arc Issue 137

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#137 Cover Story: Oman Across Ages Museum, Oman Women in Manufacturing Transport Lighting LiGHT 23 Review

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For specifiers and suppliers of global lighting projects

A series of events connecting the very best people creating exceptional lighting projects around the world. For more information contact Jason Pennington:

The next session: 14-16 May, 2024 Tróia Design Hotel, Portugal

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27/11/2023 10:46

Color Flexibly Via smart app


Welcome Well, that’s a wrap on 2023 - and what a year it has been! If you’re anything like me, you’ll have spent the past couple of weeks poring over your Spotify Wrapped stats to see what your listening habits for the year have been (despite my two-year-old daughter’s insistence on listening to nothing but Disney soundtracks, I’ve still managed to maintain my “Sad Dad” persona). So, with this in mind I thought that I’d take a look through the past 12 months and present to you our very own “arc Wrapped” *cue Instagram Stories-style highlights package* 2023 has once again been a feast for your eyes, with 81 amazing projects covered across both Eye Openers and deep dive project features. If we were to break this down to “genres”, this includes light art installations, hospitality projects, retail, infrastructure, museums, façades and commercial spaces (no “Indietronica”, whatever that is, here). This year, our pages took you all around the world, with projects spanning across four continents. While the majority of projects came from the UK

and Europe, North America and Asia were not far behind, clearly showing the vast array of talented lighting designers working around the globe. Speaking of around the globe, now that international travel is well and truly “A Thing” again, the arc team has been lucky enough to get out and about and collect some more stamps in our passports this year. It’s a great privilege to be able to travel in the name of work, and this year, our globetrotting has taken us to New York, Berlin, Croatia, Hong Kong and Bahrain (plus a few trips down south to London, if that counts!). With a busy slate of events already lined up in 2024, including two amazing new destinations for [d]arc sessions, we’re looking forward to catching up with even more of our lovely international readers next year. All that is left to say as we draw a close on 2023 is a huge thank you to all of our contributors and supporters, everyone who came to any of our events (including the hugely successful LiGHT 23 last month!) and in particular to you, our wonderful readers. A magazine is nothing without the people that read it, so to everyone that picked up a copy and read my silly little musings over the year, thank you for making this job worth it. Happy holidays, and we’ll see you in 2024!

Matt Waring Editor

Front cover: Oman Across Ages Museum (Image: Philip Handforth)


Inside this issue Regulars 014

Event Diary


Drawing Board


Features 026

IALD Enlighten Americas The IALD conference took place in Banff, Canada this November.

In Conversation John Roake looks back on 10 years of the Jonathan Speirs Scholarship Fund.


Ambient Communication: Part Two Demonstrating the effects of ambient communication on human behaviour.


Snapshot There’s Light



David Morgan Review David picks his top products from LiGHT 23.

Women in Manufacturing Women working for lighting manufacturers share their experiences.


GreenLight Alliance GLA Members report back on their findings from LiGHT 23.

Infrastructural Integrity Sacha Abizadeh and Natalie Redford of WSP discuss lighting for infrastructure.


Lights in Alingsås The 24th edition of the popular light festival returned this October.


LiGHT 23 Review Highlights from a stellar second edition of the LiGHT expo.



Silhouette Awards Fay Greenhalgh and Annabelle Hill reflect on their Silhouette Awards journey.


Manufacturer Case Studies


Bucket List Nathan Thompson

Projects 040

Winterlights Christopher Bauder

Oman Across Ages Museum The striking new building was lit by Lighting Design Partnership International.


Mystery 89 Elefsina by Night Eleftheria Deko & Associates Lighting Design

Sphere We step inside the world’s most talked about new entertainment venue.


Phoenix Sky Harbour Int’l Airport SmithGroup add to the ambience of the Arizonan airport’s Terminal 4.

Eye Openers 016



Nest at Glasshouse Artin Light & SpaceInvader


Aurora Moradavaga


Illuminated Trees dpa lighting consultants



Dimotiko Theatro Transport meets culture in this Greek metro station, illuminated by Matina Magklara.


Adelaide Airport Duty Free A discreet and well-balanced scheme from Studio All illuminates this hightraffic duty free space


Scenic Spirit Lighting designed by ASA Studios complements the interiors of this luxurious cruise ship.

United by Music Yellow Studio





Proudly Supporting

EDITORIAL Managing Editor Helen Ankers Editor Matt Waring

Events Diary JANUARY


Light Middle East

London, UK

16-18 January

20-21 March

Dubai, UAE

[d]arc awards 27 March

Integrated Systems Europe 30 January - 2 February

London, UK


Milan Design Week

Surface Design Show

Milan, Italy

16-21 April

London, UK

MAY Workspace Design Show 27-28 February London, UK

[d]arc sessions Europe 14-16 May Troia, Portugal


Clerkenwell Design Week

Light + Building

London, UK

3-8 March

21-23 May

Frankfurt, Germany

JUNE LEDucation 19-20 March New York, USA

GILE 9-12 June Guangzhou, China www.guangzhou-international-lighting-exhibition.

Prolight + Sound 19-22 March Frankfurt, Germany

IALD Enlighten Europe 21-22 June London, UK

arc (ISSN No: 1753-5875; USPS No: 21580) is published bi-monthly by Mondiale Publishing, UK and is distributed in the USA by RRD/Spatial, 1250 Valley Brook Ave, Lyndhurst NJ 07071. Periodicals postage paid at So Hackensack NJ. POSTMASTER: send address changes to arc, c/o RRD, 1250 Valley Brook Ave, Lyndhurst NJ 07071. Mailed by Spatial Global · Printed by Buxton Press · To subscribe, visit or call +44 (0)161 476 5580

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Online Content Creator Ellie Walton

COMMERCIAL Managing Director Paul James Head of Business Development Jason Pennington

Barcelona, Spain

6-8 February

Contributing Editor Sarah Cullen

Media Sales Manager Andrew Bousfield International Account Manager Ethan Holt Events & Marketing Manager Moses Naeem

DESIGN Design Manager David Bell Production Mel Capper

CORPORATE Chairman Damian Walsh Finance Director Amanda Giles Credit Control Lynette Levi [d]arc media ltd Strawberry Studios, Watson Square, Stockport SK1 3AZ, United Kingdom T: +44 (0)161 476 8350 ISSN 1753-5875

eye opener

Image: Eric Bauermeister

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Winterlights Berlin, Germany This winter, an extraordinary light and sound installation by artist Christopher Bauder has been unveiled at Dark Matter, Berlin. On display from 16 November to 7 January, Winterlights invites visitors to “immerse themselves in the beauty of the festive season” under a glimmering forest of 200 inverted trees, hanging above their heads. Decorated with more than 80,000 lights, and accompanied by atmospheric music composed by Klangerfinder, the installation aims to conjure a symphony of moving light and colour in the winter night – a dazzling audio-visual experience that repeats every half hour throughout the evening. Inspired by fond memories of walking through snowy forests full of Christmas trees during his childhood, Bauder hoped to bring some of this magic to Berlin through Winterlights. He says: “In winter, we always do something outside at Dark Matter for

the Berliners. For those who have stayed when summer left – to brighten up the cold season with light and a bit of sound and mulled wine, that’s Winterlights. “The music for the installation was created to “move along“ the installation in sync with the lights, while small disco balls at the top of the trees are the icing on the cake, adding a little Christmas club atmosphere. “At the opening event people came up to me and said: ‘Did I just hear a Christmas carol?’ I said: ‘Yes and no’, because there’s no real Christmas carol in it. But we worked with bells and different elements that you know from Christmas carols to create an immersive atmosphere with them. And it’s all electronic music. I’m a Berlin techno kid and this is my Christmas version of it.“

Drawing Board

Hatay Masterplan Hatay, Turkey Following the devastating earthquake on 6 February 2023, the Turkey Design Council (TDC) has brought together a team of the world’s best architects and designers to start the long-term process of revitalising the historic province of Hatay, in southeast Turkey. TDC has convened 13 design practices, including leading experts in architecture, design, engineering, environmental sustainability, culture, heritage and archaeology, including Foster + Partners and Bjarke Ingels Group. Collectively, they will work towards a vision for the next era of Hatay that ensures it is resilient, sustainable, and liveable for generations to come, while preserving its 2,300-year-old cultural heritage and identity. At the heart of the initiative is a visionary new masterplan for the city of Antakya, which is being developed under the leadership of Foster + Parters, alongside Turkish practices DB Architects and KEYM (Urban Renewal Center), that will lay the foundation for its future. The masterplan is expected to be revealed fully in 2024. Over the coming months and years, TDC aims to create a new global approach to rebuilding cities after natural disasters that brings together the world’s best architects, while giving the local community, such as in Hatay, a voice in their city’s recovery. Hatay will become a global example for earthquake recovery, taking best practice principles from around the world and applying them to its unique context. With an estimated 80% of the central city of Antakya destroyed during the earthquake, there is an urgent need and opportunity to reimagine the city for future generations with improved climate resilience, connectivity, and social and environmental wellbeing. The location of central districts, administrative buildings, and new infrastructure must all be considered. Described as a mosaic of archaeological and historic religious features, it is the site of two significant ancient cities: Seleukeia Pieria and Antokheia. Plans will be reflective of this, incorporating the restoration of important sites such as the Uzun Bazaar, churches, mosques, bathhouses, and synagogues to reassert its skyline and reputation for religious tolerance, while also being attuned to its natural geography, including the plains of the Asi River. TDC’s revitalisation planning is being supported by the Turkish Ministry of Environment, Urban Planning and Climate Change, and the Ministry of Culture and Tourism. Mehmet Kalyoncu, Chairman of the Turkey Design Council, says: “Following the earthquake, we experienced the biggest ever global co-operation for the relief effort. Now, we want this to be the biggest ever global collaboration of experts to shape the next era of Hatay. This province, and its centre Antakya, are places of great significance 018 / 019

to humanity, both culturally and historically. It is a centuries-old place, and we have an enormous responsibility to its people and to honour its rich past while ensuring its vitality as a modern city continues for generations to come. “As the relief effort continues, this is the first step towards Hatay’s next chapter, and with the support of our project partners we can ensure it becomes an example for the world of design-led revitalisation. If we are successful in Hatay, we can integrate this spirit of collaboration into other Turkish and international recovery and revitalisation efforts where local people most need them.” Nigel Dancey, Senior Executive Partner at Foster + Partners, adds: “Following the terrible tragedy that occurred on 6 February, we are looking forward to working with local communities and collaborating with architecture, planning, urban design, and engineering experts in Turkey, to help develop plans for the historic city of Antakya.”

Images: Courtesy of Turkey Design Council


Image: Courtesy of MAD Architects

Wanmicang Warehouse Shanghai, China MAD Architects has revealed designs for the renovation of the Wanmicang warehouse, part of the Shanghai Zhangjiang Cement Factory. The renovation envisions a three-dimensional hierarchy of time and physical dimensions through the juxtaposition of old and new structures. Like a rising ark, the hope is that the transformed building will bring new life to a decaying industrial site by transforming the park into a multifunctional public waterfront space integrating culture, creativity, commerce, and shared offices. Built in 1971, the Shanghai Zhangjiang Cement Factory was one of the three largest cement factories in Shanghai, but ceased production in 2013. The Wanmicang warehouse was once the first stop for ships to send raw materials to the factory for processing, and is the largest existing building on the site. In recent years, regional and international architects have been commissioned to design a cluster for the park that will preserve historical industrial buildings such as the 10,000-metre Silo, the Cement Silo, and the Kiln Tail Tower, through continued reuse. Through renewing and reusing the historical industrial buildings, and developing facilities for research and development, cultural and sports services, and creative commercial support, the cement factory will be transformed into a complex campus with a variety of business and dynamic architectural spaces. The renovation of the Wanmicang warehouse will preserve the original industrial architectural look, with the addition of an ark-like, ‘floating’ metal 020 / 021

volume on the roof. The contrast between the roughness of the old concrete and the smoothness of the new metal will give new life to the factory building, while the original industrial space will be transformed into a “multi-functional urban living room”. The west wall, facing the Zhangjiang Subcentre has been removed, and will be replaced by a full-face, suspended glass curtain wall, filling the interior with natural light. The bright, open factory space will take advantage of the building’s long, narrow, and tall volume, creating an interior space with a great sense of depth. As guests enter, they will be greeted by an unfolding giant ark. A metal staircase will lead up to the ‘ark’ roof, while underneath the ark, the mottled walls of the old factory building will home a tiered garden filled with creative, cultural, and catering businesses. The old and new structures are separated by a glass curtain wall between the old factory and the floating ark. Light pours down from the gaps in the curtain wall, falling on the garden and reflecting on the slightly reflective stainless steel ceiling, filling the space with a sense of natural light and greenery. To further emphasise the feeling of lightness within the space, MAD Architects has appointed TS Shanghai Tunsten Lighting Design as lighting consultants for the project. The renovation is expected to be completed by 2026.


