself. Each of the vitrines is integrated with

light, as Niemann explained: “The idea with

the maze is that if you were to see the pavilion from space, you would see the maze lit up and then the cone highlighted with light.

“We integrated lighting at a low level,

which functioned as ambient light to guide visitors up to the pavilion. There’s also

lighting within the vitrines to light displays - sometimes these are layered artworks of different graphics, and some of them are objects, so it was a challenge to come up

with lighting that would serve all of those capacities.”

However, for the various challenges that

into a reality, Niemann explained that the

all involved parties was a huge benefit. “It’s

good to have a team that all had a clear vision of what we wanted this to look like at the end of the day,” she said. “To make it happen required a lot of commitment from the

architect, the structural engineers, everyone from Es’s team.

“It’s definitely been one of my favourite

jobs, mostly because the team is so good.

Es was great to work with, and the people

in her office are absolutely brilliant. That’s what makes a project at the end of the

day, working with the right people that

all have the right goal. There was lots of

coordination, but everyone was singing from the same hymn sheet.

“Es is a lighting designer in her own right, and the whole idea was about lighting and bringing the architectural and artwork

lighting together as a seamless sculpture is what we wanted.”

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expo 2020

Desert Rainforest Light Collab designed a biophilic lighting scheme to complement and enhance the lush greenery of the Singapore Pavilion.

F

or the Singapore Pavilion, architect WOHA and landscape architect Salad Dressing brought lush greenery to Dubai with a plant-filled, “three-dimensional garden”.

Situated in the expo’s Sustainability district, the

Singapore Pavilion’s thriving rainforest offers a botanical escape for visitors to the event.

The lighting concept for the Pavilion was developed by Singaporean

studio Light Collab, which supported the overall vision of the architects for a vibrant, green space, creating a biophilic scheme that would complement the abundant greenery.

On entering the pavilion, visitors can embark on an experiential journey up a ramp to enjoy the scenery of the rainforest, with different

experiences throughout the day. During the day, visitors are given the

feeling of entering a rainforest with daylight filtering through the trees.

At night, the intent is to “evoke the spirit of the forest”, by revealing

the spectrum of light that is specific for the growth of the plants. These particular segments of the spectrum are elevated after dark, meaning that visitors enter into an environment that encourages the regeneration of the forest.

The pavilion is constructed around three huge, plant-covered cones that contain a series of exhibition spaces, with the pathways meandering in

between these cones. Following the pathways through nature-inspired

scenes, concealed lighting serves as a guiding light, gently illuminating the way forward. A layer of grow lights above the hanging gardens

supports growth and doubles up as a layer of environmental lighting,

creating an artificial sky. Grow lights in narrow beams also support the growth of the plant-life on the cones.

These grow lights are also carefully tuned to allow for double usage –

both supporting the growth of the greenery with high photosynthetic photon flux output and doubling up as architainment lighting with

special colours for an immersive, biophilic environment that highlights different parts of nature and plants.

During the day and early evening, the environment appears to be a

natural one, with warm colour tones, but this gradually shifts to various

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Expo 2020

PROJECT DETAILS Singapore Pavilion, UAE Lighting Design: Light Collab, Singapore Architect & Creative Design: WOHA, Singapore Landscape Architect: Salad Dressing, Singapore Lighting Specified: CMY Light, DMXLab, Glos, L&L Luce&Light, Linea Light, Luxconex, Maerich, Osram, Pharos, Roblon

modes after dark, revealing different spectrums of light and dynamic

day. “To support the biophilic design, we also explored the use of

luminous “fireflies”. Additional landscape lighting further supports

horticultural lighting was custom made for the light show too.

lighting scenes. Fibre optics are also further deployed to create

the overall lighting, enhancing various elements such as the water features, trees, and other green features.

With such a strong focus on greenery and biophilia, Yah Li Toh,

Principal of Light Collab, worked very closely with the architects to

ensure that all design elements were in sync. “As the theme was on sustainability, with a net zero target, we also worked closely with Transsolar Klima Engineering on energy usage,” she explained.

“Studies of the sun’s path were done, and solar tubes were

introduced to reduce the demands on artificial lighting. At first, we

were only commissioned to plan the lighting for the architecture and landscape. But subsequently, we expanded our scope to include a light show using the lighting fixtures installed.

“WOHA was very particular about design and has a great eye for

details and vision, thus we were able to execute difficult details such as a curved handrail lighting, using a continuous LED strip.”

The special “Biomorphosis” light show lasts for three minutes and is presented periodically every hour. During the show, all components of the landscape lighting come together to elevate the breathing rhythm of nature in a celebration of life.

Given the abundant greenery of the space, Light Collab had to work hard to develop a lighting scheme that would support the biophilic

design of the space – especially in areas like the hanging gardens and deep between the cones, where daylight would not reach during the

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architectural and horticultural lighting,” Toh continued. “The special “We were conscious to have grow lights only in areas where daylight is less sufficient. It was a balance between the needs of the people and the nature, while also transforming the nature into another realm at night.”

While the pavilion has a very strong emphasis on biophilic design,

Toh has previous experience in this regard, having created a beautiful biophilic lighting scheme for the Parkroyal Collection Marina Bay in Singapore. However, she explained that the concept for the

Singapore Pavilion was actually developed first, before the Covidenforced delays meant that it was pushed back.

“We started our research and use of grow lights in early 2019,” Toh

explained. “However, due to the pandemic, the project was delayed for a year, and the Parkroyal Collection Marina Bay was completed earlier.

However, with the completion of Parkroyal Collection in December

2020, we had time to observe the reaction and the effectiveness of the grow lights, and it gave us assurance that the horticultural lighting specified would work, which gave us more confidence.

“However, as Dubai is in the desert, trying to get plants from

Singapore to survive is quite a feat. But due to the amazing design

from the team, and the climate control strategies, they all worked together to improve not only the human comfort, but also the survival of the plants.” www.lightcollab.com

G-SPOT AN AWARD WINNING GROW LIGHT SOLUTION WWW.MAERICH.COM

Winds of Change The Women’s Pavilion - the first time such a pavilion has featured at the World Expo, includes a stunning light show across its mashrabiya-inspired façade, designed by French studio Light Is More.

2

020 marked the first year that a

positive impact women make on the world and the

an international exposition. Located

and solutions by women and their ripple effects to

women’s pavilion was included in

in the Sustainability District of Expo

2020, the Women’s Pavilion, by architect Laura Gonzalez for the client Richemont - Cartier, is

inspired by women’s impact on creating a better world.

In 2019, architect, lighting designer and creator of

Paris-based Light is More studio Pauline David was invited to be the artistic director of the lighting

show on the Women’s Pavilion. David designed

PROJECT DETAILS Women’s Pavilion, UAE Lighting Design: Light Is More, France Architect: Laura Gonzalez, France Lighting Specified: Canal LED Photography: Light Is More

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her scheme around the subject “New Perspectives: when women thrive, humanity thrives”.

With the promise that the Expo 2020 Dubai

celebrates female change-makers around the

world, the messages Gonzalez and her female

collaborators aimed to present inside the Women’s Pavilion invited audiences to understand the

challenges they still face, and worldwide initiatives create a better world. The aim was also to create a space to encourage meaningful discussions

supporting women’s vision and contributions to shaping society.

The façade is composed of an outer envelope

in aluminium mashrabiya and an intermediate

envelope in gold aluminium mesh. The design of

the mashrabiya takes the shape of an emblematic

bracelet from one of the first Cartier collections in the Middle East.

In terms of the exterior lighting of the structure, David brought Gonzalez’s façade panels to life

with a brilliant light show. When the sun sets, the façade illuminates to reflect the passing of time;

clouds of light move across the surface as if pulled by the wind.

expo 2020

“Their intensity evolves calmly, breathing in, breathing

lighting becomes darker and sparkling lights emerge

understand, to exchange. The curtain opens on new

stars. The moon progressively disappears, leaving the

“Large birds appear and dive into the Pavilion. We then

vous’”.

choreography. It represents the union of women and

progressively increase in intensity from 30% to 100%

Women’s Pavilion for the World Expo to ‘Connect minds

played in between every lighting show throughout the

“As the sun passes, a new day dawns. The moon then

To achieve this array of effects, David used numerous

to the women leaders who have marked history, an

network of 4,077 LED modules were installed at the

women from all over the world working today for the

gold aluminium mesh. Secondly, a network of LED

stronger.

small dimensions allowed them to pass through the

night, by the ordinary and the extraordinary. Be fully

when lit.

it has on humans and spatial environment. The weather,

Canal LED, uses an animated 3D video designed by David

parameters that physically affect our emotions.

The sound/light timing was achieved with a time

stars and women’s strength and power evolution.”

was imagined by Vincent Lagadrillière and divided

sun as it moves from one side of the façade to the other.

diffusion on a network of 12 loudspeakers installed

physically around the pavilion like the Earth rotating

recommendations of La 8e Note.

out,” explained David. “It is time to contemplate, to

across the entire surface accompanied by some warm

perspectives, the clouds seem to be clearing out.

pavilion to shine like “the Eiffel tower at every ‘rendez-

discover an elegant murmuring, a swirling and twirling

In between the light shows, the façade lights

men from all over the world gathered today at the

over the course of an hour and a half. This scenario is

and build the future’,” she continued.

evening event.

reveals itself in the wake of a billion stars. It’s a tribute

LED dots across the layers of the façade. Firstly, a

image of

back of the mashrabiya and were aimed toward the

blossoming future generations. Together, let’s shine

dots were added to the back of the mashrabiya. Their

“Be inspired by that which surrounds us, by day and by

perforations so that they were visible on the surface

aware of the science behind natural light and the effect

The control system of the LED modules, programmed by

the time, the sun and the moon, the seasons, are all

and directed by Nicolas Weyrich.

“This light show is a travel through environment, space

code applied to the video. The musical composition

The first of the light shows follows the course of the

into several tracks allowing a multi-track spatialised

It presents a rotation around femininity, represented

all around the façade following the technical

around the sun.

www.light-is-more.com

Following the sun show, the moon rises. The back

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Window to the Future PROJECT DETAILS Pavilion of the Kingdom of Saudi Arabia, UAE Lighting Design: Kraftwerk Living Technologies, Austria Architect: Boris Micka & Associates, Spain Lighting Specified: Martin Professional, Robe Photography: © Alec & Alec Fitout

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One of the biggest pavilions at Expo 2020, the Pavilion of the Kingdom of Saudi Arabia is a bold and dynamic audiovisual experience, courtesy of Kraftwerk Living Technologies.

expo 2020

I

n Expo 2020’s Opportunity District, the Pavilion of the

Records with the longest interactive water feature at 32-metres, the

earth. A colossal monolith set into the earth at an angle

lighting floor, composed of 8,500 LED lights. The goal for these three

Kingdom of Saudi Arabia (KSA) appears to rise out of the of 24°, the pavilion is built around the theme “Window

to the Future”.

To bring the vision of the KSA Pavilion to life, Kraftwerk Living

Technologies (KLT) was responsible for the design of the audiovisual systems from concept to completion, together with architect and

designers Boris Micka & Associates. The media technology solutions are 100% integrated into the architecture of the Pavilion, and the

design process for the technology informed the building design itself.