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4.1 C41 We are exhibiting! 3 rd – 8 th March 2024

After 10 years of honouring and supporting students looking to enter the lighting design profession, the Jonathan Speirs Scholarship Fund (JSSF) is drawing to a close this year. JSSF Chairman John Roake sits down with arc to reflect on the past decade.


How was the JSSF formed? It was an idea that lighting designers Mark Major, Paul Gregory, and I discussed with Jonathan after his final diagnosis. We saw it as a way to carry on his legacy. He had always shown a keen interest in nurturing young designers with their lighting education. We wanted him to know that his passion for light and architecture would continue to be shared. He was touched when we mentioned it to him, but he also thought we were crazy! We then involved his youngest brother David Speirs as the family representative, creating the perfect balance on the board – two lighting professionals and David and I with different perspectives. What were your ambitions for the Fund? We hoped we would raise enough money to be able to provide a scholarship of £10,000 each year for a maximum of 10 years. We met our financial target within the first year. Further, generous donations enabled us to provide no less than 21 scholarships and several commendations. What was your selection process when awarding scholarships? We looked for three things: show creativity and passion for lighting; be hard working; have a financial need. Students were also required to be studying at an accredited school of architecture in the UK or US (RIBA and/or AIA). While the aim was to provide financial support for a student to make their way into professional lighting design from architecture, it was not a condition of the scholarship that they necessarily change course – or profession. However, we did wish to understand that light and lighting played a central role in their work. What success stories have you seen from recipients of the Scholarship Fund? Each student has been successful in their own way. We are particularly proud that we know of at least two students now working as full-time lighting designers. Apart from the financial support, we have heard that the award helped increase the awareness of lighting design both for the winners and within their respective educational establishments. How has the Fund changed over the years? It is difficult to say, but we get a strong sense from talking to the winners that JSSF has helped increase the visibility of lighting design and the importance of the discipline. Given that we averaged 10 applicants a year and contacted more than 20 schools of architecture in the UK and US each time,

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that is hundreds of contacts with students and educational establishments over the decade. Are there any key trends or recurring themes that you have seen in entries over the years? A key trend has been the increase in students who look at issues of sustainability, particularly energy use and light pollution, as part of their work. It has also been apparent that, for many, social responsibility and care have been integrated into their design work, which is very encouraging. What have you learned or taken away from the experience of running the Fund? It has been a joy to run the scholarship with the trustees. We have all learned a huge amount about the growing importance of lighting within the fields of architecture and urbanism. Also, what an incredible amount of talent there is out there. We have also learned a lot about the financial hardship and struggle that a lot of students face doing their courses, particularly following the fallout from Covid. Given we have always tried to meet our scholars face-to-face as part of the scheme, we have also seen a lot of very happy young faces when the scholarships have been awarded. What do you feel you have brought to the industry through the Fund? We strongly feel that we have increased awareness of the importance of good lighting and of good lighting education among both students and places of further education. We have certainly achieved much more than we originally dreamed of in that we more than doubled the number of students we originally set out to help. That would not have been possible without the incredible generosity of a number of organisations and individuals who supported us over the decade. Now that the Fund has concluded its mission, what is next for you? The trustees all have ‘day-jobs’ running businesses, so there is plenty still to do! While we were already friends, having been brought together through Jonathan, we will miss the regular contact – we have met either in person or online pretty much every month for 10 years without fail, even during the pandemic. We have always had fun with our conference meetings from different parts of the world, as we all travel. While the scholarship is now closed, we are confident its legacy will live on, both through our remaining in touch and, more importantly, through the work of our student scholars.

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Snapshot There’s Light Across its diverse portfolio of projects, London-based There’s Light looks to create works with sustainability and the circular economy in mind – an ethos that also extends to its day-to-day activities. Here, we look at some of the studio’s recent highlights.

BLOK MCR Manchester, UK Set within a former industrial complex in central Manchester, now defined by a fusion of Victorian and contemporary design, BLOK’s lighting design created bespoke solutions that evoke memories of the building’s past, while utilising the latest lighting technology. Members enter via a narrow, covered space between stacked cubes made of steel. Accent fixtures within the perforated face patterns allow light to emanate through the structure, creating a pattern of shadows. This tunnel also functions as a view-framer for what is to be revealed past BLOK’s entrance. The reception spaces are delicately lit via highlevel spotlights, in stone-rumbled aluminium finish, complementing the interior palette. The lights have been intentionally specified for being stripped back of powder coating and are of modular design, for ease of recycling and replacement. Varying colour temperatures are seen in the studios, designed in alignment with their activities: warmer whites for lower-intensity classes and cooler for higher. The new architectural insertions are clear and defined by bold lighting; one of the studios cantilevers over another, as a glowing light box. Each studio also features a distinct lighting approach, responding to the existing architecture: one studio’s lighting consists of suspended clear glass shades coupled with high powered LED modules, that evoke the shape synonymous with the industrial setting, freeing up the view of the vaulted ceilings and historical columns.


Truman’s Social Club London, UK Truman’s Social Club is designed to celebrate east London’s rich history and bring the community together to a new destination beer hall. The lighting design set out a concept approach to bring in much-needed warmth, delivering a welcoming feeling to the space and assisting in wayfinding for the sparsely occupied floor layout. This was in part achieved by careful zoning and celebration of industrial lighting aesthetics seen in juxtaposition with curated decorative features. There’s Light sought to align design decisions with its


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environmental views, choosing to focus on manufacturers that adhere to principles of a circular economy, also sharing the client’s objective for consistent ethical growth in the future. This was partly achieved by making use of old and unwanted stock from a variety of UK manufacturers as well as creatively repurposing existing fixtures found on the premises. All new spotlights used comprise a body stripped back to its simplest form, exposing the heatsink, minimising components needed and thus reducing waste. This not only emphasised the purposeful hybrid aesthetic, but satisfied budget requirements too. In addition, the design team wanted to evoke the feeling of being at a festival, creating a striking canopy of suspended pendants paired with iconic LED bulbs that mark the entrance to the club as well as the way to the beer garden to the rear. Indirect lighting works in conjunction with the acoustically designed enclosed booths filtered across the floorplan, to provide a feeling of intimacy amid the large, open space.

Queercircle London, UK Queercircle is an LGBTQ+ led charity working at the intersection of arts, culture and social action. After fundraising, sponsorship and community support, it opened in 2022 at London Design District in Greenwich, a multipurpose home consisting of ground floor public gallery, retail space, a library research room, external pedestrianised piazza for public programming and a dedicated multi-purpose project space on the first floor. There’s Light assisted Queercircle early on with pro-bono work designing an adaptable lighting system for its gallery and library spaces and continued ongoing commissioning services. With its busy calendar of exhibitions, and a wide variety of artists and media, devising an adaptable scheme was crucial. There’s Light organised proposals around the two essential layers of lighting: ambient and accent. Ambient lighting achieved by a simple, suspended linear light grid, used predominantly for everyday tasks coupled with a generous arrangement of track lighting, separately controlled to maximise the flexibility. Each track is individually dimmable via a Bluetooth


interface, allowing for many lighting scenes to suit Queercircle’s ever-changing needs. Adaptability was paramount for the success of the project, as well as the easily expandable system that can grow together with the gallery. The choice of spotlight was also key, providing neutral white at 3500K with additional accessory holders for honeycomb louvres and coloured filters available – together with the design of adaptable control, the gallery space can respond to every artist’s needs.

Corner at Tate Modern London, UK Corner at Tate Modern was envisioned as an extension of the public realm, providing visitors with a place for an evening drink by the river. The client brief called for the lighting design to create not only a daytime café but also a night-time destination bar, all in accordance with their ethical values. Conceptually aligning its thinking with that of the architects, There’s Light ensured every element of the project was inclusive, functional, and evoking beauty, taking inspiration from the monumentality of Tate Modern itself, as well as from the urban realm surrounding it. Visual inspiration from powerful films such as Blade Runner, with its strong contrasting scenes and overly saturated colour and warmth, can be seen through low-level integrated light within the plinths, grounding an artistic concept to a human scale. In addition, equal attention was given to the quality of the light throughout the space, deliberately seeking to maximise the vibrancy of not just the artwork but also the culinary display, connecting food, drink, and art through light. This commitment to creating a bespoke, unique space that connects food, art, and riverside entertainment through considered design and tailored decorative lighting, culminates with the table lights on the bar and high table window seating, taking inspiration from utilitarian 1970s streetlights. Visible in both their form and in the warm glow provided, reminiscent of high-pressure sodium lighting synonymous in original designs. The same principle, but in larger format, is inverted as feature pendants fixed from ceilings above the lounge seating overlooking the riverside lawn and St Paul’s Cathedral.



Founded in London in 2016, There’s Light has delivered projects from the Caribbean to Europe, South America, and the Middle and Far East in designs of varying scales and uses, from commercial and hospitality to high-end residential. There’s Light’s approach has been at the forefront of lighting advances and sustainability by adopting the principles of a circular economy, in both its day-today activities as well as on projects. This is reflected at the studio’s core, from its pre-owned furniture choices to refurbished computers, ensuring the business minimises its impact on global resources, transportation networks and running costs, without compromising on comfort or technology. There’s Light approaches its projects through this lens, prioritising local manufacturers and thus reducing shipping costs and emissions. As a studio, There’s Light believes in lighting: it has the ability to transform perceptions of built environments, guiding us through the spaces and narratives. It is this belief that leads the team to innovative lighting solutions for its clients. At times the directive calls for a bold and prominent approach, and at other times an understated one, creating contrast and emphasising destinations.




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IALD Enlighten Americas Nearly 400 attendees travelled to the beautiful Banff in Alberta, Canada for the latest edition of IALD Enlighten Americas for three days of networking, social gatherings, and informative seminars.

Following the successful return of IALD Enlighten Europe in Berlin this June, hundreds of professionals from all facets of the lighting design industry gathered in the snow-capped mountains of Banff in Alberta, Canada for the IALD’s Enlighten Americas conference. Originally scheduled for 2021 before being moved as a result of the Covid pandemic, the conference presented guests with educational seminars and talks from industry leaders and innovators, business development workshops, specifier-to-manufacturer roundtable discussions, peer networking, and social gatherings across three days. Highlights of the event included a keynote address from renowned light artist Bruce Munro, and the induction of veteran Mexican lighting designer Gustavo Avilés into the IALD College of Fellows. Elsewhere, sitting IALD President Mônica Luz Lobo publicly welcomed the president-elect Andrea Hartranft, who begins her term in 2024. Hartranft graciously accepted the welcome, and addressed the audience with positivity about the IALD’s preparations for the years ahead. She said: “As we look to the future, I am excited about the new foundations we have put in place. With these strong fundamentals, I am confident that we are not just going to survive, but thrive. I believe that we have the potential to become the best association in the world for lighting design. Together, we will continue to build a bright and innovative future for the IALD.” The annual conference also marked a celebration of the 25th anniversary year for the IALD Education Trust, and its continued success promoting the advancement and vitality of the lighting design profession by providing direct support to students and educators. IALD Education Trust President Dr. Andrea Wilkerson shared the fund’s accomplishments with the audience of nearly 400 attendees: “In this 2023 jubilee year, the Trust is immensely 026 / 027

grateful to its supporters for making it possible to provide another 34 travel stipends and three scholarships to students and educators from Algeria, Bangladesh, Denmark, Germany, Hungary, Peru, Russia, South Africa, Sweden, the UK, and the USA. “As we continue to process support from manufacturers, lighting design firms, and individuals through the ‘25 for the Trust’ campaign, the depth of care and provision shown by this community for the future of our industry is both humbling and heartwarming.” Across the three days, alongside panel discussions with esteemed lighting professionals, highlights from the programme included a session from Philip Rose of Speirs Major titled An Abbey, A Cathedral, A Church, A Quire, A Monastery, A Mosque, A Buddhist Shrine, in which he discussed the potential commonalities in lighting sacred spaces, as well as the sensitivities that can come with such a task. Elsewhere, Osvaldo Sepulveda examined the influence of lighting design in cinematography; leaning on his past experiences in the world of cinema and moviemaking, he looked at the fundamental links between cinematography and architectural lighting design, and what can be learned from the unique ways cinematographers use light. Meanwhile, The Lighting Practice led a session outlining their take on succession planning, detailing how it navigated significant leadership, structural, and philosophical changes – both planned and unanticipated – with the aim of educating other small business owners on how to prepare for the future of their companies. The IALD Enlighten Americas conference will return in November 2024 in San Diego, California, while the next edition of Enlighten Europe will take place in London, UK, in June 2024.