Across the pavilion’s bold design, it has broken three Guinness World

largest LED mirror screen at 1,305.5sqm, and the largest interactive features was to reflect the past, present and future of Saudi Arabia through groundbreaking technology.

The team at KLT worked onsite for more than 16 months to complete

the project, integrating approximately 384 million pixels across all of the video displays, 1,300 custom glass panels with LED displays and creating a massive outdoor screen surface that weighs 60 tonnes.

The KSA Pavilion has been designed to present Saudi Arabia’s

heritage and future in an entertaining way. With no written text,

ideas are instead communicated through sensorial experience. One

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Expo 2020

reason for this being the population in Saudi Arabia is very young,

The interior also features state-of-the-art architectural elements

world. The idea was therefore to present its modernity accordingly

and LED solutions in all themed areas of the exhibition.

and the country is one of the most social media-oriented in the through innovative technologies.

Measuring around 13,000sqm in size, covering an area the size of two football pitches, it is the second largest country pavilion at the Expo

behind the UAE, and has been designed as a legacy pavilion, meaning that it will remain after the Expo has concluded. The systems have therefore been designed with long term use in mind.

The pavilion has also been certified with LEED Platinum

accreditation, the highest green building sustainability rating

internationally, which means that it is positioned among the most sustainable developments within the Expo.

KLT’s technological solutions run throughout the pavilion;

outside, the floor of the main square is equipped with a highly specialised tracking system and 8,500 interactive RGB IR LED

elements embedded in granite flooring, enabling special effects

and even large-scale interactive games. In the wedge created by the monolithic shape, the entire ceiling is made up of more than 1,300

custom glass panels with LED components, creating a huge outdoor screen surface. The sides of the building include nearly 700-metres

of 16mm ultra-high brightness Infiled LED screens for video textures and messaging, while on the room, 700 photovoltaic panels are

integrated with 1,548-metres of Martin Pixline 20 LED strips and

203 Martin Exterior Linear 300 LED cove wash lights, controlled by a Martin P3-050 system controller.

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and technologies, including a wide variety of high-end projection

The Welcome Area shows a giant water feature creating a relaxing

atmosphere with water, sound and patterns - the sides of the water fountain can be individually controlled to regulate guest flow.

Passing the water fountain, a 22-metre LED screen welcomes guests by showing the natural attractions of Saudi Arabia.

The ascent and descent where escalators lead through large-scale projections bring closer the dual message of the past and the

future of Saudi Arabia; based on the country’s “Vision 2030”, 2030

illuminated, hand-blown chandelier crystals have been integrated.

One of the most significant and spectacular elements of the

exhibition within the pavilion is a giant, virtual-floating sphere.

With a diameter of 36-metres, the effect is created by a huge

kaleidoscope of mirrors and projections. The floor is also projected and supplemented by a tracking system, with content created through collaborations with four Saudi Arabian artists.

With an experience driven by interactive content, created and

presented using the latest audiovisual technology, the pavilion

is designed to connect the world to the Saudi Kingdom though an inspiring and immersive experience. www.kraftwerk.at

Pavilion of Progress Designed to symbolise progress and new horizons, Alif - The Mobility Pavilion is one of the cornerstones of Expo 2020. The Foster + Partners designed pavilion is enhanced by an exterior lighting scheme from DALD.

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PROJECT DETAILS Alif - The Mobility Pavilion, UAE External Lighting Design: DALD, UK Architect: Foster + Partners, UK Exhibition Lighting Design: Sutton Vane Associates, UK Executive Lighting Design: Delta Lighting Solutions, UAE Lighting Specified: ADO Lights, Aldabra, Bega, Delmatic, iGuzzini, Ligman, Lumenpulse, MJ Lighting, NGA, Osram, Pharos, Stoane Lighting, Studio Due Photography: © 2020 Expo 2020 Dubai

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A

lif - The Mobility Pavilion

mobility devices in action, as well as witness

floor, viewing innovative, immersive and

signature pavilions, based on

opportunity to vastly improve the quality of

mobility.

Sustainability and Opportunity. Designed

as solar-powered tricycles.

the Pavilion, Foster + Partners needed a

collaborative project with Expo 2020 Dubai,

presentations and performances, The

would enhance and animate Alif itself, as

‘Connecting Minds, Creating the Future’.

schedule of complementary events with a

Atkinson Lighting Design (DALD) helped to

the Arabic alphabet to symbolise the

portions of the high-speed track. The Bowl

architecture and the landscape.

the Pavilion occupies a dedicated plaza at

500 people, located at the pavilion’s exit,

early stage by Foster + Partners to work

built around a lively, dynamic landscape,

and contemplate their journey.

design, which was effectively broken

tracks and demonstration areas for the

three key zones based around the pavilion’s

Lighting Practice, who was responsible

mobility. Spanning a large site of 12,000sqm,

through Mobility; Distributing Goods and

seamless integration of light fittings within

stainless-steel structure complements the

and Information. Each sub-theme forms

and ensure lighting performance achieved

movement.

directly into the central core, which features

The building façade is made up of a series of

correspond to the internal functions of the

of holding more than 160 people (although

main petals, along with the three entrance

a variety of spaces for visitors to relax and

restrictions). This moving platform takes

challenge for the external lighting was with

underground, part open-air 330-metre

then move down through successive

these fins.

is one of Expo 2020’s three

mass produced technology that has the

interactive visitor experiences focused on

the sub-themes of Mobility,

life for people in developing countries, such

To showcase the striking architecture of

by Foster + Partners, the pavilion was a

A raised platform for large-scale

dynamic lighting design approach that

exemplifying the event’s overall theme of

Stage is optimally located for a changing

well as its surrounding landscape. David

Named Alif, after the first letter of

sheltered viewing area for the underground

create a sympathetic synergy between the

beginning of progress and new horizons,

is a large amphitheatre that can seat up to

DALD was brought into the project at an

the south entrance to the Expo site, and is

making it an ideal spot for visitors to rest

through the complex external lighting

conceived as a fairground with undulating

Internally, the display areas are divided into

down into areas. DALD worked with Delta

latest technological innovations related to

three sub-themes: Empowering People

for the technical design stage, focusing on

the flowing trefoil-shaped, polished

Resources; and Connecting through Data

the architectural design, to deliver the intent

Expo’s sub-themes of connections and

a petal in the trefoil plan. Visitors enter

the targeted criteria.

The surrounding landscaped areas

the world’s largest passenger lift, capable

undulating fins that are linked by the three

pavilion, with three main zones offering

this was reduced to 38 for social distancing

points. For the lighting designers, the main

enjoy the spectacle. This includes a part

visitors up to the third level, where they

the polished, stainless-steel cladding of

track that allows visitors to see cutting-edge

interconnected galleries to the lower ground

David Atkinson, Founder of DALD, said:

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Expo 2020

“After extensive trials initially with a model

LED, which are linked in with the remote

Pavilion.

large scale mock-ups and through previous

Elsewhere, the roof terraces were lit by

programmed on a DMX-based system

steel, it was decided where possible to

and from small downlights recessed into

building’s control system to run from

fixtures with asymmetric distribution.”

temperature of 3000K, to bring a feeling of

Pavilion is very large in scale, the external

produce lighting simulations to ascertain

In the underground areas of the high-speed

stretching the light sources to their

project. Each fixture is DMX controlled with

LED panels that were recessed into the walls

Mohamed Medani, Associate at Delta

and subtle use of colour to the exterior of the

panels were sequenced, which helped to

perfect sync with the architecture, and

with special brackets and remote ballasts

impression that they are travelling at high

fluidity, and connection. The perpetual

“totems”, which doubled up for signage and

To help bring a further dynamic to the

light follows the curves of the façade, the

was key to minimise the aesthetic impact

of ADO Lights’ LED-Lightlines form bands

a feeling of motion and of a constantly

glare and light spill, the fixtures were also

radiate from the building. Each strip is fitted

“The building seems to spin in a continuous

With the three entrances serving as focal

controlled to allow for sequential control

moving light. The deep understanding of

them are lit by reflecting light off the resin

sense of movement to the pavilion.

building, as light is fully committed to the

a series of high output fixtures with spreader

indigenous trees are uplit via in-ground

to keep the pavilion ‘spinning’.”

at high levels above the entrances. These

temperature of 3000K, which further adds

www.deltalightingdesign.com

using fibre optics, as well as running tests on

façade lighting.

The intricate external lighting scenes were

experience of lighting polished stainless

discreet fixtures recessed under fin shelves

from Pharos, which is triggered from the

uplight the fins from an acute angle using

the roof canopies. DALD opted for a colour

dusk until closing of the site. Although the

DALD worked closely with Studio Due to

warmth to these areas.

lighting design approach was minimalistic,

the most suitable fixtures and optics for the

track, DALD developed IP65-rated circular

maximum potential.

RGB and white LED, allowing for dynamic

of the tunnel and controlled via DMX. The

Lighting Design, added: “Lighting is in

building. The fixtures were custom designed

animate the space and give the drivers the

they send a mutual message of movement,

as some of the fixtures were attached to

speed.

shift of colour, the fidelity with which

internal video monitors. This meant that it

surrounding landscape of the Pavilion, strips

controlled reflections, they all convey

by reducing the bulk of the fittings; to limit

of light within the landscape that effectively

regenerating energy.

fitted with horizontal louvres.

with a 4000K LED strip, which is DMX-

flow, and this flow is enhanced by seemingly

points to the Pavilion, the canopies above

animation; this further helps to create a

architecture leads to the success of this

bound floors. This was achieved by mounting

Set within the landscape, clusters of

concept of movement, and it reaches its goal,

lenses and baffles discreetly positioned

adjustable fixtures in a warm colour

www.dald.co.uk

fixtures are also fitted with RGB and white

to the depth of the overall lighting of the

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The Tree of Life The Spain Pavilion features a vibrant, interactive exhibition that brings issues surrounding sustainability and the circular economy to the forefront of visitors minds.

A

collaboration between architecture

sustainable lives and businesses.”

Onionlab – a multidisciplinary

and Onionlab developed the exhibition route,

studio External Reference and

studio that directs and produces

international audiovisual installations and

exhibitions – the Spain Pavilion features a blend of design, art and technology, with interactivity at its heart.

PROJECT DETAILS Women’s Pavilion, UAE Lighting Design: Onionlab, Spain Exhibition Design: External Reference, Spain Architect: Amman, Cánovas & Maruri (Extreme Temperatures), Spain Photography: © Adrià Goula

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The design intent for the pavilion, which

follows the motto of “Intelligence For Life”, is dedicated to sustainability and collective

intelligence. Carmelo Zappulla, founder and

Director of External Reference, said: “Thanks

to learned and shared knowledge, it is possible to act as collective intelligence and save the

planet through adopting and adapting more

The pavilion itself, for which External Reference is designed by architecture studio Amman,

Cánovas & Maruri (Extreme Temperatures), and

is located in the Sustainability District. Instantly eye-catching due to its series of truncated cones that rise up above the landscape and evoke the

feeling of a traditional town square, the pavilion

is constructed from reusable materials including wood, iron and fabric. The conical shape aids an increase in air flow, therefore modulating the

temperature of the public space and providing an eco-friendly way for visitors to keep cool.