Images: Eric Daigle Photography; all images © IALD

Ambient Communication: Part Two In the second of a two-part series on the subject, Tapio Rosenius demonstrates how Ambient Communication strategies can lead to a tangible change in human behaviour and architectural interaction. COMMENT TAPIO ROSENIUS

Ambient Communication is a novel approach to influencing human behavior through light. Our goal is to revolutionize how architectural spaces are strategically optimized to impact human decisionmaking processes. We aim to demonstrate the influence of connected and real-time lighting as a new tool for lighting designers, bringing added value to building owners, operators, and users. In the first part of this two-part article, we introduced the concept and its application in lighting design (see arc #136). In this second part, we will describe a new research framework developed specifically to deploy and validate the concept in real-world settings. For the development of this new research framework, Skandal Technologies, a technology startup, and the developer of the Poet Creator Software, joined forces with The Center for Behavioral Decisions. This established research and consulting firm specialises in the application of behavioral science, combining behavioral insights with strategic lighting innovations.


The interplay between human behavior and the surrounding environment has been a focal point for researchers, architects, and designers. At the core of this exploration lies the concept of behavioral interventions – strategies or treatments introduced to groups or individuals to change certain behaviors. Ambient communication refers to the subtle cues that an environment provides, influencing behavior through gentle nudges rather than direct instructions. Given our continuous interaction with the environment, the potential of ambient communication as an intervention mechanism is immense and untapped. Within ambient communication, lighting emerges as a significant and potent medium. The omnipresence of lighting in our daily lives underscores its potential as a powerful tool for behavioral influence. Through nuances in intensity, colour, and pattern, lighting can shape decisions, 028 / 029

encourage actions, or evoke specific emotions. By merging insights from behavioral science with the art and science of lighting design, we embark on a journey to redefine spaces and positively influence the choices and behaviors of occupants.

Our Goal

Primary Goal: Utilise lighting as a dynamic tool to encourage healthier decisions, such as staircase use, and enhance workplace productivity. Secondary Goal: Adapt lighting ambiance to specific tasks, events, and situational needs, fortifying an environment that continuously boosts human performance. Unique Approach: Employ an adaptive method to fine-tune interventions, setting a novel standard in integrating behavioral insights with ambient cues.

Introducing JITAABI

The adaptive approach, exemplified by Just-InTime Adaptive Ambient Behavioural Interventions (JITAABI), marks a groundbreaking shift in behavioral interventions. JITAABI is a nuanced adaptation of the Just-In-Time Adaptive Intervention, tailored specifically for ambient communication through lighting. Significance and Benefits Over Traditional Methods: Traditional behavioral interventions often assume static human behavior, employing a generalised strategy. In contrast, the adaptive method, particularly JITAABI, recognises and adapts to the dynamic nature of human behavior. JITAABI undergoes numerous trials, utilising momentary passive-assessed data from embedded sensors to determine the most opportune intervention – both in terms of timing and type. This process ensures greater efficacy and minimises counterproductive actions. Ability to Identify the Best Intervention: JITAABI integrates several components like tailoring variables, decision points, and a range of intervention options. Through continuous evaluation and real-time feedback from embedded


Left At the Utoquai 55 workplace in Zurich, Switzerland, ambient communication principles were applied to the central spiral staircase, with usage tested using the JITAABI research framework to explore its influence on building users’ choice architecture and stair usage. (Image: Poet Software) Right The findings from a controlled period of six weeks showed that generative upwards light movement saw a 6% increase in stair usage, while interactive lighting behaviours across a 12-week period led to a further 8% increase compared to the baseline. (Image: Tapio Rosenius) Headshot: Mark Cocksedge

sensors, JITAABI refines its strategies, swiftly identifying and implementing the best interventions. This iterative process, backed by real-time sensor data and realised by the Poet Creator real-time content and control system crafts environments that adaptively and positively influence individual behaviors, seamlessly marrying ambient communication through lighting with behavioral science insights. In essence, the adaptive approach of JITAABI offers a pioneering roadmap for the future, delivering precise, effective, and timely interventions. Through this innovative methodology, it heralds a transformative era in environmental design, seamlessly integrating behavioral science.

Early Findings

A dynamic pixel-controlled luminaire was suspended in an existing spiral staircase for an office building refurbishment project in Zurich, Switzerland. The lighting, controlled by the Poet system and treated as an ambient communication intervention, was tested using the JITAABI research framework to explore its influence on building users’ choice architecture and stair usage. Specialized 3D AI sensors were installed at each floor level to record stair use, with separate data collected for each flight of steps

in both up and down directions. The data was fed live to the control system that in turn generated real-time visual content controlling the fixture. A six-month control period with the luminaire in a static white setting provided a baseline of stair usage.

Observed Benefits

For a controlled period of six weeks, the lighting setting was changed to generative upwards light movement, resulting in a 6% increase in stair usage. A second 12-week period with interactive lighting behaviors, where white light patterns responded to people on the stairs, led to an additional 8% increase compared to the baseline. Dynamic & Interactive lighting increased stair usage by: 14% From research literature, we know that: • A single step up burns approximately 0.17 calories. •A single step up extends life by approximately four seconds. We can also observe that each time the stair is used, an elevator trip is saved. During the six-month period of dynamic and interactive lighting control with real-time data collection, we deduced: • 78,342 extra calories burned by building occupants • 21 days of life extended • 11,549 elevator trips saved


This pioneering study underscores the transformative power of combining behavioral science with strategic lighting design. The innovative JITAABI mechanism highlights the immense potential of adaptive ambient communication through lighting to influence human behavior in real-time. The future beckons a new era where the subtle cues from our surroundings play a pivotal role in shaping our decisions and actions. This adaptive approach positions lighting not just as a medium of illumination but as a dynamic tool for efficient behavioral intervention and enhanced environmental design.

talking with…

“When a man leads or contributes to a meeting, it is assumed that he knows what he is talking about until he proves otherwise. Meanwhile as women, we very often tend to be underestimated, interrupted, talked over, and need to prove our competence.” Agata Tyburska, Optelma

As the Women in Lighting project continues to provide support and encouragement to lighting designers around the world, Light Collective has reached out to a number of women working for lighting suppliers, to find out more about the level of equality and representation in manufacturing. 030 / 031


ccording to research from the World Economic Forum, it will take another 131 years for global society to achieve gender parity (i.e., the equal contribution of women and men to every dimension of life, whether public or private), at our current rate – a sobering thought, and a dramatic number. The UN is far more optimistic however, citing Gender Equality as one of the 17 core parameters of its Sustainable Development Goals (SDGs), adopted in 2015 as a universal call to action to “end poverty, protect the planet, and ensure that by 2030 all people enjoy peace and prosperity”. According to the UN, “ending all discrimination against women and girls is not only a basic human right, it’s crucial for a sustainable future; it’s proven that empowering women and girls helps economic growth and development”. Achieving this in six years certainly sounds a lot better than the 131 years predicted by the World Economic Forum. However, while the UN acknowledges that there has been “remarkable progress” in gender equality in the past 20 years, particularly in education, there are still large inequalities in the workplace, with women systematically denied the same work rights as men, and research has shown that women still earn on average 77 cents for every dollar that men get for the same work. But how does this correlate to the lighting industry? Based on an industry survey led by Light Collective in 2020, we can see a near even split of men and women in the design profession (of 892 respondents, 423 were female and 468 were male, with one androgynous participant). Indeed, for the past few years, we have seen the rapid growth of the Women in Lighting project, which has done admirable work in boosting the profile of women working in lighting design and ensuring that female designers get their chance to shine. The success and reach of the project has been clear to see, with a global community of ambassadors and supporters regularly coming together, whether at in-person events or online gatherings, to support each other and celebrate their role within the lighting design sphere. However, can the same equality, community and kinship seen in the design community be found in manufacturing? This is the next question that Light Collective are asking, after the issue was raised by Daniel Lemajic, Sales Director at Erco. Speaking to arc, he says: “I can only draw on my own experiences, but from what I’ve seen, women tend to be concentrated in customer service, marketing, and HR roles. Sometimes as team leaders, and rarely as directors. Where are the women in sales departments, in technical departments, in true leadership roles? They do exist, but parity does not. “Over the past 12 months, the number of women applying for the open positions I have advertised has been minimal, relative to their male counterparts. Yet I have understood the alignment of capabilities and experience to the role of every woman that has walked through the door, even if not exactly what we are looking for. I cannot say the same about every man that I have interviewed. “You might be aware of a statistic that has been repeated so many times that nobody knows the true answer anymore, but it goes something like: ‘women

will apply for a job if they meet 100% of the criteria, whereas men apply for a job if they meet 60% of the criteria’. The true origin is a blog post on Harvard Business Review in 2014, citing an internal HP report about intracompany promotions in the early 2000s, which was then oversimplified by Forbes for an online article. The statistic is entirely incorrect but has been re-reported by so many reputable sources that it’s become ‘fact’ and overshadowed true research with empirical evidence on the topic. “Assuming for a moment that women are more selective in their job application, as the true research suggests, it should not diminish the fact that there are women very capable of not only getting the job but being very successful in the role. In my view, we should be encouraging men to be more selective to minimise wasted recruitment resources and increasing probability of success in the role. Let me say that again. The problem is systemic behaviour in men, that is being re-framed and projected onto women as a fault in their way of thinking.” Rather than merely hypothesising on the subject, Lemajic turned to Light Collective to find some answers. They then decided to reach out to women working for lighting manufacturers to share their experiences. What follows is their accounts, with each participant discussing how long they have been involved in lighting, their views on the obstacles that women face in manufacturing, the advantages of the role, and how more women can be encouraged into this side of the lighting world. Published here is a small selection of interviews, with more to be listed on the Women in Lighting website. Lemajic adds: “To current leaders, pay attention and reflect on what systemic instructions we can positively influence to create parity in your workplace and society. To women working for lighting manufactures, open up the dialogue, share your experiences both good and bad. To society at large, pay attention and reflect on what systemic instructions we can positively influence. You are already a leader to someone whether you realise it or not. Because ultimately, we all directly benefit from gender equality not only in the workplace, but in our society. “The fear of criticism from my peers kept me quiet on this topic for a long time. Afterall, as a male, who am I to comment on women’s experiences in society and the workplace? And I imagine many of you out there feel the same way. “As a man putting my perspective forward, I know every word will be scrutinised, and groups of people will be waiting for me to slip up or have a view different to their own and will criticise me at the first opportunity. I will freely admit, I don’t have all (any of) the answers. But, I am willing to put myself out there in a very public way and learn in full view of everyone. I will say the wrong thing, develop ideas that will support one group of people and be offensive to another group at the same time. It is a minefield that I do not know how to navigate. So, I ask only one thing: educate me publicly and constructively. Hopefully many of the people lurking in the shadows will come into the light and drive this conversation forward, because that’s the only way we can move forward as a society.”