Two of the cones consist of two floors to make up the Pavilion itself, with the underground

expo 2020

positioning of its exhibition area also helping to naturally reduce

within the forest. Answering questions about their consumption

been built using the principles of the circular economy, in that all

visitors can see the tree react positively or negatively to their

temperatures. Both the pavilion and the exhibition within it have

materials can be recycled, reused, or disassembled for use elsewhere.

The exhibition route starts at the ground floor level, which consists

of a cluster of open plazas housing a series of installations detailing some of the most relevant contributions of Spanish culture to the

world, and its relationship with Arabic culture – from the HispanoArabic legacy of chess and the Spanish overseas expeditions to the importance of Spanish as a global language.

While the ground floor of the exhibition space has a more analogue and mechanical approach, the lower floor is home to the Bosque de la Inteligencia (Intelligence Forest) – an artificial, 3D printed forest that immerses visitors into a world where digital and

physical dimensions produce unique experiences. This fabricated

techno landscape is capable of producing oxygen and food through

photosynthesis, thanks to a series of photo-bioreactors containing

microalgae, such as spirulina and chlorella, that have been designed for the pavilion. The Bosque is a metaphorical space that uses

interactive resources to engage with visitors and force them to

consider the impact that their own actions have on society as a whole and therefore on the environment.

At the final section of the Bosque is the Tree of Balance – the

interactive heart of both the pavilion and the exhibition space. It

habits, either through the app or a battery of 30 interactive screens, responses, releasing a blue or red drop depending on their answers.

Based on the accumulation of answers, the tree either becomes green

and leafy, or dries out and loses its foliage, giving visitors a very visual outcome to their sustainability habits.

Running across the two floors will be various technologies,

including 3D projection mapping; models; infographics; animated

graphics; audiovisual pieces; interactive screens and installations; holograms; installations with LED strips; backlit murals; and

numerous other informative technology, creating an immersive experience at all times.

Working at the intersection of art, design and technology, and

following the “Intelligence for Life” motto, both External Reference and Onionlab have sought to flag the wealth of the Spanish legacy, science biodiversity, and in particular, the practices and business initiatives achieved through innovations in sustainability and

the circular economy. The Spain Pavilion therefore embodies the

overarching themes of Expo 2020, with a focus on connecting minds, building the future, and the sustainability of the planet. www.externalreference.com www.onionlab.com

takes the shape of a tree that is projected over the entire rear wall of the pavilion, collecting all of the visitors’ knowledge and interactions

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Pic: © Nizar Bredan

The Green Arch Delta Light collaborated with lighting designer Veronique Marijn on a harmonious lighting scheme that showcases the sustainable intentions of the Belgium Pavilion.

F

or the Belgium Pavilion, designed

profiles are fitted with a range of lighting

Callebaut Architectures, lighting

lighting and diffuse solutions.

by Assar Architects and Vincent

designer Veronique Marijn worked

with Belgian manufacturer Delta Light to bring the architectural marvel to life.

Dubbed ‘The Green Arch’, the pavilion was

designed to invite, bringing people together

to create a sense of belonging, while terraces

bedecked with greenery showcase its sustainable intentions.

Throughout the pavilion, Marijn worked with

Delta Light on an approach that would harmonise with the function of each space; in the seminar room, the restaurant and circulation areas,

functional lighting is key, with an emphasis on

sleek design. In the restaurants, Shiftline profiles are fitted with gold Hedra spotlights, while

Momba wall luminaires provide comfortable and atmospheric lighting.

In the exhibition areas, experience lighting

is created with Spy and Fragma spotlights on

tracks. A playful lighting plan in the entrance

hall presents decorative lighting, while Shiftline

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modules, including spot lighting, LED line As a lighting sponsor, Delta Light is part of a

team of Belgian brands involved in the pavilion’s construction. Built with Belgian techniques,

applications, products and materials, the pavilion includes an exhibition trail, but also shops with Belgian souvenirs, areas to sample culinary

specialities, a business centre and a gastronomic brasserie with a terrace.

Jan Battheu, General Manager of the Delta

Light Group, said: “The World Expo offers a

unique platform to promote Belgian design to an international audience. The mix of Belgian manufacturers that participate in the Belgian pavilion promises exciting cooperation and networking.”

www.veroniquemarijn.be www.deltalight.com

PROJECT DETAILS Belgium Pavilion, UAE Lighting Design: Veronique Marijn, Belgium Architect: Assar Architects & Vincent Callebaut Architectures, Belgium Lighting Specified: Delta Light

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PROJECT DETAILS France Pavilion, UAE Lighting Design: BOA Light Studio, France Architect: Atelier Perez Prado, Celnikier & Grabli, France Lighting Specified: Elation

Pics: Dany Eid

Dream Variations The France Pavilion features a dreamlike, experiential lighting scheme from BOA Light Studio that brings the striking façade to life.

W

hen designing the lighting for the French Pavilion,

temperatures and busy environment. Priol continued: “What we

with a strong connection to the French commitment to

Expo 2020 and its pavilions. We don’t want to make images; we want

BOA Light Studio sought to create an experiential space humanism and an invocation of movement.

BOA Light Studio – whose projects typically conjure a dreamlike

dynamic of luminary narration – captured the attention of the French jury at the competition stage in 2018, with a concept that is both

distinct and expressive, coupling perfectly with the architectural motifs of architects Atelier Perez Prado and Celnikier & Grabli.

Tasked with illuminating the immersive 1,400sqm space and

forecourt of the French Pavilion, Jean Marie Priol, artistic director of BOA Light Studio, explained: “Our job was to integrate light; to

create a dream-like narrative, reflection and commotion, wherever possible, in the city, in architecture, in the surroundings. We really

want the building to pulsate, to breathe and undulate. It’s no longer a façade, it’s a skin that shivers.”

For the pavilion, the lighting provides an evolving impression,

depending on the time of day and the highlights within the pavilion.

The dynamic, sequential light is transformed into moments of

emotion. The pavilion’s exceptional architecture offers a spectacular façade that, paired with BOA Light Studio’s lighting design, offers a prelude to the journey that awaits inside.

Working on the pavilion in Dubai presented new challenges for

BOA, thanks to the city’s unique climate, intense light, extreme

proposed is a sort of escape from the frenzy of lights throughout

to make sensations with the light. Light becomes matter, it envelops people in a sensation rather than just being demonstrative of a technology or a projection.”

Sitting in harmony with the architecture of the pavilion, the

lighting is designed to welcome visitors – the building is draped

with a corresponding, dream-like façade. BOA’s design is made up of 25,000 programmed light points, supplemented with animated

projections. The ‘skin’ where matter and light merge is animated by programmed lights in perpetual repetition.

“We wanted to create a visual experience that adapts to different

times of the day: the day – to learn and understand; the night – to imagine and dream. Night is universal, light is cultural,” Priol

continued. “Our work is about immersion, perception, reflection,

because the exhibition is a place of learning, to understand, but also a place to imagine, to dream, and that is the meaning behind our project.”

Described by BOA as a “wind of light conducive to a world of

dreams”, the pavilions stands out both during the day and after dark, and deploys a design philosophy that combines the comfort of the user with the practices of the space. www.boa.fr

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PROJECT DETAILS Slovenia Pavilion, UAE Lighting Design: Magnet Design, Slovenia Architect: Magnet Design, Slovenia Lighting Specified: Intra Lighting

Habitat for Humanity Inspired by the country’s rich habitat of forests and water, Magnet Design called on fixtures from Intra Lighting for the Slovenia Pavilion.

D

esigned by architects Magnet Design, the Slovenian

of home. They wanted the visitor to feel what it was like to enter the

cultural heritage.

The lighting posed some challenges for the Intra team, as they

pavilion was inspired by the country’s natural and

The pavilion was architecturally conceived as a floating

green oasis, suspended above a “water carpet” - designed to pay

homage to Slovenia’s lush greenery. The pavilion stands out as a

beautiful contrast between the green forests and the sandy desert surrounding the Expo.

The conceptual design for the pavilion began with a thorough study of the location, as Dubai is a demanding location in which to build.

Assembling the technical, architectural and content levels of the building was therefore a complex challenge.

The “water carpet” was conceived to naturally cool the space, while inviting visitors to get to know more about the Slovenian habitat

by circulating water. The floating forest, the second element of the

pavilion, is a reference to the rich forests of the country - more than 60% of the country is covered in forests. By elevating the forest, it creates a sense of canopy and shade from the extreme heat.

Mimicking the dappled light of a forest, the hexagonal roof patterns, referred to as the pond sieve, took its inspiration from the beehive.

Through the hexagonal lamp, the team at Magnet Design creatively drew motifs that illustrate beehives, typical of the Slovenian

beekeeping tradition. In combination with Intra Lighting, they also managed to create a familiar colour of light that evokes the feeling

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Slovenian forest when entering the pavilion.

worked with the unique Dubai natural light, which is much stronger

than European daylight levels. Shadows from through the pond sieve were used to shelter and protect the forest and the lighting fixtures from the hot sun.

Robert Klun, Founder and President at Magnet, said of the pavilion’s design: “Our concept design for Slovenia’s pavilion was inspired by Slovenian nature and Slovenian identity.

“Architecture is part of our life. We are looking to find smart solutions with modern approaches. For the Expo project we

designed the space with three elements in mind: water (layer and platform), floating forest (green Slovenia) and wooden mash (my roots from Ribnica).

Lightning design was used as part of the Bee Story 21. We based our design on the home of the bee - a hexagon.

“All lightning details were carefully developed with my partner at the studio and with Intra Lighting.

“Why did we select the concept of a bee house? Because it is organised, it is simple, it has an identity.” www.magnet-design.eu

www.intra-lighting.com

2020 WINNER

Visit us at powered by

BY CHICAGO ATHENAEUM

13 - 18 March 2022 Frankfurt Am Main Hall 3.1 Stand No. E71

Tracker | Trimless 56mm profile, up to 2510 lm/m

www.intra-lighting.com/#tracker

expo 2020

Build It Beautiful Designed by architect Asif Khan, with lighting from David Atkinson Lighting Design, The Worker’s Monument is a testament to the efforts of the 200,000 people who helped build Expo 2020.

I

n a celebration of the 200,000

the architectural structures. Therefore, each

2020, an installation was created

linear recessed fixtures - LED LightLines from

construction workers at the Expo to immortalise their names on 38 cylindrical columns.

Created by architect Asif Khan and illuminated by

David Atkinson of David Atkinson Lighting Design, the monument represents different lunar cycles

from the new moon to the full moon (particularly during eclipse). Senior Lighting Designer Maite Zubicoa and Technical Lighting Designer Peter

Keiderling aided Atkinson and Kahn on the design scheme.

Atkinson’s aim was to provide a simple

illumination scheme that did not detract from

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column was lit up using small custom curved

ADO Lights - which gave even illumination to each column with minimal glare through diffusion.

Each strip is fitted with extra strong LED modules, and the distance between the lines and stone was made with a minimal tolerance of 10mm.

The colour temperature of the LED chosen was

3000K, which enhanced the warm stone finish as well as coordinating with site perimeter lighting.

Each of the fixtures were DALI controlled to a preset lighting level via the Expo site-wide lighting control system.

www.dald.co.uk

PROJECT DETAILS The Worker’s Monument, UAE Lighting Design: David Atkinson Lighting Designers, UK Architect: Asif Khan, UK Lighting Specified: ADO Lights

The First Diamond Certified LED SunLike natural sun spectrum LEDs are the world’s first LEDs to produce light that closely matches the spectrum of natural sunlight, delivering human-centric lighting.