Anastasia Angeli

Lighting Application Specialist, Signify How long have you been involved in the lighting industry? I have been working as a lighting application specialist (in short: lighting designer) at Signify for 1.5 years and prior to that I studiied architectural lighting design Masters at KTH. With one year of short-term, ad-hoc projects in between. So consider me fresh and naïve :) Have you always been involved in the manufacturing side or have you come from another part of the industry? Before starting on my full-time lighting design journey I did some lighting-related projects, like creating a lighting concept for a restaurant in Moscow or setting up a lighting brand showroom in Stockholm. Very liberating and very short-term - but not for me. Do you feel there is a wider diversity in sales, manufacturing and marketing over the last 20 years? Hard question for me to reflect on, considering my short experience in the industry. What I want to highlight here though is that there is for sure a lot of diversity in terms of people in sales, manufacturing and marketing currently. It might be due to the understanding that diverse groups work better in the long run, or due to a variety of people getting education in these subjects. What reasons do you think there are so few women working for manufacturing companies? What obstacles do women come up against? My immediate reaction is to say that the reason for it is the perceived lack of creativity in manufacturing companies. There is a certain stigma around it: working for an architectural firm is “creative, open-minded and cool”

while working for a lighting manufacturer is often seen as “restrictive, forced and inflexible”. And hey, I am not saying that it is the other way round! It is just different for everyone. I find freedom in a stable, long-term position where I know I can grow within a company (manufacturing companies tend to be bigger with more people working in different departments focusing on different things), not taking my work home (which I would if I was in a purely design role) as well as knowing that my profile might be adding more diversity in the team. How do you think more women can be encouraged into this side of the lighting industry? What can manufactures do to encourage a diversity of applicants for roles in sales and product development for example? I like this question, there are many sides to that. Some of them are widely known: using non gender biased phrasing in job descriptions is one of them. Listing overly high demands in the description might scare someone skilled from even applying for the role (as some women might shy away from trying if they do not see themselves as a perfect fit). Having role models at school / university signaling to young women that “their place” is not only in the nursery and flower shop but showcasing that yes, someone of their gender can work in sales and product development - so having more women in such roles might naturally lead to more girls envisioning themselves in these positions. What are the positives of working for a manufacturer? What are the negatives? Will try to be concise here. Again, sharing my opinion on it: Positives: - Stable work environment (manufacturing companies seem to go through global economic crisis more successfully due to its nature, as compared with the architecture firms, for example) - Big knowledge support base within the company (HR resources, learning opportunities etc) - A variety of colleagues, each focusing on their thing and bringing their diverse personalities into the office - Feeling of being more distant from my work tasks, allowing me not to think about my projects in the evenings and weekends (very subjective) Negatives:

Do you feel there is a wider diversity in sales, manufacturing and marketing over the last 20 years? Sadly not – delighted to be doing my bit to change that though!

Jess Gallacher

Exterior Lighting Business Development Manager, ASD Lighting How long have you been involved in the lighting industry? 22 years Have you always been involved in the manufacturing side, or have you come from another part of the industry? I had a very niche and wonderful role working for the Institution of Lighting Professionals for many years. This year I moved to ASD Lighting, a manufacturer of all types of lighting based in Rotherham, UK.

“It’s the same in manufacturing as in the rest of society – we all need to keep working for equality. Some of this is easy to say but really difficult to do.” 032 / 033

What reasons do you think there are so few women working for manufacturing companies? What obstacles do women come up against? I wonder if work/life balance is a factor. Being a working parent is very challenging and statistically we know this impacts more on women than men even in today’s society. Historically I have heard anecdotes from women who have encountered sexism and the glass ceiling in some manufacturing companies (not mine, I am glad to say). How do you think more women can be encouraged into this side of the lighting industry? What can manufactures do to encourage a diversity of applicants for roles in sales and product development for example? Manufacturers that are genuinely and visibly supportive will attract more diverse applicants. In my company there is a 40/60 balance on the board: two women and three men, which I think is important and probably unusual. Before I joined, I knew the men and women in my future team and that they are great role models for someone like me needing to learn a lot of new skills as I transition into manufacturing. I already knew it was a fair and safe place to work, plus I was able to be very open and ask for working arrangements that suited my family. It’s the same in manufacturing as in the rest of society – we all need to keep working for equality. Some of this is easy to say but really difficult to do: be a role model (when you have the emotional bandwidth). Be anti-racist. Be aware of whatever privilege you have. Call out unacceptable behaviour. Check in on your network. If you have children, take equal responsibility for them.

- Lacking a sense of “I am creating something new, making an impact in the lighting design world” (questionable!) - Not feeling like I have a complete freedom of choice when doing lighting design - Not feeling fully appreciated outside of the company (working independently would be the opposite of that - which is perceived as “wow, you are so cool!”) - Not following the whole process of the project from beginning to the end and often being involved only at one stage of the design (arguable and depends on a project and a team) Is there anything else you would like to add? I want to add that nothing is black and white. I am only saying my perception of it - you, dear reader, might totally disagree, and I accept that (because I am a women, you know, I am so negotiable - just kidding..).

What are the positives of working for a manufacturer? What are the negatives? My role is such a great mixture of being creative, being technical and getting out and about meeting people. I enjoy the training opportunities, the trust and freedom to make things happen, doing something that fits with my personal values, and being in a fun and energetic team. Where I am, the attitude is very gender balanced, the culture is that everyone’s ideas and input is welcomed. I can’t get over how I can have a meeting with a product designer then go to the shop floor and see it made in front of my eyes – just so cool. I am quite a hippy socialist, and while I love the buzz of a finished scheme, what motivates me is more being part of something sustainable. Walking around in the factory knowing that as well as having happy customers, we are also doing something that means we can raise our families and pay our bills, is really satisfying. I have nothing negative to say about my experience as a woman working for a manufacturer, but I know not all companies are the same and I’m very fortunate. Is there anything else you would like to add? It’s a difficult topic but over the years of course, like many women, I have met some dreadful men – solidarity to anyone with negative experiences and I promise it is not the same everywhere. Anyone who is thinking of a career in manufacturing, feel free to contact me in confidence if you have questions or need a shoulder - I am always happy to support others if I can.

Image: James Gifford-Mead

Eloise Reed

Specification Manager Northern Europe, SGM Light

to the design and technical talent pool. This is noticeable across both the entertainment and architectural lighting industries. Sales and marketing has seemed to attract more women and I feel the uptake has been more visible. More women seem to hold senior roles in the sales and marketing roles as compared to other C level roles such as CTO, CFO and CEO.

Have you always been involved in the manufacturing side or have you come from another part of the industry My background is in lighting design and a wide variety of technical experience from the entertainment and arts industries. I have a degree equivalent from WA Academy of Performing Arts (WAAPA) in Production & Design – Lighting. I’ve owned a business doing lighting for raves, worked as a technician and venue supervisor for large entertainment venues, as an in-house lighting technician at National Gallery of Victoria & Federation Square and then embarked upon a career as an architectural lighting designer in London before making the switch to manufacturing.

What reasons do you think there are so few women working for manufacturing companies? What obstacles do women come up against? The sad residue from a massive “lad” culture. Until too recently it was still acceptable to end a client dinner at a seedy bar so I can see why that wouldn’t be attractive for young professional women. The underlying sexism has definitely improved so I hope this is no longer a factor and I’ve always been hugely appreciative of the badass women I was lucky enough to work with in my early years in manufacturing. Manufacturers are only just one aspect; system integrators and electrical contractors all play a big part in the diverse ecosystem of the lighting industry, and they are all still pretty male dominated. If you look at the boards of directors across the lighting industry associations, you’ll still see a definite lack of XX chromosomes. This is visibly changing thanks to recent women who have been appointed the top spots in leading lighting organisations I really hope that encourages more women to seek roles in the manufacturing, electrical and controls industry.

Do you feel there is a wider diversity in sales, manufacturing and marketing over the last 20 years? Manufacturing; not really. Women have always been in the minority when it comes to the manufacturing / specification side of the lighting industry when compared

How do you think more women can be encouraged into this side of the lighting industry? What can manufactures do to encourage a diversity of applicants for roles in sales and product development for example?

How long have you been involved in the lighting industry? It’s been 27 years since I first rolled my first cable at a lighting rental company in Perth – yikes!

I’m fortunate enough to work for a company where our senior product engineer, finance director, US Specification Manager, and a large number of the operations team are women. This is probably a reflection of an enviably gender balanced work and life culture found mainly in the Nordics! Possibly more mentorship and targeted attention towards apprenticeships by manufacturers could help break down potential barriers as the uptake of STEM studies undertaken by women increases. I think the shifting attitudes regarding gender in manufacturing will eventually catch up with the designer side of the industry which is fabulously diverse. What are the positives of working for a manufacturer? What are the negatives? Oh, there are plenty; dynamic lighting is an excellent industry as it makes you use both sides of your brain. I love the aesthetic challenges and collaborations with designers while also coming up with integration/ materials solutions and then putting together a system to make the whole thing work. I’m lucky to work with a great team at HQ who aren’t afraid of a challenge either. Positives: the diversity of your everyday to-do list Negatives: being asked to “ballpark” estimate the cost of something that has never been done before, in just a few hours, despite huge global material and supply challenges! Is there anything else you would like to add? I’m really glad to see more lighting designers joining the specification and sales teams of manufacturers. I think their attention to detail and ability to listen and collaborate is a huge advantage and gives an entirely different approach from traditional “sales sales sales!!”


“If you look at the boards of directors across the lighting industry associations, you’ll still see a definite lack of XX chromosomes.”

“I wasn’t part of the lighting industry 20 years ago, but I can imagine the situation was quite different from today. I can definitely see a slight improvement on the diversity in this field, especially on the marketing side.”

Image: Gavriil Papadiotis

Martina Alagna

Business Development & Marketing Manager, Linea Light Group How long have you been involved in the lighting industry? I have been involved in the lighting industry for almost 10 years. Have you always been involved in the manufacturing side or have you come from another part of the industry? My journey is quite unusual, I started my career in the ephemeral world of theatre lighting in Australia, after my bachelor’s degree in Visual & Performing Arts. Curious to check out the beauty of the light applied to the world of architecture, I moved to Milan to complete a Master’s degree in Lighting Design. Soon after I was in London working in Lighting Design at Nulty, where I completed many interesting projects from hospitality to commercial, from retail to landscape, public realm and master plans. This journey allowed me to achieve the prestigious 40 Under 40 Lighting Design Award in 2020. Almost two years ago, I found myself on a new adventure, joining Linea Light Group as a Business Development & Marketing Manager for the UK. Do you feel there is a wider diversity in sales, manufacturing, and marketing over the last 20 years? I wasn’t part of the lighting industry 20 years ago, but I can imagine the situation was quite different from today. I can definitely see a slight improvement on the diversity in this field, especially on the marketing side, however we are very far behind on numbers in sales and also in product design. What reasons do you think there are so few women

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working for manufacturing companies? What obstacles do women come up against? Well… it is not an easy answer and I often questioned myself and colleagues on this matter. I believe we have to start from the origin of the sales role, which historically have always been synonymous with staying away from home for a long period of time, jumping on hundreds of flights or driving long distances to meet clients. And imagine back in the day (not too far back to be honest) how society would have seen a woman leaving kids and husband at home for days while travelling the world meeting with strangers? It sounds unreal just writing it down. Today we are living in a different world and more women are getting closer to the manufacturer side, and becoming very successful, I have to say. I also understand why many women, especially the ones with families, are not willing to leave kids behind on exhausting days of globetrotting. Same thing for men, of course. The lighting world is quite unique as the light must be seen and the post-pandemic meeting digitalisation never quite worked out in this industry. Cameras are too sensitive to light. Having said that, it would be nice to see more of the younger female generation, the fresh graduates, to at least try this role for a couple of year. It does really give you a kick in the b***, making you more confident in life and at work. It also makes you future proofed, as you acquire skills valid for a variety of different professions. How do you think more women can be encouraged into this side of the lighting industry? What can manufactures do to encourage a diversity of applicants for roles in sales and product development for example? Manufacturers are honestly very open to having women join both the sales/marketing side and the product development side. The few women I know in the manufacturer side are very appreciated, you can really see that they hold onto them as we bring a completely different perspective into these roles. I also know that various manufacturers are actively looking for women to join their teams. How more women can be encouraged into this side of the industry? Maybe making the expectations for the role clearer on the job listings and talking more openly about it. This could help people who are new to the field and interested in having

a first conversation. It would also help to make the ones transitioning between jobs feel more accepted by the whole lighting industry, designing and manufacturing. Most people call the manufacturer “the dark side” of lighting, it doesn’t sound very tempting jumping on it as a fresh starter, does it? But there are lots of lifetime skills that can only be learned in the manufacturing side and cannot be achieved elsewhere. What are the positives of working for a manufacturer? What are the negatives? I can only talk from the business development perspective, which teaches you the remarkable skill of persistence: the persistence of picking up the phone every day and talking to strangers. Strangers which most of the time are not interested in what you offer. People in a post-pandemic world are more remote and less connected, not willing to meet you in person. And yes, being rejected is something that no one in this world is ready to face. And then persistently doing it over and over again. This skill inevitably leads to you being able to “sell yourself” which is very important in life and at work. It is the skill that you use to get out there, to get an interview and get a job. It is the skill that helps you on DTMs to sell your idea or in front of a client to win a project. It is the skill you use when you try to inspire your employees. It is the skill that makes you brave to try new things. It is a skill that gives you the confidence to talk to a girl or a guy at university or in a club leading you to the first love and long lasting friendships. So yes, it is tough and not for everyone absolutely, but recommended to try if you want to challenge yourself and get out of your comfort zone. After all, “What doesn’t kill you, makes you stronger.” Friedrich Nietzsche said a long time ago. Is there anything else you would like to add? Thanks for inviting women in the manufacturing side to share thoughts, challenges, and passion on what they do. Talking about it, it always makes a big difference towards a change with a long-lasting impact.

Project Sales Manager, Optelma How long have you been involved in the lighting industry? I have been involved in lighting since 2015, when I joined a lighting design consultancy as an intern. I spent a year there and returned to university for my final year in BSc Product Design, where I based my dissertation and final project on artificial lighting and its effects on our circadian rhythm as well as wildlife. This led me to pursuing a career as an architectural lighting designer and joining an award-winning lighting consultancy. Have you always been involved in the manufacturing side, or have you come from another part of the industry? I joined the manufacturing side of the lighting design industry in May of this year, after seven years as a lighting designer. This made the transition quite simple since I already had knowledge of the industry, allowing me to assist designers through the process I’m familiar with. Do you feel there is a wider diversity in sales, manufacturing, and marketing over the last 20 years? Speaking for the last eight years, I have noticed a change in diversity. When I started in lighting, I can’t recall working with a single female in sales. I’m sure there were a few, just not within the manufacturing companies I personally worked with and specified. This started to change after I came out of university as I finished my final year and came back into working for a consultancy, where I started working with a couple of women in the sales side of the industry, though to this day I find that marketing is more female led while there are more men on the sales side. The scales aren’t equal, which isn’t said as a negative comment, but an observation.

How do you think more women can be encouraged into this side of the lighting industry? What can manufactures do to encourage a diversity of applicants for roles in sales and product development for example? I think opening the doors to internships could be a good thing for the manufacturing side of the industry. Based on my personal experience where I studied Product Design, I hadn’t thought about architectural or decorative lighting being such a large part of the industry and all the opportunities offered. I only learned of lighting design as a career when I came across an internship offered by the lighting design consultancy where my journey in lighting began, through which I started working with manufacturers. Open days for students to come in and ask questions could be a powerful tool and encourage young professionals, including women. Gender diversity and hierarchy in a workplace isn’t something people experience until they come out of university into the working world. As a student, I never thought of not joining a specific industry because it is more male orientated or because I was worried about not being heard as a woman. In fact, my course was mainly

and workshops that inspire and promote inclusion, which is amazing to see.

Robyn Dyde

Sales Engineer, Erco How long have you been involved in the lighting industry? I first joined the lighting industry in December 2013, so just shy of 10 years ago. However, for the last four years, I worked in business development roles whilst I was focusing on my family life and raising my three children, but I am so glad to be back. Have you always been involved in the manufacturing side or have you come from another part of the industry? I have always been in the manufacturing side. I really enjoy my role and while I love the lighting industry, I couldn’t imagine working in another part of it. I love being at the forefront of product innovation and really enjoy the wide variety of projects I get to be a part of. Do you feel there is a wider diversity in sales, manufacturing and marketing over the last 20 years? I would say yes, the industry is becoming more diverse especially with newcomers to the industry. I know lots of women who are progressing in their careers, yet I don’t know many retiring, so that has to be a big sign that the diversity is growing. I think the design community is a lot more proactive in diversifying the industry, from manufacturers, to lighting designers to architects, there are now panel discussions

What reasons do you think there are so few women working for manufacturing companies? What obstacles do women come up against? I think that previously it wasn’t considered an ‘attractive’ job or a job a woman would want. I feel that most sales roles in particular, played into stereotypical gender/family roles. Sales/manufacturing roles are usually time demanding, long days, lots of travelling and that would not fit so well with women’s lives outside of their work role. However, the way everyone can work, and family dynamics have changed now, which means roles that would have previously been discounted are able to be considered. I feel valued in my role as an individual but also as a woman, I feel it is widely recognised that there is value in a diverse workforce. How do you think more women can be encouraged into this side of the lighting industry? What can manufactures do to encourage a diversity of applicants for roles in sales and product development for example? I think the lighting industry needs more awareness overall; I feel the lighting industry is vastly overlooked. It is a great industry, you can add such value to projects and make a big impact, one that I don’t think people consider or even realise is possible. At Erco, lighting is the fourth dimension of architecture and awareness of the process and possibilities needs to be raised. That is a responsibility that I feel lies within me. I feel it is key to get in with our future professionals. Those that are currently student architects, lighting designers, M&E consultants, landscape architects, design consultants and other professionals I work closely with in my day-to-day role. As a company, we are regularly running workshops with universities, this is a great way to build awareness to the industry and spark ideas in our future

dominated by men, with only a handful of female students where none of us felt uncomfortable or were treated differently because of gender. Unfortunately, this is something I came across and realised is an issue through experiences after university. If I had more awareness of the world of lighting manufacturers and the variety of roles, I would not have hesitated in joining this industry like I have hesitated in the past couple of years. Manufacturers are already a lot more encouraging to women and broadening workplace diversity, the main goal now is to ensure young women feel comfortable joining that side of the industry without being exposed to such things as gender discrimination and authority gap. What are the positives of working for a manufacturer? What are the negatives? The main positive about working for a manufacturer is having opportunities to be out and about meeting clients. I’m a social person and as much as I enjoyed being a designer and creating lighting schemes, I felt quite drained staring at a screen all day and after hours. I love meeting new people, so going to see new and existing clients lets my personality shine through and makes me feel invigorated. Of course, working for a manufacturer is not just about going out to spend time with clients. It comes with its own challenges and pressures, however continuous support between colleagues and trust from the management side is what makes the difference and helps to resolve issues fairly quickly, as well as allowing comfort in the workplace. Is there anything else you would like to add? Being in sales and the manufacturing side of the industry, I still sometimes experience men being sceptical about my competence and knowledge, but this is an issue in the industry as a whole, not specifically in the side of manufacturing. I experienced this in the design side through the past seven years, and it’s something I now expect when going into certain meetings, however I experience it less since I joined sales. I find that most clients expect me to have the knowledge and therefore trust my words, as well as ask for my thoughts and advice while colleagues make me feel like an equal part of the team.

professionals. I think that is beneficial to everyone, not only women. However, by women in the industry taking action and setting examples, we are showing that it can be done. With the diversity growing in the industry, I believe it will have a ripple effect, we can already see over the last 20 years more women are coming into the industry and that should hopefully only grow. What are the positives of working for a manufacturer? What are the negatives? For me the positives are: I am trusted as an extension of the brand, I get to work with a variety of people and by working for a manufacturer I can be at the forefront of technology. Personally, I don’t like to look for negatives, I know that can sound cliché, but I see it as an opportunity for growth. I am lucky that I have only ever been welcomed into the industry and I am aware that other women may have had a different journey, but I hope through sharing my experience as a woman, a mother, a professional, I can show that it is possible. Is there anything else you would like to add? I feel it is an exciting time for women, not just in the lighting industry but across all construction industries. I echo what I said before, I believe a diverse work force is being valued. I feel it is important to note here, that I feel lucky as a woman that I haven’t had to compromise, I am professional and a mother, I can have both. I can’t say that last sentence without making a nod, to my husband and also my family, as without their support, encouragement and belief I would not be able to have both. Lastly, don’t underestimate the power of networking, put yourself out there and get out of your comfort zone.


Agata Tyburska

What reasons do you think there are so few women working for manufacturing companies? What obstacles do women come up against? Before I made the change into sales, I thought about it for a couple of years, but I felt too intimidated joining a very male orientated side of the industry. I didn’t know much about the dynamics of the sales side and how I would be treated by clients being a woman in a sales role. There have been many times where I haven’t been taken seriously in a meeting or site visit, specifically by the older generation of men. When a man leads or contributes to a meeting, it is assumed that he knows what he is talking about until he proves otherwise. Meanwhile as women, we very often tend to be underestimated, interrupted, talked over, and need to prove our competence. This is one of the major obstacles that many of my female colleagues experienced as it affects confidence and progression in a workplace. I was worried that this happens more often in the sales side of the industry, which is what stopped me from switching careers from design into sales earlier, especially as my job relies on clients hearing me out and giving me an opportunity to start a conversation.


Alex Pappas-Kalber

Gulf Sales Manager, We-ef How long have you been involved in the lighting industry? If you count my time in theatrical lighting at the very beginning of my career, 23 years. I’ve been a designer, an electrician, a small business owner, a university professor, and now a marketing/sales professional. Have you always been involved in the manufacturing side or have you come from another part of the industry? I started in theatre – as a lighting designer and electrician. Then I moved to architectural lighting design for the majority of my career upon my completion of my Master’s in Architectural Lighting Design. I taught at the graduate level in university, and now I’ve been in manufacturing sales for the past year and a half. Do you feel there is a wider diversity in sales, manufacturing and marketing over the last 20 years? I do – I’ve seen several women designers move into sales in the last 5-10 years. However, it still feels like an industry that is segregated – inside sales and customer support is largely women; while outside sales, engineering, operations, assembly, and c-suites are largely men. Though I have worked with some bad-ass women logistics and marketing specialists! What reasons do you think there are so few women working for manufacturing companies? What obstacles do women come up against? Compared to the design side of the industry, manufacturing is more “corporate”. It means larger companies, often conglomerates, where there still tend to be some misogynist leftovers from older generations – sometimes via subtle undertones, sometimes blatant. There is pay inequity between men and women in this industry, and the ‘boys clubs’ still exists. I’d love to see the statistic on the percentage of male CEOs to female CEOs of lighting manufacturers –

Celine Gehamy

Senior Communicator / Project Manager, PSLab How long have you been involved in the lighting industry? Since 2016 (before was interior design/product design). From 2016-2022 I was at Nulty Bespoke. In 2022, I was working as part of the F&F team in an interior design firm – Studio Reed – designing bespoke lighting and other products. This year, I joined PSLab. Have you always been involved in the manufacturing side or have you come from another part of the industry? Always been involved in the manufacturing side (as a product designer/lead designer). Until I joined PSLab and now I’m involved in communication/sales and PM as a job itself. Do you feel there is a wider diversity in sales, manufacturing and marketing over the last 20 years? I’ve seen more and more women working in those fields. And this since the start of my career. I’ve been lucky to work for companies that empowered women. Especially when it’s in your first job, it sets your standards; when your first male manager empowers you as a women. What reasons do you think there are so few women working for manufacturing companies? What obstacles do women come up against? Manufacturing has always been seen as a “male” environment. I notice this in factories for example. The reason is, from my personal opinion, that it starts at home, in schools, in universities. I studied industrial design and obtained my Master’s in Paris. A large majority of the