The light sources with SunLike Series LEDs more accu accurately show the color of objects as they would appear in natural sunlight. It is optimized to natural light spectra and color rendition Rating “Diamond” based on IES TM-30-20 Fidelity intent from UL Labs. https://verify.ul.com/verifications/520

It delivers considerable benefits of significant vivid color, detail contrast, and homogeneous quality of light.

www.seoulsemicon.com info.europe@seoulsemicon.com

Hope for the Future Created for the COP26 climate conference by Steuart Padwick with lighting designed by Buro Happold, Glasgow’s Hope Sculpture spotlights the global goals of the event with a 75% lower carbon build.

“T

he Hope Sculpture started as a conversation with Ramboll and became a gift from 50

companies to Glasgow. It is a testament to

the power of collaboration and dedication to deliver a better future” - Steuart Padwick.

In terms of its lighting aspects, the Hope Sculpture project is one of the first to

incorporate both CIBSE TM65 and TM66 assessments for the lighting equipment utilised.

Concepted, designed and led by artist Steuart Padwick, the Hope Sculpture is a new permanent public art installation situated in the natural landscape of Cuningar Loop, part of Clyde Gateway,

Scotland’s biggest and most ambitious regeneration programme.

Visible from long and short distance views, the 23-metre tall

sculpture rises above the woodland, overlooking River Clyde. The

sculpture is topped by an age/gender/race neutral child figure with their arms reaching out to a greener, hopeful future.

Linked to the 2021 United Nations Climate Change Conference

(COP26), the sculpture was constructed using low carbon, reclaimed, recycled or sustainable materials, of which, almost all have been

locally sourced. It is a showcase for how leading industry partners are committed to build more sustainably, as we transition to a net zero future. The build demonstrates a 75% lower carbon impact.

The Hope Sculpture aims to raise awareness of the fragility of both our environment and our mental health and the importance of our natural environment and community in supporting our mental wellbeing.

The Hope Sculpture, alongside the Beacon of Hope and Hope

Triptych, is part of a trilogy of urban installations situated at key

locations across Glasgow. Buro Happold Lighting was approached

by artist Steuart Padwick to work as part of the team and to provide a sensitive and environmentally conscious lighting design scheme

for the night-time illumination, respecting the natural context. The fundamental question on the need to apply lighting was among our initial conversations with the artist. Over time and as the hosting environment for each installation was defined, it was agreed that the Beacon of Hope and Hope Triptych will not receive dedicated

illumination as the ambient light conditions were deemed bright

enough to support viewing the installations and additional lighting

would need to compete with surroundings. Therefore, the following information focuses on the illumination of the Hope Sculpture on Cuningar Loop.

Design Narrative

From the design to the construction techniques and implementation delivery, the primary design principle was to promote sustainability and environmental care with the aim of a reduced carbon build. The following key strategies were followed on a project wide basis: • Collaboration with local consultants, suppliers

• Use of reclaimed materials (i.e recycled gas pipes for the piling) • Use of existing upcycled equipment/ samples

• Use of materials with low embodied carbon content (e.g. 100% cement-free concrete)

• Use of construction processes with low carbon footprint

Working as a team and with sustainability embedded in every aspect of the project, we strived to promote the fulfilment of delivering something new through the creative reuse/repurpose/upcycling Alexia Gkika, Senior Lighting Designer, Buro Happold

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of existing materials and sustainable manufacturing/construction processes.

greenlight alliance

PROJECT DETAILS Artist/Designer: Steuart Padwick Project Director: Natalie Alexopoulos Engineering and Marketing Support: Ramboll Area Management: Clyde Gateway Lighting Design: Buro Happold Lighting Manufacturer: Stoane Lighting Lighting Controls: Studiotech

1

2

4

3

1. The age/race/gender neutral child sculpture is constructed of bespoke, cement-free concrete - a 70% reduction in carbon footprint compared to standard concrete.

It also includes 20% recycled glass aggregate, which gives the sculpture a sparkling finish. (Pic: © Fourteen) 2. The sculpture is illuminated using minature adjustable luminaires from Stoane Lighting, integrated on outreach brackets and mounted on the capping plate that carries the child figure. (Pic: © Keith Hunter Photography) 3. The 23-metre tall sculpture rises above the surrounding woodland, overlooking the River Clyde. 4. Buro Happold used the new TM66 CEAM-Make metric to assess the sustainability of the fixtures specified.

Key Materials

We sought to use existing or re-purposed lighting equipment from

Aggregate Industries’ technical experts in close partnership with the

carbon emissions. The equipment’s small scale, premium built

The bespoke cement-free product has been developed by the

project team. This high strength product is part of their ECOPact Max green concrete range and reduces the carbon footprint by more than 70% compared to a standard concrete mix. Also incorporated in the concrete mix is recycled steel rebar. The cement-free concrete mix

utilises a local Duntilland Dolerite aggregate and sand, and the cast

child includes 20% recycled glass aggregate from Dryden Aqua, who recycle about a quarter of Scotland’s glass.

The Lighting Approach

At Buro Happold, we strive for our designs to be sustainable,

sensitive towards nature and to contribute positively to climate resilience. As individuals, we are curious and conscious of our

footprint paved by our design decisions. This leads to research

and systematic actions supporting Buro Happold’s sustainability framework and commitments.

Exterior lighting is a considerable contributor in the energy demands of the built environment. If not designed appropriately, lighting has

adverse effects on climate resilience. Despite its undoubted benefits, uncontrolled lighting creates light pollution. In turn, light pollution results in a chain effect including energy wastage, disruption of ecosystems, season shifting and effects on human physical and mental health. In alignment with the project’s ethos and with

sustainability at the forefront of our lighting principles, we designed the lighting for the Hope sculpture with respect to the natural

environment and our planet. We utilised programmable light sources of low power and high efficacy, reducing the operating demands.

local Scottish manufacturer Stoane Lighting, minimising embodied quality, interchangeability of components and the commitment for future service of components contribute further to reducing direct

and collateral embodied carbon aspects of the lighting installation

and the project in total whilst enhancing the equipment’s advanced circularity.

Reminiscent of the chimney stalks that once littered the East End of Glasgow, Steuart Padwick’s deconstructed chimney design is

made of six elegant, angled columns, creating a dramatic 20-metre high pedestal for the child of hope. The base of the sculpture is

paved using locally quarried Caithness stone slabs with engraved poems and words delivering messages of hope. Linking our built

environment with improved mental wellbeing, the artist worked

with Mental Health Foundation on all messaging. Words of Hope

have been written by some of Scotland’s favourite voices, writers and poets. Four monolithic stone benches are placed around the sculpture, allowing people to sit, rest and reflect.

The need for environmentally considerate night-time illumination

of the sculpture was part of our brief. As the hosting environment is

a relatively dark context, we did not need to apply a high intensity of

light to ensure sufficient illumination. Conscious of the light wastage and given the height of the structure (23-metres above ground level), we excluded the conventional way of uplighting from ground level

via recessed luminaires. Instead, the child figure is illuminated using miniature adjustable luminaires integrated on outreach brackets and mounted on the capping plate carrying the child figure. The multiple small-sized luminaires with low output and tight optics provide

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greenlight alliance

1

2

Figure 1 Embodied carbon calculation for Tadpole luminaire and 1/10 LED driver with pie chart indicating breakdown of results (pie chart extracted from TM65 calculation, courtesy of Stoane Lighting/ Buro Happold). Figure 2 Embodied carbon calculation for Mole luminaire and LED driver with pie chart indicating breakdown of results (pie chart as extract from TM65 calculation, courtesy of Stoane Lighting/ Buro Happold).

flexibility in adjustment for uniform illumination of the organic

complete as they are used for assessing different aspects. However,

pillars are illuminated via a single downlight housed on the joining

the calculation method is more detailed and specific to the

and narrow optics. As the light reaches the ground, it creates a soft

products are assessed under four main categories: Product Design,

surrounding pillars.

questions for each category, the lighting manufacturer is asked to

and does not operate overnight. All control components are housed

action towards a circular economy. Points are collected for each

maintenance visits.

product. Lastly, using a simple traffic light system, the score reflects

The Sustainability Calculation Methodologies

for the Hope Sculpture ranks within the ‘Excellent circularity’ range

form, while minimising light spillage towards the night sky. The

as TM66 is solely focusing on assessing lighting equipment,

surface at the top of the columns with downward light emission

manufacturing, materials and processes associated to lighting. The

shadow-play in a star shape generated by the casting shadows of the

Manufacturing, Materials and Ecosystems. Through a series of

The lighting is warm white (3000K), dimmable, controlled separately

give a rating (from 0-4) based on the level of evidence at hand and

remotely in an overground feeder pillar for easy access and future

category and summed up reflecting the overall performance of the

the level of circularity of the product. The lighting equipment utilised

The Hope Project lends itself as an ideal opportunity for our scheme to

(2.5 to 3.5) scoring 2.7.

carbon in the MEP equipment, 2021; and CIBSE TM 66, Circular

assessment led by Ramboll, one of the key supporting partners

These technical memorandums describe two different calculation

Clyde Gateway.

level and the other of the circularity aspects of the product.

Next Steps

products yet. TM66 was formally released in Q4 2021 but luckily, we

sustainability metrics in a real project. Throughout the process, we

be assessed using two sustainability metrics: CIBSE TM 65, Embodied

The above findings were fed into the project-wide sustainability

economy in the lighting industry, 2021 (Beta version of CEAM-Make).

along with Glasgow City Council, South Lanarkshire Council and

methodologies; one focusing on the embodied carbon on a product TM65 has not been widely used for the assessment of luminaire

had access to an early beta version of the calculation tool (CEAM-

Make) that enabled Stoane Lighting to input product information and supporting evidence.

The TM65 calculation took into account all luminaires and control components. The calculation method is based on total weight of

the assessed system and material composition. The total estimated carbon emissions are 90kg CO2e. This figure reflects the worst

case scenario as the drivers have been considered as an electronic

component in their entirety and therefore bearing high embodied

carbon content for their total weight (embodied carbon coefficient: 49kg CO2e/kg). Therefore, having the breakdown of the material

composition of the driver component would have resulted in lower embodied carbon content of the total system. At the time of the

calculation, the driver composition information was not available, highlighting the need to encourage lighting manufacturers and

control component suppliers to take action now. Ultimately, having

the base information publicly available will reduce the time required for the calculations to be performed and offer a more accurate impression of the performance of the system.

TM65 and TM66 cannot be compared or characterised as more/ less

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The project offered us a great opportunity to test the above

engaged with our collaborators to source the information required.

As the lighting industry is at the early stages of development on these aspects, there is plenty of room for improvement on all

fronts. This project will remain as a reference point in our ongoing endeavours to design, specify and provide consultancy services

towards sustainable and considerate projects. Our next steps include continued engagement with forums, manufacturers and clients and including carbon and circularity input in our project deliverables.

Since the installation’s completion, all project collaborators have discussed the positive impact of the piece.

Steuart Padwick said: “We all need to address this new global agenda so our young can embrace a future of hope. It is very simple, why would anyone want to poison their future?”

Natalie Alexopoulos, Hope Project Director, added: “The most

remarkable thing about this project has been collaborating with these companies and individuals. Their integrity, drive and commitment to make a difference has been inspiring.” www.burohappold.com

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

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01.12.21 11:35

Site 5: Plantaget (Pics: Patrik Gunnar Helin)

Better Together

T

he 2021 edition of Lights in Alingsås – the 22nd instalment of the light festival, brought the

international lighting community together once more this October.

This year’s theme of Together was chosen in reflection of the global

Lights in Alingsås returned for its 22nd edition this winter after a year’s absence to bring a festival of light and togetherness to the small Swedish town.

pandemic. “The world has changed quite a bit since the last ‘normal’

edition of Lights in Alingsås was held in 2019,” said event organisers.

“The pandemic may not be over yet, but the time has come to slowly

start reconvening, albeit at a safe distance. Lights in Alingsås wanted to kindle that sparkle of hope by turning on its lights and creating opportunities for visitors to gather once again.”

And so it did, with a remarkable 70,000 visitors recorded visiting the Swedish town during the five-week event.

As a result of the 2020 festival’s cancellation, this year’s event welcomed back the same seven lighting designers that were

scheduled to participate in last year’s workshop. Sara Ortega,

Architect, Lighting Designer, Technology Teacher and Researcher from Barcelona, Spain; Anuj Gala, Finnish Indian freelancer for

Lighting Design Collective (LDC) and multiple projects in India;

Rogier Hengeveld, Project Manager for Lighting at Lighting Business Consultancy in Utrecht, Netherlands; Craig Spring, Principal at Luminosity – Architectural Lighting Design in Colorado, USA;

Rodrigo Muro, Program Director at KTH and Lighting Designer;

Luciana Alanis, founder of Swiss lighting design studio Lichtgold and

lecturer at Karlsruhe Institute of Technology; Jessica Krometis, Senior Designer for Hartranft Lighting Design; and Sebastian Studnitzky,

German Composer, were joined by 50 lighting design students from KTH Royal Institute of Technology and the Jönköping University.

This Autumn’s light trail covered approximately 3km and featured six installations spread throughout the heart of Alingsås. Guided

tours were offered again this year, along with the option to use the

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event

Site 1: Lilla Torget Bron - Bridge The Gap

Site 6: KV Klockan

Site 3: Brunnsparken

Site 4: Christinae Kyrka

dedicated Lights in Alingsås app for independent walks.

church tower like a flame directs upwards, to where the tower is lit up

Torget square. As described by the team, this site presented: “Bridge

Site 3 - Brunnsparken - The Jetty, was hosted by Jessica Krometis.

separates us from one another.”

living creatures emit, and was broken down into a four-act play, with

of light in the middle of the river. The stairs represent a space to

trees, fireflies darted to and fro, communicating with one another.

stop in their tracks and reflect for a while. The group’s creation is a

appearing to dance together in flight in the moonlight. Light flicked

sometimes released colourful dyes into the water.

Finally, the light moved upwards, accentuating the canopy of the

for five minutes and 20 seconds.

above Alingsås.

Muro felt inspired by the word ‘Together’ in this year’s theme,

to experience the artwork from a unique and magical perspective.

was movement: a circling ripple effect on the surface of the water.

site was a bustling place with activity and movement. The team

to evoke a feeling of togetherness; of belonging to the same source.

cycling, or driving, while others were heading in or out of the church

a field of light. Weak at first, the light became brighter and brighter

consider the parish hall itself – which is why this installation wanted

well, but not as the main focus.

The church was subtly lit up, to allow the parish hall to glitter

visitors were met by warm lights that welcomed them to the park

movement; it encouraged spectators to anticipate what’s around

the aim that they would want to be embraced by the glow of the

Alanis’ interpretation of this edition’s theme of Together was: “Come

were pulsating lights that led the way up to the church. Both the

society’s true values. Two different eras and stories, two architects

being gathered in embracing arms. A spotlight licking the foot of the

Site 5, Plantaget Park, by Sara Ortega, took its inspiration from

Site 1, hosted by Craig Spring, was located on the bridge at Lilla

against the night sky.

the gap: building a link to cross the gap between us, the divide that

This installation evoked fireflies and bioluminescence – the light all

Spring’s focus was to light up the bridge, but also create a focal point

the jetty lit up during the opening scene. Moving in closer, among the

bring people together. The installation hoped that passers-by would

They sent each other poetic messages from far away and close by,

nod to the dyeworks that used to operate in the neighbourhood and

from one tree to the next, like glowing creatures chasing each other.

The installation is accompanied by an instrumental track that lasts

trees, and journeying across the heavens like the Northern Lights

Site 2, Landskyrkan church, was created Rodrigo Muro and his team.

This site’s group wanted to encourage visitors to lie down on the jetty

linking it to its homophonic sibling ‘to gather’. His starting point

Site 4, led by Luciana Alanis was located at Christinae church. This

The waves make it seem like something is expanding. Muro wanted

observed that some people were simply passing by – walking,

He invited visitors to follow the light to the church, where there was

or the parish hall to take part in some activity. Very few stopped to

as it looped, before fading once more. The church itself was lit up as

to draw its attention to the hall, making passersby pause.

Arriving at Landskyrkan from the south (via Landskyrkoallén),

and sparkle like a diamond. Its rounded shape evoked a feeling of

that surrounds the church. Spectators felt drawn to the sight, with

the curve.

lights in the grass and the trees nearby. Hidden among the grass

together, gather round, to rediscover the beauty of this place and heed

trees around and those behind the church reinforce the feeling of

and their buildings, past and present, united in this public place.”

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113

event

Site 3: Brunnsparken

Site 2: Landskyrkan

Barnens Light

people as social beings. Feeling part of a group is crucial to our

ground led audiences to duckboards surrounding the fire that invited

fulfils our perception of ourselves.

from the fire.

Physical separation does not always mean being alone, and

gust of breath on the embers of a real campfire.

relationships between each other. Technology brought us closer to

blue above the river and by the building toward Västra Ringgatan.

ultimately to vibrant gatherings. This installation sought to shed

sponsored by Sparbanken Alingsås, was held in Museiparken.

The scene was in the central part of the park, which consisted of a

child-friendly installation.

On one side, there was a fountain and a chessboard, on the other,

Westergren formed part of this site’s inspiration.

show how attempts at contact are made and finally succeed.

and differences is one of our greatest joys.” This year, Malin wanted

recipient. Another beam was sent from the other side, again no

people great and small. Everyone has something they’d like to ‘share

sides, creating contact and a meeting. The display became especially

dream or maybe a game.”

The final workshop site, Site 6, was led by Anuj Gala and Rogier

of 2021, Margartha Stenmark of Alingsås Energi created a new,

This site took its inspiration from fire and its historic importance to

renovated by the Municipality of Alingsås; the space was cleaned up,

immemorial. Fire was used to protect us and chase away our fear of

a new footpath over the waterfall. New seats were built on the new

It was an important tool for expanding and developing communities.

new footpath have been accentuated, plus lighting under the benches

fires and passed from generation to generation.

www.lightsinalingsas.se

identity. A sense of community and belonging in our tribe or herd

interactivity. As people stepped on a duckboard, a flame shoots up

There are many ways to feel community and belonging today.

The more they were stepped on, the higher the flames – mimicking a

technology has played an important part in creating new types of

The background surrounding the campfire was lit in shades of calming

people far away and distanced us from people closer to home, leading

Barnens Lights, the children-specific installation, which is

light on failed communication and the spark inherent in meetings.

Designer and drama teacher Malin Wallin returned to create this

grassy space in between two areas that were in a state of imbalance.

“You and me a little bit mingled”, a quote from Linnéa Krantz

a gravel surface. The installation aimed to link these two parts and

“To meet is to mingle. Mixing and making room for our similarities

A beam of light was sent from one side, with no reaction from the

to take visitors to a magical pond. “Let’s meet there. Creatures and

reaction from the recipient. Suddenly, there was light from both

in the mingle’. A longing or a worry, silence or laughter, a thought, a

effective in rain or mist.

In addition to the festival’s light-art installations, during the spring

Hengeveld at the Klockaren neighbourhood.

permanent lighting installation at Brunnsparken. This area has been

humanity. Fire has been at the centre of meeting places since time

and a new terrace added closer to the water, which thereby created

darkness at night.

stone wall. The waterfall has been illuminated and the stairs and the

It served as a source of heat and relaxation. Stories were told around

welcome visitors, to sit down and relax, even after dark.

Thus, a campfire stands at the centre of the installation. When

visitors merely gaze at the fire, it just glows. Rope lighting in the

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05.08.21 14:07

Dancing in the Dark More than 40,000 visitors travelled to the Estonian city of Tartu in October for the third instalment of Tartu in Light.

T

he Tartu in Light festival of

Bridge, which brought together an audience of

40,000 visitors to the Estonian city over

The Emajõgi River connects the TAVA2021 events

architectural lighting and light-art drew a four-day period in October 2021.

Curated by Andra Orn and Triinu Jürves (outdoor

installations), Kiwa (indoor exhibitions), Eva Tallo

and Marko Kuusik (workshops), Caspar Lootsmann (audience programme) and, Reet Sink (Lightfair),

the main organiser was Elo Liiv (MTÜ Valgusklubi).

Using 400 lights, 235 lasers and 5km of cable, the

on the Town Hall Square, the Light Fair at the

Estonian National Museum, and the conference of

the LUCI (Lighting Urban Community International) international network of 70 cities on urban lighting.

One of the main attractions that drew in audience

numbers was the laser performance Linea Temporis

in St. John’s church. Biopoetics by Alyona Movko-

Tartu and all the supporters who made the festival

Trail. This installation was an optical water play

possible for a third time. During these four days,

Tartu once again became the capital of light,” said TAVA2021 organiser Elo Liiv.

“We need light to get through difficult times

– art and culture soothe and elevate all of us. I

am particularly pleased that the festival was an

opportunity to discuss the need for good lighting

in the public space as well as offering ideas and the inspiration to achieve this.”

The opening of the festival was marked with a

performance from Erki Pärnoja on the Kaarsild

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with the Light Trail, plus open-air performances

festival brought light to the city at a time when most needed. “We wish to thank the public, the city of

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around 3,500 people.

Mägi’s was a notable attraction along the Light

exploring life and the flow of time. Movko-Mägi is

a household name in Tartu and is best known as the designer of the dress worn by Elina Nechayeva for her performance in Estonia’s entry to Eurovision.

The installation has garnered international interest and aims to promote Estonian light artists on a global scale.

Further along the Light Trail were installations from the IALD architectural lighting workshops.

“The installations revealed places and monuments

in the urban space that had been hidden from casual

event

passers-by or obscured by the dark evenings,” said the

Exhibitions created for the festival remained open

As part of the workshops, three monuments in the city

Design and Lighting Art 2021. This was the first

workshop curator Marko Kuusik.

received a lighting solution, including the Tartu War of Independence Memorial, the Friedrich Reinhold

Monument and Oskar Luts Monument. CJ Brockway,

along with the help of her students, demonstrated how special features of the riverside could be accentuated

with light, and under the guidance of Swedish designers Johan Moritz and Tina Wikström, a lighting solution was created for a riverside viewing platform and recreation area.