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the perception is certainly that the majority of leadership positions are held by men – while on the design side the number of female Principals may even outweigh the men? Another obstacle in sales is that the job requires significant travel, which can be difficult for women because we are generally the caregivers in our families – whether that be children or aging parents. I am only able to do this job because my husband shares the childcare responsibility with me, he actually does the majority of it since I’ve had this job, and that is rare. Also, sales and marketing require ‘wining and dining’ of clients and customers – we’re hosting after-hours events that push alcohol consumption and that can be tricky to navigate for women. A woman salesperson from another company told me that she was known in the industry as “One and Done” because she would show up to every event, have one drink, and then leave before anyone could get sloppy. It’s important to note that the issue of drinking isn’t specific to manufacturing, it’s an industry-wide issue – back during my designer days, I was once grabbed and kissed on the mouth without my permission by a male salesperson at an industry party. Luckily this drinking culture is starting to change – I’m seeing event organisers offering mocktails and other activities that don’t rely on drinking. How do you think more women can be encouraged into this side of the lighting industry? What can manufactures do to encourage a diversity of applicants for roles in sales and product development for example? I’d start with pay transparency. Then I’d provide a solid family leave policy – including parental and caregiver leave, and remote/flexible schedules. Clear policies and procedures for harassment and after-hours requirements need to be in place and there should be a dedicated and safe HR department to handle complaints. And maybe the most important one – show prospective women employees that you value and respect women enough to promote them to the leadership positions in the company! Fill your board of directors with women! What are the positives of working for a manufacturer? What are the negatives? The biggest positive is by far the financial aspect – higher salaries and sales commission/bonus opportunities, and exponentially better benefits like health insurance plans, retirement savings, and paid time off. Other positives I’ve experienced include a better work-life balance, with a more standardised work schedule when I’m not travelling. I’ve

students from my year were men. I’m not going to lie, as a woman you have to stand up for yourself, especially being young surrounded by other young kids. I’ve always felt lucky to have a supportive family in which women and men were educated to treat women as equal. For example my dad and my mother always encouraged us (my sister, my brother and I) to lead, express ourselves, and that everything is possible whether you are a woman or a man. My dad, as a civil engineer and project manager, would always bring me to building sites from a very young age. Not only to learn about his company’s projects on a general basis but also to understand how a space is built and the technicality of it. There was never a limitation because I was a woman. As a result, when I studied industrial design, I never thought I was in an environment “for men” because I was never told it would be an obstacle in the first place. But I started noticing how other people could behave around you, as a woman. Education is key. Having an open mind too. How do you think more women can be encouraged into this side of the lighting industry? What can manufactures do to encourage a diversity of applicants for roles in sales and product development for example? Before getting into lighting, someone told me “But it is very technical, are you ok with that?” Well, I think that people like to put you in boxes. You can be a woman and be technical and creative. I feel, we need more women in those leading positions to act as examples for other women but especially for men to understand that. Also, HR need to be educated to hire women and recognise how much they bring to the table. What are the positives of working for a manufacturer? What are the negatives? Positives: innovation, creativity, problem solving, challenge. Negatives: As a woman, even if things are evolving now, the double challenge for women is to have their place in it. But I am positive this is changing.

also found that there is more budget and infrastructure for company-sponsored professional development and continuing education. Is there anything else you would like to add? I think the lighting manufacturing industry is evolving, particularly the sales/marketing side of things. Our specifiers are young and progressive, and we have to find creative ways to engage them. It’s not just about technical requirements or budgets anymore – specifiers want to work with sustainable, ethical companies that share their values. That’s the story here, and women have a phenomenal opportunity to tell that story and help shape the lighting manufacturing industry as we move forward.

“Before getting into lighting, someone told me “But it is very technical, are you ok with that?” Well, I think that people like to put you in boxes. You can be a woman and be technical and creative.”









eye opener

Mystery 89 Elefsina by Night Eleusis, Greece Mystery 89 was a nine-day event that consisted of a light art installation designed by Eleftheria Deko, and a site-specific performance that took place during the Eleusis 2023 Cultural Capital of Europe in July. The event took inspiration from Greek Mythology and the myth of Persephone – the daughter of Demeter, whom God Hades fell in love with and took to the underworld for six months. Deko’s light ring installations were placed in different parts of the city of Eleusis, and they had to be discovered by the visitors. The performance took place the last two days of the event at a “ship cemetery”, where more than 30 ships are abandoned, some sunk in the sea and others lie outside on the shore. Deko says of the installation: “In researching the myth of Persephone and its various versions, I found that Persephone is also called Kore – the Daughter. The word Kore, in Greek also meaning the pupil, took me associatively to the human eye and inevitably to the iris and Iris, the goddess of the colourful rainbow, the messenger of the gods to humans. “Two peculiar goddesses meet in the human eye. I was challenged by the choice of our ancient ancestors to name the two parts of the eye, iris and pupil. The dark one, Kore, is the pupil that absorbs light for the brain to then decode it; and iris reflects light in so many beautiful colours. I searched mythology to see 038 / 039

if there was any myth or incident associated with these two goddesses. I found none, so I decided to “unite” them in my artwork.” In Mystery 89 the light installations are circular in shape, like the iris, and have the colours of the rainbow. The circle, however, is not descriptive but symbolic. It has the meaning of union, of the whole, of the cycles of life, of protection but also of a window looking to the “inside” or to the “outside”. Deko explains further the narrative behind the Mystery 89 installation: “As Hades hides the Persephone in his arms, Iris loses her colours… And when Persephone slips away from his arms to rejoin Mother Earth, Iris welcomes her with six wreaths left in her path to symbolise her marriage to life, the reunion of Mother Earth, the cycles of our lives, the union, the whole.” Each light ring installation was illuminated in a different colour, each symbolising one of the six colours of Iris: red, the colour of blood and fire, the colour of pulsating senses; orange, similar to that of the flame; yellow, celebrating the sun, the light, the spread of knowledge and hope; green, reminiscent of vegetation, but also the union of life and death; cyan representing the preparation of Iris’s journey to the stormy sea under the celestial dome; and violet becoming white, which marks the end of the cycle by the sinking into the sea, but also spiritual evolution.

Image: Gavriil Papadiotis


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Oman Across Ages Museum Manah, Oman

One of the strongest statement pieces of architecture in the Middle East, the Oman Across Ages Museum launched earlier this year - designed by Cox Architecture, with lighting design by Lighting Design Partnership International.

ituated in Manah, near Nizwa, the

S crossroads of Oman, the Oman

Across Ages Museum is a cultural and educational hallmark both for Omanis and visitors to the country. Commissioned by the Royal Court Affairs, Sultanate of Oman and designed by Australian firm Cox Architecture, the legacy project of the late Sultan Qaboos bin Said has delivered one of the strongest statement pieces of architecture in the Middle East. Inspired by the extraordinary landscape and geometric profiles of the Al Hajar Mountains and its canyons, the museum was designed to showcase the unique characteristics and historical significance of the Sultanate of Oman, and comprises a knowledge centre, an auditorium, permanent and temporary exhibition galleries, a vast garden, and several dining venues. The museum’s design uses the full array of architecture’s potential for expression and communication, including scale, geometry, form, light, and vistas both as purely expressive devices, and to offer a wide range of possibilities for installations, displays, and performances across its varied spaces. As a cultural landmark, the museum transports visitors across the nation’s 800-million-year history through a series of immersive, high-tech experiences. The building emerges from the landscape as a series of angular, geometric forms that sit in dialogue with the backdrop of the peaks and ridges of the Al Hajar Mountain range.

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In harmony with the architecture, the exhibition design celebrates Oman’s rich heritage, dating from prehistory to modern day through the latest immersive technologies. Lighting Design Partnership International (LDPi) was appointed at the outset by Cox Architecture, curating and crafting a lighting story and journey that is embedded in the grain of the architectural philosophy. The teams from Cox and LDPi worked alongside each other in a united narrative to deliver a holistic solution to an outstanding piece of architecture and form. Lawrie Nisbet, Managing Director at LDPi, tells arc how the museum’s unique architecture guided the design: “The architecture design has such a strong narrative that as “architects with light”, our duty was to enhance that narrative and develop our own lighting story. The story that we developed was a journey based upon visitor experience, both from approach and through the building and its form. “The journey commences at the outset as that of a typical visitor; departing from Muscat and travelling through the Al Hajar mountains to the plain of Manah, where the site is located. On appointment, the first thing that LDPi did was to physically travel that journey. The whole approach and the illuminated experience were developed from that original journey experience.” Nisbet explains further how, once this concept was developed, the design team brought it to life: “By immersing ourselves with the architecture and form; integrating nearly every lighting solution within its physicality; by defining the lit condition through limited fully integrated solutions; by minimising visual disturbance, visibility of source and crafting the effect of light and form sinuously. “Much work was done by hand drawing and sketch. Renders were simple Photoshops and have proved to be the exact embodiment of the reality. This project was all about the true understanding of form and material and the interaction of light in all its forms. The results are beyond calculative and prove the point that only the ‘design eye’ can create such synergy with built form and materiality.” The idea of taking visitors on a journey continues inside the museum – from the outset, the experience is one of stepping into a place of holistic drama and sensory stimulus. Visitors journey through a series of unfolding spatial sequences that progress from the raw naturalistic beauty of the soil and rocks to spaces of increasing volume, refinement, and lightness. Throughout this journey, LDPi worked in close harmony with the architects, designing a lighting scheme that sat in sync with the building’s form, highlighting its scale and architecture. Nisbet adds: “Our design alignment was there from day one with the total understanding of the building and its own design journey, and this was fully understood and appreciated by the architects. “LDPi had a complete free hand and the architect and client agreed with every step made through the design process. Through workshops in Perth, Oman, and Edinburgh, the seniors of both practices closely worked through all elements, speaking the same language.



Client: Sultanate of Oman, Royal Court Affairs Lighting Design: Lighting Design Partnership International, UK/Oman Architect: Cox Architecture, Australia Lighting Suppliers: iGuzzini, Louis Poulsen Photography: Philip Handforth

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“By understanding the architecture, and the architectural story, the lighting follows the architectural order, wording, and punctuation in absolute harmony.” This harmony meant that the lighting designers did not experience any structural constraints or issues on the project, although Nisbet adds that the biggest challenge came in illuminating the 150-metre-long timeline gallery with a single source solution. “A custom-made solution by iGuzzini, using stretch fabric, was ultimately used to ensure visual continuity and stability. The single linear narrative adds to the strong architectural geometry and enhances perspective, irrespective of an excellent downward illumination provision.” LDPi worked with iGuzzini and Louis Poulsen on the lighting for the museum, and Nisbet adds that “performance and the ability to support the highly motivated design teams of LDPi and Cox” were the main decisions behind working with these brands. “We invited both iGuzzini and Louis Poulsen to be part of the process and allowed full engagement with ourselves and the architects,” he adds. “The level of detail was extensive with, for example, the special engraved patternation designed by LDPi applied onto the glass of all in-ground luminaires. In daytime, the luminaires morph into beautiful architectural details themselves. Such attention

to detail sets the scene of care and quality throughout.” Following the opening of the museum earlier this year, Nisbet is effusive in his praise of the project, “This is a statement piece of legacy architecture, our view and that of the architects is that the space and form is timeless and intended to be meaningful over generations,” he says. Despite a lengthy timeline of nearly 10 years to complete, with work beginning in 2014, he adds that the project was “an absolute pleasure from start to finish, as all parties believed in the strength of the design and the legacy aspect of such a work”. He concludes: “It was a joy to work with some of the best architects in the world who care so much; a joy to work with people within lighting manufacturers that hold the same design integrity and who similarly care. “This was an amazing design experience, design education, and design journey for all involved at LDPi. This was about much more than a commercial project. We are privileged to have worked on this project with amazing people in an amazing country. All involved have become firm friends throughout this journey; surely what great collaboration and great design is all about.”