“The events of the light festival delighted both Tartu residents and our guests during these dark autumn

evenings. The various installations in the urban space have clearly shown how the quality of public space

can be improved with lighting, and we will certainly

consider creating permanent lighting solutions based

on them. Many thanks to everyone who contributed to

the success of the light festival,” said Deputy Mayor of Tartu, Raimond Tamm.

Another first for this year’s festival was the music event Tava Xperimental, which saw Henri Hütt and sound-art duo Algorütmid perform their new work, Influencer.

Spanish performer Exotikdot relied on the intersections between perception and science. The Japanese artist

Tatsuru Arai combined classical composition with new

at the Estonian National Museum, Estonian Lighting exhibition introducing the work of Estonian lighting

designers and light artists that remained open until 10

November. The exhibition provided an overview of key designers and artists, including accomplished artists Leonardo Meigas, Tarmo Luisk and Tõnis Vellama, as well as new creators and brands such as Pulo Disain.

The graphic designer of the exhibition is Margus Tamm, and the curator is Maarja Ree.

In the Pallas Gallery, Variation of Continuum, was an

exhibition of three artists – Tatsuru Arai (Japan), Maria Pazi (Spain) and Paola Medina Querini (Panama) –

curated by the artist Kiwa, focusing on the metaphor of light as a direct activator of association chains as well as stimulations of perception and cognition.

Lighting sponsors for this year’s event included: Hektor Light and Topledshop/Inestra as gold sponsors, and

further sponsorship from: Silman, Osram, Barthelme, LEDSC4, Meyer, Reggiani, iGuzzini, Intiled, E&T

Valgus, Event Center, Eventech, Elektrilevi, Stockholm Lighting, Digital Sputnik, MicroWatt.

The next edition of Tartu In Light will take place in early October 2024.

www.tartuvalgus.ee

technology and presented the essence of the universe through perceptual experiences.

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117

SPA Treatment During [d]arc room pop-up earlier this year, Tryka launched the SPA collection.

Following its launch, David Morgan took a closer look at the range.

A

lighting company with a memorable but

unusual name, Tryka, that amalgamates

characters from Tri colour (for RGB) with those from the founder’s children, is in the process of expanding its product ranges.

Tryka has established an international

presence as a successful manufacturer of linear

lighting systems and is now diversifying into a broader product portfolio with the introduction of the new SPA range.

Tryka was founded by Chris Rolph in 2002, who had worked for a

number of other lighting companies, including Laser Graphix and latterly for CoeTech, where he was sales director.

The launch Tryka products included a 1200mm 36W linear product, a 36W PAR 56 projector, and 3W 50mm downlight module, which

were followed by flexible modules, these are all products that remain staples of the current product portfolio.

‘Inspiration for your imagination’ was the original Tryka mission statement and the company believes it continues to encapsulate

that approach based on working closely with lighting specifiers and customising products to meet project requirements.

The company employs 45 staff in two locations. Headquarters

and production facilities are based in the UK and this operation is

supplemented with a Middle East sales office in Dubai. Working with

sales partners around the world, the major markets for Tryka include the Middle East, Europe, UK and the USA.

The new SPA range was launched at [d]arc room pop-up @ Design London in September 2021 and is aimed at the hospitality market, with hotel guest rooms as a particular target.

The central products in the SPA range are two sizes of downlight: 50mm and 70mm with fixed and adjustable versions but the

presentation that I was sent as part of the review material illustrates a much wider product range and includes pendants, spotlights, task lighting, and many other luminaire types.

It is understood that an underlying concept for the development of the SPA range was based on the perception that lighting designers are keen to specify luminaire types for hotel guest rooms that all

use a common light source and common aesthetic, but with a wide range of finishes and colours. From a lighting design perspective this approach makes good sense as it will help to minimise any 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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discrepancies in light source colour temperature, CRI, and binning.

While downlights generally share a common appearance, it may be a product development stretch to satisfy the diverse visual

requirements of interior designers for the other luminaire types, such as table lamps and wall sconces.

DAVID MORGAN

The heart of the SPA range are the light engines and associated

6- or 7-star hotels. It is understood that the design of the machined

precisely the right light engine for the project in terms of performance

reused at some point in the future to produce new luminaires.

optics. These are designed so that the lighting specifier can select

and budget. The highest rated LED source is the Seoul Semiconductor Sunlike with a CRI of 97+. For less demanding projects, light sources from Cree, Bridgelux, and Luminus can be provided.

Similarly, the optics range from the Ledil Hekla COB holder with

swappable lenses up to the digitally controllable LensVector liquid

crystal lens that I have described in my reviews over the past couple of years. I am not sure if there is any level of hotel guest room

being conceived yet for LensVector equipped downlights, but when that specification is written then Tryka will be ready. Beam angles

available with the Ledil lenses and reflectors range from a narrow 10° up to 120°.

The sample SPA 50 downlight that I was sent to review was fitted

with the Seoul Semiconductor Sunlike light engine, medium beam

optic and a satin gold cone. The lit performance was unremarkable

without any striations in the beam and would work well in all typical applications. The housing was machined from solid aluminium

with a good quality powder coat finish for the body and trim and

well finished satin gold anodised finish on the reflector. While the solid aluminium metal work provided a reassuringly heavy quality

impression and would provide good thermal management, despite

the lack of any finning, I wondered if the production costs would fit

into the budgets allocated for guest room fixed downlights – even for

components fits into a circular economy model to allow them to be In order to replace the COB light engine at the end of life in the

review sample, the downlight would need to be removed from the ceiling and disassembled but in full production this detail may be changed to allow COB changing from below the ceiling.

The SPA project appears to be a work in progress as only a limited range of luminaires illustrated in the presentation were shown at [d]arc room. It will be interesting to see how the product range

develops in the future to meet the project requirements of lighting designers and interior designers.

The SPA project was led by Ryan Rolph, Sales and Technical Director at Tryka, with the initial range design, including the light engine

concept, provided by Simon Fisher at F Mark. The Tryka design and

development team then progressed the design into the wider range of products which all incorporate the SPA light engine.

The design and development stages took around a year up to [d]arc room and it is understood that the most demanding engineering

challenge was ensuring high efficiency combined with good visual comfort and a perfect lit effect.

As this is a new product introduction, there are no project references yet but it is understood that feedback from the lighting specification community has been positive and supportive of the SPA concept. www.tryka.com

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119

New Products

A look at some of the latest products and innovations to hit the market from across the lighting industry.

G-Spot Maerich Maerich G-Spot is an award winning multifunctional grow light solution, developed for both human illumination and plant growth. It encourages indoor biophilic design elements with CRI >90, R9>90 and recognisableCCT growth spectrums, and integrates homogenously into any surrounding ambience, creating a multi-sensory hortitainment attraction. G-Spot makes living with nature in a built-up environment possible, enabling new solutions to social and urbanisation problems, transforming a once concrete jungle, into a sustainable and liveable city in a garden. www.maerich.com

Flexglo F21 Clear Lighting Flexglo F21, dome shape, radiates a beam angle up to 160° (50%) in classic neon appearance. Combined with LED technology and ClearTech, it provides the lighting designer with superior visual comfort and luminous efficacy. This type of neon flex is designed for suitability on the stage or a billboard, where a large viewing angle is required to accent the focal points, while blending seamlessly into the background when it’s off in grey, black, or other custom colourful finishes. www.clearlighting.com

Daytona DW Windsor Daytona is a contemporary street lighting solution set to transform the illumination of urban spaces. With replaceable light modules, advanced control options and Tunable White technology, Daytona helps specifiers to deliver the right light at the right time. Daytona balances style, efficiency and practicality to deliver a luminaire capable of maximising performance while providing outstanding service life to support the circular economy. Its modern design and advanced features make it ideal for a range of urban lighting applications. www.dwwindsor.com

Vorsa Dot John Cullen Lighting Bring focus to what matters with the smallest track mounted luminaire on the market – the award-winning Vorsa Dot. With a choice of flood or spot luminaires, multiple optics and five different snoots, it allows your lighting to be as tailored as your display. An innovative proprietary track with different mounting options offers maximum control with independent dimming levels. The Dot delivers a powerful 65lm along with a CRI of 98. www.johncullenlighting.com

DAC100 We-ef Building on the DOC100 recessed luminaire series, the new DAC100 surface-mounted downlights offer a wide scope for lighting design. Available in three housing diameters with different connected wattages, the series covers a wide luminous flux range from 1,082 to 4,570lm. The symmetric light distributions range from wide beam to medium, very narrow and very narrow beam ‘sharp cut-off’, while the housings have space for optical accessories such as a linear lens or honeycomb louvre. www.we-ef.com

Green Applelec LED Light Sheet Applelec Supplying the design industry with the first, fully environmentally friendly light panel, Applelec Lighting announces the launch of their Green Applelec LED Light Sheet.

Manufactured at the brand’s UK premises in West Yorkshire, Green Applelec LED Light Sheet has been developed to help improve its carbon footprint, while still delivering a premium backlighting product. Providing a more sustainable option, Green Applelec LED Light Sheet is the first light panel to utilise recycled and recyclable materials. www.appleleclighting.co.uk

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new products

LED Lightline ADO Lights Luminous lines when darkness falls; sometimes an eye-catcher, at other times showing the way. ADO Lights’ LED Lightline accentuates entrance areas or emphasises architectural contours. The high-quality fixture, casted with a special pollution-free resin, comes in different widths (12/20/40 mm), materials (aluminium/stainless steel) and light output (monochrome/ RGB+W).

Lightlines can be used indoors as well as outdoors and can be integrated in ceilings, façades, and floor spaces. It can even come in bended and for drive-over areas. www.ado-lights.com

IP DALI-2 Buswire Module Delmatic Delmatic’s IP DALI-2 Buswire Module is the most powerful DALI-2 controller to be certified by the DALI Alliance. The smart ready “Ethernet to the Edge” router combines latest DALI-2 technology with full BACnet IP and granular MQTT integration. The module individually addresses and monitors up to 384 DALI-2 drivers across six DALI universes, plus a range of integrated DALI-2 devices including presence detectors, multisensors, switches, scene-set panels, and Delmatic’s latest multi-discipline sensors that combine presence and daylight detection with temperature and humidity monitoring. www.delmatic.com

Intono C L&L Luce&Light Intono C is a new ceiling-mounted lamp for indoor applications. Satisfying the requirements for residential, hospitality and museum settings, Intono C has the same attributes as the original Intono – a smart device that is enabled for sound and can blend into its surroundings. The optical system is recessed within the IP40 diecast aluminium body to avoid glare. With wattages ranging from 9-20W, a CRI between 80 and >90, and colour temperatures from 2700-4000K, colours shine. Light optics also range from a narrow 11 up to asymmetrical optics, producing a wallwashing effect. www.lucelight.it

Athena Lutron Programme your space in real-time using your mobile iOS device. Start wherever you like: synced to the cloud, the Athena app already knows your building. Flash the lights to confirm the area you want to programme.

You can adjust colour temperature and intensity, and the timing of lighting transitions – by individual fixtures or zones. Create and save scenes. Easily build upon the last saved scene – with a convenient “save to” feature.

Realising your design vision is in your hands. www.lutron.com

Liquid Line Lightnet “Limitless possibilities” is the recipe for success of the Liquid Line LED luminaire system: it offers a wide portfolio of standard modules and at the same time can be manufactured in any conceivable shape.

Thus, the Liquid Line is not only flexible on the horizontal plane, modules with an individual vertical bend are also possible.

Unlimited possibilities also apply to the technical lighting features: light colours, colour rendering, opal diffusers and microprismatic optics for glare-free use can be freely configured. www.lightnet-group.com

Atomos Lucifer Lighting Atomos is a compact downlight family with 1-inch and 2-inch apertures available in round and square, in trimless and flanged profiles for plaster and wood ceilings. Ideal for residential, hospitality and commercial interiors, the LED range is available in multiple static white colour temperatures or in Dim Warm (3000K at full brightness down to 1800K when fully dimmed). A proprietary new zoom optic offers beam spreads in five increments between 24-48°, adjusted by twisting the front face of the optic. www.luciferlighting.com

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case study

Remembering an Icon As part of a tribute to Mexican architect Luis Barragan, Lutron collaborated with a team of architects and lighting designers with a light-art show at his Casa Jardin Ortega residence in Mexico City.

L

utron and a crew of architects and lighting designers

box sculptures were painted with Lutron luminaires. Unlike the other

raise money to maintain his original Casa Jardin Ortega

the right wash of colour across each large surface was critical.

teamed up to celebrate the vision of Luis Barragan and in Mexico City with a temporary light-art exhibition,

gardens, this exhibit contained static light sculptures, but achieving Luz en Arquitectura (LUA) developed their concept as a story about

staged throughout the grounds of the residence.

the plum trees formerly found in the Jardin de los Ciruelos. LUA

the Athena lighting control solution to push the boundaries of

luminaires, using the Athena control system, creating the sensation

Each light-art installation combined the Ketra light source with how light and colour can transform a space. Just as bold colour was a foundational element in so many of Barragan’s spaces; colour

choreographed sophisticated lighting sequences for seven Ketra

of water flowing from the onsite fountain down to the ground, where seven plum trees emerge from the darkness and dance.

was a key component of each light-art experience. Some of the

In the Jardin de la Virgen, architect Jorge Hernandez de la Garza and

shades found on Barragan’s most iconic projects, but exact replicas:

steps that unfolded over a four-minute period. The team used 27

orange from one of the orange walls from Casa Ortega itself.

a view into the private interior of Casa Ortega and showcase the

design teams sought to incorporate not just approximations of the bougainvillea pink, sky blue, ochre yellow, rust red, and the faded

Tonal Taller crafted a lighting sequence with more than 90 individual Ketra luminaires with beam angles ranging from 15 to 90° to offer

Architectural firm Taller ADG and Lighting Designer Paola Jose of

historic garden in new ways. Here, the architects provided elements

the temporary exhibit Iluminando la Casa Jardin Ortega. The concept

the garden to offer an optimal vantage point for the show.

Sombra, teamed up to create an installation in Jardin Hundido for

was to represent several of the iconic places of Barragan - the pool

at Casa Gilardi, the cross in Capilla de las Capuchinas, the entryway

to help viewers better appreciate the lighting, bringing a bench into ZD+A architectural firm and lighting designer Luca Salas created La Presencia del Vacio – a light sculpture placed in the Patio del

from Casa Barragan - in one structure. The team used the Lighting

Perol. This sculpture mirrors the fenestration of the patio itself and

the blue, red, orange and pink found in Barragan’s projects. The

the day can affect the look and feel of the garden. Illuminated

Designer app to select Ketra light in colours that perfectly matched lights were then programmed into sequences that illuminated smoke rising from a custom, Taller ADG-designed structure.

Barragan found the solitude of gardens to be one of their greatest qualities and Artec3’s installation sought to give visitors that

treasured, silent experience by encouraging the contemplation

of Barragan’s bold colours, geometric shapes, and the scale and

proportion that were often present in his projects. Three large light

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illustrates how the shifts in light that occur naturally throughout and controlled by the Athena lighting control system, this patio

structure is transformed with light and the sensation of movement over a 20-minute performance that transitions through various colour temperatures of white light and into shades of red and

orange that recall the sunset, before culminating into a deep blue, reminiscent of nighttime. www.lutron.com

Optisolis ™

2-in-1 Tunable LED

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The Light so Good LED range delivers optimum performance in human centric lighting. Vitasolis™ is state-of-the-art spectrum technology that stimulates human activity, while Optisolis™ provides

a natural light source on a spectrum that’s the closest match to sunlight. Plus, Nichia’s 2-in-1 tunable LED enables development of compact tunable white luminaires with superb color mixing.

Visit us at the Light + Building Hall 8 Booth D60 13-18 March 2022 Frankfurt am Main

case study Pic: © Thomas Mayer

Pic: © HGEsch

Pic: © Thomas Mayer

New and Improved Celebrating its 50th anniversary, Düsseldorf’s Schauspielhaus theatre has reinvigorated its lighting system, updating the existing scheme with lighting solutions from Erco.

T

o mark its 50th anniversary, the Schauspielhaus

of 3000K. In addition, no reflections on the fenestration interfere

Platz celebrated its reopening in January 2020 after an

garden to the rear of the building. For this purpose, cylindrical LED

theatre located on Düsseldorf’s Gustaf Gründgens

with the view from inside to outside into the urban space or the

extensive refurbishment implemented by ingenhoven

surface-mounted luminaires were installed along the inside glass

architects. All public areas of the building, designed by Bernhard

façade of the foyer featuring a black anti-glare cone and especially

that have been individually adapted to the listed structures on site.

In the walkway connecting the new entrance area with the foyer,

with the neighbouring Dreischeibenhaus office building, forms one

luminaires.

war modernism. ingenhoven architects was awarded the contract

in the original concept from 1970,” said Tropp. “Using the new

historic structure of the building, divided into a large theatre with

of light that set highlights on the floor and also bring out the

preserved. The roof and façade were renewed and all public areas

New wallwashers with adjustable light emission optimally display

“The original lighting concept by Hans T. von Malotki was also

Bernhard Pfau designed the foyer around a massive, downwardly

In some areas the concept was expanded and adapted to the

reinforced concrete beams up to 15-metres long. Tesis ground-

consultation with the monument conservation authorities,”

in the existing positions around the support. They illuminate the

Lighting Design.

a precisely defined progression from bottom to top and from centre

reconstruction was the (re)establishment of visual references

pairs between the beams of the ribbed concrete ceiling.

with the monument protection authorities, the entrance to the

between us, the architects and Erco lighting specialists creates a

The tinted panes of the façade were replaced by clear glass. The

ceiling actually appear to organically grow out of the central support,

the same time festive: in the evening hours, the new lighting creates

intended. This form of lighting also minimises the innate heaviness

implemented LED lighting tools with a warm white light colour

www.erco.com

Pfau, now radiate in new light – thanks to Erco lighting solutions

narrow beam angles, made possible via the ‘Erco individual’ service.

The organically curved structure of the Schauspielhaus, together

the existing lighting concept was optimised with LED recessed

of the most important architectural ensembles of German post-

“We left the position of the downlights more or less as specified

for renovating the listed theatre. In the course of renovation the

luminaires with spot distribution, we deliberately created islands

around 760 seats and a smaller theatre with up to 300 seats, was

materiality of the tile mosaics more emphatically.”

modernised in compliance with strict preservation orders.

the elaborately restored exposed concrete walls of the walkway.

retained as far as possible but completely revised technically.

tapering column that supports a total of 23 radially running

new requirements of the Schauspielhaus, and always in close

recessed luminaires were modified so that they could be installed

explained lighting designer Professor Clemens Tropp, of Tropp

sculptural support and the ribbed structure of the ceiling soffit with

An essential aspect for the architectural concept of the

to the outside. Gimbal surface-mounted luminaires were installed in

between the urban space and the Schauspielhaus. In consultation

“This sophisticated custom lighting developed in close cooperation

large theatre was designed much more openly and transparently.

fantastic lighting effect,” said Tropp. “The concrete beams of the

lighting ambience of the new entrance area is now inviting and at

which now gives the space the grand gesture that Bernhard Pfau

a radiant warm light that is visible from the outside. All relighting

of the massive structure.”

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case study

Pic: Andrew Hatfield

Beachside Property As part of the wider regeneration of Bridlington seafront in East Yorkshire, UK, DW Windsor worked with Sutton Vane Associates on a series of colourful new lighting elements.

O

n the East coast of Yorkshire, Bridlington is a popular

In addition, Sutton Vane Associates specified DW Windsor’s

A popular coastal resort since the early 19th century,

walkways along the seafront. Given the coastal location, the lighting

seaside destination for days out and family holidays.

Bridlington features two award-winning beaches and an

attractive seafront with panoramic views of Bridlington Bay.

Lacking any major redevelopment for almost three decades, the

seafront’s public spaces were in need of regeneration. So, in 2019, East Riding of Yorkshire Council embarked on an ambitious £4m project

to transform an area between Garrison Square and Regent Gardens, reinvigorating the space with an exciting new, colourful look.

Crucial to the revitalisation plan was the installation of new lighting elements within the communal areas. Sutton Vane Associates was appointed by engineering consultants Sweco to design a lighting scheme that added vibrancy to the site whilst also providing a practical benefit after dark.

To help realise its creative vision for the location, Sutton Vane

Associates commissioned outdoor lighting specialist DW Windsor, to develop a custom lighting solution to fulfil the new design.

DW Windsor worked with Sutton Vane Associates to create several

completely bespoke, illuminated totems that formed the centrepiece of the new lighting scheme. The totems are lit from top to bottom

and incorporate colour-changing functionality, which can be set for

different purposes, such as celebrating holidays and calendar events.

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inground linear lighting solution, Vaio, to further enhance the

needed to withstand highly variable weather conditions. Vaio is a

fully encapsulated IP67 LED system, ensuring its robustness even in these extremities.

Discussing the project, Guy Bolton, Special Projects Co-Ordinator

at DW Windsor, said: “Seaside locations are always a joy to work on, while bringing some unique challenges. Thanks to our extensive

portfolio, we were able to offer robust lighting that can withstand the elements and vehicle traffic.”

Edward Sutton-Vane from Sutton Vane Associates added: “Bridlington is a much-loved seaside resort that needed

rejuvenating. The seafront area has been completely brought to

life by Sweco’s excellent landscape engineering, complemented by a range of lighting elements specified by Sutton Vane Associates, including the coloured light totems produced by DW Windsor.

He said: “By working closely with DW Windsor, we achieved a

fantastic result that both the local council and residents are delighted with. The seafront now has a new lease of life as a fun, vibrant space in the day and an attractive, colourful location at night.” www.sva.co.uk

www.dwwindsor.com

case study

Site Visit A range of fixtures from Intra Lighting were used to illuminate the new SAP Middle office space, situated in the heart of the Expo 2020 site.

S

AP Middle was one of the main partners in

Intra’s Pipes S RH Pro pendant in the general space. In the

innovative software solutions. SAP is situated

Kalis Linear suspended light was added as it contributed to

Expo 2020 and is considered a global leader in in Parcel A Building at Al Wasl Plaza, where the

main Expo Dome is located, in a space covering approximately 826,00sqm. The design team for this project consisted of

a collaboration between Xworks and lighting designer Nilo Rapirap. During the design process, Intra Lighting studied

SAP’s global offices, and particularly noted the curved features

in the wall, ceiling, and floor, as well as Xworks’ well-thoughtout design, which it aimed to incorporate partly in its design.