Award Winning Studio Frantzén at Harrods Restaurant & Bar Design Awards 2023, ‘In another space’ Category winner

Lighting Design: Lighting Design International Interior Design: Joyn Studio Architect: Woods Hardwick Photography: Andrew Beasley KKDC products used: TIMI, TIMI Glow, LINI-S Glow, KURV-X, KURV-Y, KURV Groove

eye opener

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Nest at Glasshouse Alderley Park, UK As part of the newly redeveloped ‘Glasshouse’ building at life science and innovation campus Alderley Park, developers Bruntwood SciTech invited interior designers at SpaceInvader to revitalise the lower-ground floor workspace. Spanning across 1,425sqm of open space, the project was almost entirely devoid of natural light, with only one glazed area facing out onto a sunken garden. This, combined with changing market needs, more demand for fully-fitted spaces, and a growing focus on employee wellbeing, presented an ideal opportunity for the design team to create something unique. John Williams, Founder and Director at SpaceInvader, says: “Rather than giving us a brief, the client simply asked ‘what can be done here?’ Our response was to find the light within the dark and seek to transform the feel completely. At the same time, we realised we could also make a virtue of its safe and cosy feeling of enclosure, creating a kind of hideaway that tied in with some elements of the rest of the building for the sake of integrity, but that was also distinctly individual.” The plan for the space, dubbed Nest, was to create two small, dedicated work suites that could be rented out to smaller-scale tech companies, while the rest of the space would be designed as a collaboration and co-working area, open to everyone in the wider building. Artin Light developed a lighting design concept for SpaceInvader, looking to facilitate a feeling of natural light within the subterranean space. Luke Artingstall, Founder and Director of Artin Light, explains: “Our concept was all about contrast, making it feel like natural light was falling into the space in certain areas. We wanted to improve vertical illumination, whether that be lighting integrated into joinery elements or using light panel scenarios to create a backdrop, so that the perceived brightness of the space was improved, visual contrast was better, while still having a

hospitality feel, which is a big driver for these types of spaces, particularly in the amenity areas.” While the lighting design took inspiration from the hospitality sector in terms of creating an atmosphere where there is a low level of natural daylight, this was paired with a practical mindset to make sure users could work easily in any part of the space. As well as diffused light created by track lighting, other key elements included light panels, curved ceiling features, backlit planting, dramatic wall-to-floor lights, and curved suspended light. One of the most striking features in the space can be found in the Yoga Room, designed by SpaceInvader. Here, a light wall made of white Corian, which changes colours on a spectrum through backlit LEDs, runs across the full length of the back wall. This wall is visible through, above, and below the room’s glazing, which has a fluted central section – adding to the vertical illumination Artingstall sought in the lighting concept. “With limited access to daylight in the open plan space, it became very important that vertical illumination was well picked up, particularly when looking across the space. The Yoga Studio is one of the key elevations where we knew we could introduce this illumination, as it provided a backdrop to the amenity spaces. With the colour changing capabilities and RGBW elements in there, it can be used as a standard white backdrop, but also be more immersive, depending on what type of activity users are undertaking in there.” Williams adds: “This standout feature really finishes off the scheme in style. It’s intriguing when glimpsed and highly impactful when seen in full, functioning as much as an art piece as a mood-defining piece of design.”

Image: Andrew Smith at SG Photography

Sphere Las Vegas, USA

One of the most talked-about buildings opened this year, the Sphere has been a constant source of buzz and excitement since it was launched this summer. Designers at Journey Lighting explain how the interior lighting design enhances the overall visitor experience. 048 / 049



he latest, remarkable addition to the

T Las Vegas strip, Sphere has been one of

the most talked about buildings since it was unveiled to the world this summer. From its vast, 580,000sqft “Exosphere”, comprised of approximately 1.2 million LED “pucks”, to the astounding, immersive live performances within – including a five-month residency from U2 – Sphere has catapulted the live experience into the future, and has been a constant source of excitement across social media.

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Creating an interior space for Sphere that would match the scale and magnitude of the performance bowl and exterior screen was no easy feat. However, ICRAVE, and partners at Journey Lighting, once brought on board sought to bring an ethereal atmosphere to almost 400,000sqft of interiors – a cacophony of sweeping spaces that create an immersive world, including entry bridges, the atrium, diverse food and beverage venues, artistic galleries, private dressing rooms, an exclusive VIP club and luxury viewing suites. “The primary objective was to create an innovative design for the ‘entertainment venue of the future’, offering versatility in lighting design to accommodate a wide range of events and functions,” says Brian Smith, Director of Lighting at Journey. “This overarching concept materialised into diverse, curvilinear light forms that could be mirrored on the floor. We enthusiastically embraced the notions of reflectivity and fluid light shapes to narrate the unfolding story of events inside, whether it be a concert, movie screening, or conference expo.” Considering the extensive dimensions and curved structures of the building, Smith explains that the design strategy for the interiors “employed a deliberate selection of light fixtures to address various spatial requirements”. He continues: “We approached the open areas as if they were galleries, allowing for adaptable lighting tailored to specific events or functions. Concealing all other details, our intent was to project light onto and from the architectural forms of the building. The integration of programmable RGBW lighting across the majority of the public-facing areas played a key role in shaping the ambience and immersive experience of the space.” Indeed, lighting plays a central role in creating a unique and unfamiliar setting; the mood and energy of Sphere’s interiors are manipulated through a layered series of continuous and directional lighting that is juxtaposed by expansive indirect washes of light with deliberate strikes of light. Uninterrupted columns soaring through the breathtaking atrium space are outfitted with custom and programmable lighting that can transform the space for different events or shows. As the atrium, entry bridges, and galleries are event and conference spaces in and of themselves, the architectural lighting has been designed to change from show setting to event setting, and can be reinvented every time a guest visits. The long spaces are metered by repetition, and the intentional use of coloured lights over white lighting builds anticipation as visitors make their way towards the performance bowl. Lighting therefore serves to “set the tone”, performing as part of the Sphere experience from entry, to atrium activation, to showtime, and as guests transition out of the Sphere and back into the bustle of Las Vegas. To create the “unique and unfamiliar” setting that would match the immersive and otherworldly nature of the theatre itself, the designers looked to highlight the eight-level atrium, and increase the reflectivity and sense of “limitlessness” by using floors made of shiny, highly polished black terrazzo.

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feature programmable lighting that transforms the space for different events or shows. We didn’t just want people to walk through the space, but to inhabit it.” This approach also served the designers well in creating a space that would match the monumental scope of the building’s exterior, as Smith explains: “In order to match the size and magnitude of the exterior screen and build anticipation for what’s to come in the performance bowl, we wanted to start the experience the moment guests step foot in the venue. Instead of one large feature moment, we used lighting and materials to create moments of discovery throughout. “Upon entry, guests are greeted with a forest of illuminated arches that compress the experience before opening up to the vast atrium. Once in the atrium space, they’re surrounded by sweeping curved bridges with lit bands and uninterrupted archways of light. Within these surroundings, we layered more elements designed to deepen the experience and draw guests through the cavernous setting, building a narrative that there’s always something more to discover.” The sheer size of the project, alongside its unique curvature, presented the lighting team with some difficulties on site, as Smith adds: “The scale of the venue and tall ceilings in the atrium were a big challenge for us. We aimed to create a dramatically lit space that has a hospitality feel, while being surrounded by a 40ft ceiling with white neutral finishes. Embracing neutral tones and leaning into the narratives of the venue’s shows and events, we saturated the space accordingly with coloured lighting and warm tones. Washing surfaces with light and grazing finishes helped ensure the tonality of the space was adaptable to whatever is happening at the venue. “Throughout the spaces, there are also very few straight orthogonal walls, ceilings, and surfaces. This proved very difficult with installations and typologies of fixtures. Many mock-ups and adjustments on site were critical to ensure every detail was imagined as intended and properly replicated throughout the building.” Sphere, as a whole, is a monumental project with an enormous level of cultural significance – from the many eye-opening light shows on the Exosphere, to the incredible live shows within. However, given that the eyes of the world are on this project, Smith says that the design team didn’t feel any additional pressure. “This is a groundbreaking venue, and we put our hearts and souls into it to ensure a fantastical, future-forward space was reflected in the interiors. We worked collaboratively and used everything Sphere stood for, culturally, artistically, and technologically, as inspiration to inform our design of the space.” And while Journey Lighting had no involvement in the LED-clad exterior, Smith adds that the team sought to complement the exterior with vibrant interior lighting schemes throughout, to create a seamless flow between the outer and inner realms of Sphere. “This project proposed that entertainment was going to change forever,” he continues. “For


“The lighting system is meant to have a personality that can speak to you,” Smith adds. “Virtually every surface is lit by indirect LED illumination that can be customised for intensity, temperature, or colour to match the mood or theme of any show. Entry and exit thresholds consist of low archways that compress and then dramatically release you into taller spaces. “The elevated reflectivity of the flooring played a crucial role in shaping the narrative of Sphere and its overall design. Consequently, Journey Lighting exercised great caution in the placement of LEDs and the details of the specifications. This meticulous approach ensured that the reflected light was aesthetically pleasing and did not cause discomfort to the eye.” When entering the venue, flexible RGBW programmable LED panels from Acolyte are concealed behind expansive acrylic panels, casting an even and adaptive luminance that gracefully follows the unique contours and shapes of the portals. Once in the atrium, RGBW grazing fixtures from Color Kinetics are discretely integrated into the vertical soffit detailing, resulting in the mesmerising ribbons of light that grace the space. Alongside this, customised USAI downlights were used alongside Altman projectors, Clarte colourtuning trackheads, Tivoli LED products and Q-Tran linear LEDS, all adding to the unique lighting experience. For dynamic scene transitions, Journey Lighting utilised four-foot sections of the fixtures in its programming, creating waves of light in the space. In the bars and food kiosks, warm 2400K and 2700K lighting bring the hospitality feel, creating warm, inviting experiences within the sleek interior. Within the atrium space, the lighting levels have been intentionally kept low, something that Smith feels “underscores the welcoming atmosphere of the space”. He explains: “Given the visually rich environment, our goal was to be purposeful in the lighting design, ensuring it wasn’t overpowering. Upon entering the atrium, the goal is for visitors to feel that the space isn’t merely a pathway to their seats. Instead, it invites them to linger and appreciate the surroundings and absorb the ambience and technologies within. The show starts the moment you step into the building.” That being said, the lighting also serves to build anticipation for concert-goers as they make their way to the theatre bowl. “Through meticulous programming, we designed the lighting in the entries and atrium to slowly build anticipation, using colour and movement,” Smith explains. “Upon entry, guests are greeted with the tones and movement of an Aurora Borealis skyscape at a relatively low level. As it gets closer and closer to showtime, tones of red and amber slowly integrate into the lighting scheme, creating an anticipatory vibe, with faster movements and cues. The build-up of light and colour showcases how the entire venue is a show itself. “Lighting can make or break designs, and for an immersive experience like Sphere, it’s even more important to ensure visitors aren’t taken out of the experiential journey. Many aspects of the space


Client: Sphere Entertainment Co. Lighting Design: Brian Smith, Renee Joosten, Rosa Capo, Nicolas Herrera, Bailey Metzner, Yisi Rao, My Nguyen, Rawan Mohsen; Journey Lighting, USA; ICRAVE, USA Interior Design: ICRAVE, USA Architect: Populous, USA Lighting Suppliers: Acolyte, Altman, Clarte, Color Kinetics, Juniper, Q-Tran, Tivoli, USAI Photography: Rich Fury / Sphere Entertainment; ICRAVE

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the first time, we looked at everything as a performance space, for the whole thing to be an activation, and we imagined how it would be used. This involved thinking outside of the typical arena and event space box.” Thinking outside the box – or rather, thinking outside the sphere – has led to the creation of a truly unique events space that will certainly change the game when it comes to live performances. While the vast illuminated exterior has raised some eyebrows in terms of light pollution, it remains a technological marvel. This remarkable design has been matched inside, and Smith feels that the interior lighting design adds to the one-of-a-kind visitor experience. “We are delighted with the overall outcome of the lighting design,” he recalls. “Once we successfully programmed the lighting sequences, the effects on the curved matte surfaces and reflective mathematical graphics and floors truly came alive, realising the otherworldly experience that we aimed to achieve. What has made the experience truly exceptional is witnessing the concert-goers immerse themselves in the space and engage with the narrative we crafted. “The lighting sets the tone and ‘performs’ as part of the Sphere experience from entry, to atrium,

to showtime, and as guests transition out of the Sphere and back to Vegas. Temporary insertions, like colourful, 50ft high holographic images and an art installation of interlinked rings hanging from the top of the atrium, help keep the spaces fresh for repeat visitors. Food and beverage offerings have tightly curved entries with rich colours and amber-hued hearths, ushering guests into cosy oases. Shimmering reflective graphics subtly tell the story of the mathematical algorithms used in the construction of the Sphere.” Ultimately, it is the feedback from the visitors themselves that is most beneficial, and this, Smith concludes, has been the most encouraging thing of all: “The response has been really positive – we’re happy that guests are happy. They understand our vision of bringing fantasy into reality. Guests can’t stop photographing and sharing the spaces across their channels.”