For this project, the majority of the spaces include an open ceiling, which brings in lots of daylight, meaning artificial lighting during the day was not crucial. As such, Intra

implemented a sleek pendant to illuminate general areas

Intra, but which was designed to have ample lighting during the evening. Due to the availability of natural light along

the perimeter of the space, only spaces such as the corridors needed to incorporate artificial lighting.

Some of the key products used throughout the project included

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co-working space, above the tables and meeting rooms, the the working and meeting environment. In the event space,

Hexagon S Mesh, was used as a feature in the space combined with an acoustic ceiling in the centre.

In the closed rooms, the Pipes RV spotlight was a sleek addition that gave accent lighting partnered with the Kalis linear

pendant. The hallway features curved lighting thanks to the Tracker light.

Tracker is one of Intra’s newest products, launched in May 2019 in Europe. However, the product wasn’t initially included in

the design specification until a year and a half later when it was available in the Middle East region. Xworks ran the project as a pilot installation in the region.

Due to its simplicity of installation and handling, the Tracker is a very user-friendly linear product. Furthermore, the Tracker

is ideal for a curved install so long as installation guidelines are followed carefully.

www.intra-lighting.com

LED dimming solutions for the lighting professional candlePower octo Constant Current and Constant Voltage dimmer for DC LEDs

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Further information: liquid-line.de/en

Unique light structure - Liquid Line traces trajectories at Frankfurt Airport

case study

Pic: Justin Nicholas

X Marks The Spot Pharos Architectural Controls partnered with integrated solutions provider bluebottle to create a high-profile façade lighting system for Brisbane’s Hotel X.

S

triking a pose on the skyline of the hip city

Commenting on their collaboration with Pharos, Claire

ultimate in chic destinations. Located in the

Pharos VLC 500 Controller handles the pixel mapping of

of Brisbane, Australia, the new Hotel X is the centre of the city’s Fortitude Valley, this new

five-star offering has been designed to reflect its lively and bold neighbourhood.

With its distinctive white geometric façade, Hotel X makes a fantastic first impression before guests even enter the lobby, and its custom façade lighting system has been

carefully created to reflect the Valley’s progressive and dynamic atmosphere.

To deliver this large-scale, high-profile façade lighting system, integrated solutions provider bluebottle was

appointed to the project. Given its sheer size, LED fixtures were the only choice to fulfil the requirements, with Color Kinetics the chosen brand. The iColor Flex LMX gen2 RGB luminaires were used; mounted in a custom aluminium channel that forms part of the building façade.

To fulfil the control elements of the lighting scheme,

bluebottle partnered with Pharos Architectural Controls.

A Pharos VLC 500 directly controls the hotel’s façade

fixtures, creating a showpiece, celebrating notable events, calendar dates, and much more.

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Enoka, Technical Sales from bluebottle said: “The

more than 40,000 nodes. Used in conjunction with the

bluebottle remote management portal, it has allowed for an intuitive, easy-to-use system with full visibility of status, shows and schedules for the facility manager.

“To date some of the more notable shows we’ve been able to achieve have celebrated Easter, The State of Origin Rugby and Brisbane’s successful 2032 Olympic bid.”

Tony Symms, Regional Manager from Pharos added: “The

façade of Brisbane’s Hotel X is incredibly striking, making it a fantastic new addition to the city’s skyline. Pharos is delighted to have worked with bluebottle in playing an important role in bringing this to life.”

Hotel X has fast become one of the most-popular

destinations in Fortitude Valley to meet, drink and dine.

With a number of bars, restaurants, a rooftop pool and a state-of-the-art gym, it is easy to see why it has made

such an impression on locals and travellers. The hotel’s

façade, which projects over the Valley, perfectly enhances its appeal.

www.pharoscontrols.com

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case study

Street Style With its sleek street lighting fixtures, GHM Eclatec has delivered a practical yet stylish lighting solution for the Dubai Harbour district.

W

ith thousands of visitors flocking to

unique Capitan design. Varying in size with 12

lighting along the Dubai Harbour

pole is fitted with three to seven Xeon-2 projectors –

Dubai for Expo 2020, the public street district has been given a new lift,

thanks to fixtures from French manufacturer of public lighting solutions, GHM Eclatec.

With an overall objective of lighting the streets and pathways of the district, the new lighting solution provides a sense of safety for both pedestrians

and drivers, while creating a warm and inviting ambiance.

Alongside this, there was a need to provide a solution that, during the day, would still deliver an aesthetic visual aspect while the lights were turned off.

As such, GHM Eclatec supplied more than 300 of its Strium iron poles, each finished in the company’s

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configurations from six to 10-metres in height, each with more than 1,200 projectors installed along the waterfront.

Available in three sizes, the Xeon projectors

are equipped with multi-directional ball joints,

concealing any wiring. This leaves a discreet and

elegant finish, allowing for effective integration into various structures, including the Strium poles.

Working alongside local partner Luxburo, as well as

AECOM, Debbas and technical design office North 55, the new lighting solution adds to the sleek, stylish feel of the Dubai Harbour, creating a welcoming atmosphere for visitors and locals alike. www.ghm-eclatec.com

Please contact Radiant for more information, to see demo samples, or for a presentation

Euclid 30 IP68 System Underwater IP68 LED linear lighting system 6 x high power LEDs with lenses per 0.3mtr module

Sky Pool, Embassy Gardens, London Lighting design by GIA Equation Project photo by Ballymore ©

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arc ad DEC-JAN 2021.indd 1

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ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK

Light Perceptions is an independent lighting design consultancy, primarily working in prestigious historic buildings and high-end residential properties. Our current clients include Cathedrals, Royal Palaces, Livery Halls, Grade I listed Churches and the most exciting private commissions. Our projects are fascinating, varied and are in some of the most architecturally and historically significant spaces in the UK as well as Europe and the Middle East.

We are a close and friendly team, well supported in an informal working environment. We have great clients and work with outstanding architects and other professionals.

SENIOR LIGHTING DESIGNER

We are looking for a Senior Lighting Designer to join us. You will have had at least five years solid experience in a lighting design role and will either be ready to step up from a junior to a more senior role or be looking to consolidate senior experience in a significant career move.

You will be able to produce complete technical documentation packages to both concept and tender stage and will have experience of site visits, project commissioning and on-site problem solving with engineers and contractors alike.

You will • Be passionate and creative, with an enthusiasm for new design challenges.

• Have a strong technical background.

• Be well organised, self-motivated and very focused, able to work on a number of projects concurrently, and manage multiple deadlines.

• Be able to communicate effectively with clients, colleagues, other consultants, suppliers and contractors.

• Be confident in using PhotoShop, AutoCAD 2D & 3D, Dialux /Relux as well as MS Office.

• Be able to communicate effectively with hand sketching and simple illustrations.

Candidates must be able to work legally in the UK and must be willing to travel.

A driving licence and your own car would be advantageous but not essential.

Please send your CV and portfolio and expectation of earnings to bruce@lightperceptions.co.uk with a covering letter that explains why this opportunity is right for you.

Personal applications only and strictly no agencies please.

Li ght i ng D es i g ners dpa lighting consultants has the following positions for suitably talented candidates:

Senior Lighting Designer - Oxfordshire and London studios (rural location in Oxfordshire - car required)

Lighting Designer - Oxfordshire and London studios (rural location in Oxfordshire - car required)

We are looking for creative and technically knowledgeable Senior Lighting Designers to join our studios in Oxfordshire and London. Excellent written and spoken English is essential. Candidates should have a portfolio of completed projects (interior and exterior). IT skills must include Microsoft Office, AutoCAD, InDesign, Photoshop and DIALux. Knowledge of BIM/Revit would be beneficial but not essential.

We are currently looking for Designers to join our studios in Clifton, Oxfordshire and London. The role will involve being part of a design team and providing support in the production of concept presentations, layout drawings and details, specifications etc. with the opportunity to progress within the Practice. We will consider both graduate level candidates and applicants with some lighting design experience for Clifton. The London position requires some previous lighting design work experience.

Duties and responsibilities would include, working within a team environment on all aspects of the lighting design process, from concept to completion, attending design and site meetings in the UK and overseas and supervising the work of lighting designers within the studio.

Only applicants with professional independent lighting design experience will be considered.

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.

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. Please note that candidates must be eligible to work in the UK without sponsorship.

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 Susie Evans: dpa@dpalighting.com. Please clearly state on your covering email which position/studio you are applying for.

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.

LIGHT 26-28 January Warsaw, Poland

INALIGHT 17-19 March Jakarta, Indonesia

LEDTEC ASIA 26-28 May Ho Chi Minh City, Vietnam

www.lightfair.pl

www.inalight-exhibition.net

www.ledtecasia.co

INTEGRATED SYSTEMS EUROPE 1-4 February Barcelona, Spain

[D]ARC NIGHT 31 March London, UK

GILE 9-12 June Guangzhou, China

www.iseurope.org

www.darcawards.com

www.guangzhou-international-lightingexhibition.hk.messefrankfurt.com

SURFACE DESIGN SHOW 8-10 February London, UK

ARCHITECT@WORK 13-14 April London, UK

LIGHTFAIR 21-23 June Las Vegas, USA

www.surfacedesignshow.com

www.architect-at-work.com

www.lightfair.com

LIGHT + BUILDING 13-18 March Frankfurt, Germany

[D]ARC SESSIONS 25-27 April Ras Al Khaimah, UAE

LEDFORUM.22 18-19 August São Paulo, Brazil

www.light-building.messefrankfurt.com

www.darcsessions.com

www.ledforum.com.br

LEDUCATION 15-16 March New York, USA

PROLIGHT + SOUND 26-29 April Frankfurt, Germany

ARCHLIGHT SUMMIT 15-16 September Dallas, USA

www.leducation.org

www.pls.messefrankfurt.com

www.archlightsummit.com

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Featuring

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THE BACK PAGE BUCKET LIST Curated by

#25 Neha Sivaprasad Lighting Design / Neha Sivaprasad What: I am a seeker of sunsets; my favourite, the sunset at the Summit of Haleakalā National Park, Maui, Hawaii.

Where: Any spot facing west atop the summit.

How: You can hike up to the summit, or drive up to the top.

When: Summer. With an elevation of over 10,000ft, and being the highest point on the island, it can get pretty cold once the sun goes down.

Why: This is not a typical tropical sunset, albeit it is on a tropical island.

From atop the summit you see the sun melting into fluffy white clouds, leaving behind a dramatic sky that changes from yellow to orange to crimson to blue to violet, with the sea of clouds still glowing beneath. The moon and the stars then slowly begin to take over and create yet another enchanting dance in the skies.

Witnessing the unfolding of this magnificent beauty around you is nothing short of magical. Makes one realise how small a speck we are in the big scheme of things and how we are all made up of the same. The magnificence makes one contemplate, how we should add to the beauty of our shared experience on earth rather than take away from it, during our stint here!

Photo Credit: George Kedenburg III on Unsplash

“There is a crack in everything.

That’s how the light gets in.”

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Leonard Cohen

www.nehas.net

Lighting Design: DANILOF Light + Visual Perception Studio Lead Lighting Designer: Thanos Danilof Illumination partner: Luce Ataliotis (Hellas) Ltd