Inspire Illuminate

Deisgned for the Designer



2023 PIA


eye opener

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Aurora Auer / Ora, Italy

Designed as an interactive art piece, Aurora serves as the visual herald of the ongoing journey towards the future cultural centre, Aur-Ora. This installation, created by Moradavaga, transcends mere artistic expression; it embodies the essence of transformation and rejuvenation. Its climbing plant-like design gracefully envelops a vacant building, infusing it with a sense of vitality and purpose. The neon lettering, forming the word “Aurora” pulsates with the vibrant energy that once characterised the former train station, bar, and cultural hub. The typography of the installation is a nod to the lively dynamics of passing trains, paying homage to the rich history of the space. The installation can also captivate observers from multiple angles. Whether walking by or taking a moment to pause and appreciate it, the installation aims

to inspire, while serving as a harbinger of the future – a visual promise of what is to come. As well as its aesthetic appearance, the installation was also designed with a deliberate purpose. The pipes extending from the lettering aren’t merely decorative; they double as interactive speaking tubes, reminiscent of ancient string telephones. This addition underscores the collaborative and interdisciplinary potential of the future cultural centre, inviting people to engage, converse, and actively contribute to the evolving narrative of Aur-Ora. “In essence, Aurora stands as a beacon of hope, an exquisite fusion of art and functionality, and a testament to the transformative power of culture and community,” says Moradavaga.

Image: Moradavaga

Infrastructural Integrity


With a strong portfolio of transport and infrastructure projects, Sacha Abizadeh, Head of Architectural Lighting, and Natalie Redford, Architectural Capability Leader at WSP, discuss what goes into making these projects stand out.

WSP Architectural Lighting is renowned for collaborating with world class architects to create award winning transport and infrastructure. Working with architects such as Weston Williamson + Partners, Grimshaw, and Wilkinson Eyre, we have created hubs that thousands of visitors navigate through daily. Due to the activities and sheer passenger numbers, transport and infrastructure projects need to be classed as high risk and are associated with their own unique sets of challenges. These are often identified early by the large multi-disciplinary design teams, stakeholders, and clients. It is the lighting designer’s role to work with the strict guidance or requirements, such as British Standards HS2, Network Rail and local transport guidance, while interweaving the overall design vision. We try to link the technical or functional lighting with the aesthetic design, ensuring that the vision is coherent throughout the space. An example of this technique can be seen in the ‘Lily Pad’ design at Paddington Station, where the ambient uplight component is designed into the soffit and includes downlighting to achieve the general light levels and uniformity requirements. We work towards a tight product specification with intricate detailing, often incorporating other comms such as CCTV, speakers, and sensors. As simple as it may seem, the correct specification is everything. We need products that can survive in harsh environments, that can be accessed and 058 / 059

maintained, and are high quality with acceptable Circular Economy credentials. Optical performance, glare control and light quality are essential layering techniques that we adopt on all projects to accent key architectural elements while providing the required level of light and uniformity for the safety of passengers. We have the opportunity for mockups prior to finalising the specification, which involves the participation of key stakeholders and the design team. We optimise energy saving and ensure that the control system is developed to include daylight linking and timeclock dimming. The smart lighting systems are linked to the Building Management System and collect real-time data to identify any system issues such as dimming errors, maintenance requirements and emergency lighting failures. We have had the privilege of working with local artists, whose installations and art pieces help to form the ambience and identity of the project. As lighting designers, we thrive in the joy of bringing ideas to life and through the years we have been able to do this in some of the largest stations in the United Kingdom, such as London Bridge, Old Oak Common and Curzon Street. Often, we work on the interior, exterior and landscape lighting of the transport and infrastructure hubs. While developing the lighting scheme for planning approval we have had many challenges with the exterior lighting schemes of


stations and buildings. This is dependent on the sensitivity of the neighbouring and surrounding areas. We have in-house environmental experts, with whom we work closely to ensure that the lighting designs are sensitive and balance the project safety requirements and the design team’s aesthetic desires. We work tirelessly to build lighting control philosophy documents and strategies that protect our night-sky, evening views and species from the ill effects of obtrusive light. Looking to the future, we are focussing our efforts on the development of the Dublin Metrolink, where WSP has been appointed as Client Partner to help Transport Infrastructure Ireland (TII) deliver a new €9.5bn metro railway in Dublin. This is the first of its kind in Ireland; it includes 16 new stations and will connect key destinations such as Dublin Airport, Mater Hospital, Dublin City University and Trinity College. We are also working on the Tel Aviv Metropolitan Area’s Light Rail which will be made up of three lines, connecting 14 cities and 139 stations. We are currently expanding our infrastructure portfolio, including the lighting design of iconic pedestrian bridges and airports. We are passionate about this advancement and look forward to growing further into other sectors.

Left During work on London Bridge Station, WSP collaborated with artist Mark Tichner, whose artwork Me. Here. Now. adds an extra ambience and identity to the underground station. (Image: Sam Neequaye) Top Right WSP is currently working on a number of transport and infrastructure projects across the UK and overseas, including the Dublin Metro, HS2 at Old Oak Common, and Birmingham Curzon Street. (Image: HS2) Bottom Right Across its many transport and infrastructure projects, WSP aims to link technical and functional lighting with aesthetic design, as seen by the ‘Lily Pad’ design at Paddington Station, where ambient uplighting adds to the overall lighting environment. (Image: Crossrail)

“As simple as it may seem, the correct specification is everything. We need products that can survive in harsh environments, that can be accessed and maintained, and are high quality with acceptable Circular Economy credentials.”

Phoenix Sky Harbor International Airport Terminal 4 Phoenix, USA

An expansion to Phoenix Sky Harbor’s Terminal 4, designed by SmithGroup and partner firm Corgan, looked to improve passenger experience while showcasing Arizona’s natural beauty. 060 / 061


t has often been said that airports are

I the first and last time people experience

different places and geographies, acting as that all-important first or final impression of a destination. This idea was the driving motivation behind the design concept of the new concourse in Terminal 4 of the Phoenix Sky Harbor International Airport in Arizona, USA. Terminal 4 is the airport’s busiest, and handles more than 80% of its passenger traffic annually. The airport served nearly 39 million passengers in 2021, and during peak periods, existing gates at Terminal 4 often reached full capacity. The addition of eight new gates on the new concourse – which serves Southwest Airlines and American Airlines passengers – brings the total number of gates in the terminal to 92. The new concourse was designed by SmithGroup architects and partner firm Corgan – with SmithGroup also serving as lighting designers and daylight consultants. The team hoped that through an architectural design that emphasised light and form, the terminal would “represent the geography of Arizona and focus on the passenger experience”, with abundant natural illumination, views to the mountains, and intuitive wayfinding being of paramount importance.

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To do this, SmithGroup developed a lighting concept entitled “Encountering Expedition”, designed to exemplify the characteristics of the local geography and one’s journey through the Arizonan landscape. Architectural folded ceilings allude to the formal qualities of the Antelope and Grand Canyon, among others. Reinhardt Swart, Associate and lighting designer at SmithGroup, explains: “Along with the architecture, the lighting concept alludes to the characteristics of light and atmosphere that one would experience in the beautiful landscape if they were to adventure. For instance, the Diamond Head node is an expansive space with a flowing sculpture ceiling, reminiscent of an inverted sand dune. Mullionmounted perimeter uplighting is concealed from view and insinuates how sunlight grazes across a sand dune, expressing the valleys and peaks of the natural formation. “In the central node and holdroom, the uplighting treatment is asymmetric and carefully controlled to represent sunlight striking the massive vertical faces of the Grand Canyon. Daylight is introduced through carefully placed apertures to provide filtered and abundant natural illumination, like sky light filtering down into Antelope Canyon. Holdroom illumination is subdued and relaxing; the focus is to maintain uninterrupted views out and a visual connection to the architectural feature ceilings. This approach gives passengers a sense of arrival and ease, much like when one finds a hidden grotto or desert oasis.” Throughout the terminal, SmithGroup hoped to add “choreographed moments of engagement”, with the folded ceiling illumination forming a key contribution towards this. Elsewhere, backlit custom graphics near the restrooms aid in wayfinding, while miniature louvred downlights and concealed cove lighting at each of the gate entries provide “a unique and lasting impression upon departure or arrival”. Finally, art lighting in the connector space highlights the custom tile artwork that greets passengers on arrival to the main concourse. Swart details further the iterative design process behind the folded geometry ceiling – one of the standout features of the terminal: “The lighting design team directly informed the design of the folded ceiling through parametric daylighting analysis. The orientation, aperture quantity, size, location and depth of folds were analysed and informed using parametric daylighting and glare analysis software. “Of note, the central circulation zone has Northoriented skylights to provide abundant, glare-free natural light while minimising high solar load – of particular importance in “The Valley of the Sun”, Phoenix, Arizona. The architectural boulder near the restroom corridor is an optimised shape for direct southern sunlight glare control and ideal retail/tenant viewing conditions. The inverted fold blocks and redirects southern direct sun to the corridor below, eliminates veiling reflections in storefronts, and maintains views to the sky.” This detailed analysis of the way that daylighting interacts with the space also informed how


SmithGroup designed the artificial lighting within the space, ensuring that there was a seamless integration between the two. “From the start, daylight integration was key,” Swart adds. “The artificial lighting was informed by otherwise high contrast visual environments during the day, hence the cove ambient light sources near all apertures, easing the transition from bright glazing to a relatively darker interior. Daylighting controls throughout leverage natural illumination to reduce electric consumption.” After dark, the design looks to capture the quality of diffuse and direct sun but inverts the point of origin; as many of the folded ceilings are abstracted geographic forms, illumination from below – as opposed to from above as during the day – provides a unique expression from a passenger’s perspective. Phoenix Sky Harbor International Airport has been dubbed “America’s Friendliest Airport”, and as a result the passenger experience has been considered at each step of the journey. The quiet connector bridge post-security offers a place for re-composure, and leads departing passengers to the entry-node, where public art is displayed within a transparent volume. This design move offers a dynamic visual connection between the Sky Train and concourse, with through-views to the South Mountain and the city of Phoenix. 064 / 065

A second organising node occurs at the hinge point of the plan amid the energy of the retail/ concessions area, where natural light animates geometric ceiling planes, and light and shadow mark the passing of time. The folded ceiling geometry continues south along the circulation path to the holdrooms, thrusting upward to form north-facing light monitors, culminating in the grand south holdroom node with framed views of the South Mountain. Swart explains further how the lighting design enhances and supports the moniker of “America’s Friendliest Airport”: “Visual comfort and glare was of utmost importance to the design team. Louvred downlights provide transitional illumination as needed. Recessed deep-regressed grey baffled downlights illuminate the holdrooms – extensive mockups were performed to understand glare control while providing uniform and comfortable passenger illumination. This approach allows the indirectly illuminated architectural features to create a memorable passenger experience. “Accent lighting at gate portals aid in wayfinding, brand identity, and visual interest. Holistically, all lighting is concealed and architecturally integrated so that signage, gates, and tenant spaces are the primary focus.” Illuminating the angular geometry of the folded ceiling presented interesting challenges for the


lighting team. Swart adds that coordination of the all-important cove lighting was a critical factor during the design phase in order to “maintain setback distances required for an ideal lighting effect, minimise the size of architectural buildouts, and facilitate ease of future maintenance”. Swart explains some of the additional larger project difficulties: “One of the biggest challenges was how to maintain dramatic views while minimising solar load and glare for passengers and gate agents. To address this, gate agent desk locations, orientations, and layouts were studied in daylighting models to provide a glare-free working environment near expansive glazing. “14,000sqft of Electrochromatic (EC) Glass is used in the Diamond Head and hold room to maximise view to the surrounding landscape while minimising glare and solar load. Simulated use of the EC glazing illustrated the effect to the client during design, while close commissioning coordination with programmers, contractors, and the design team balanced the quantity of tinted glazing with clear glazing to maintain a natural colour quality in the space.” With the original design intent of “Encountering Expedition”, showcasing the natural beauty of Arizona, while fostering an enjoyable passenger experience, Swart can look back on the completed project and consider it to be a success. He

recalls: “The realised lighting solution seamlessly integrates with the architecture to create a holistic design. Electric lighting and natural lighting blend together to create a calm, inspiring, comfortable, and unique passenger experience. “Abundant daylighting and access to views, the latest LED technology, and lighting controls provide a highly sustainable solution and evoke a feeling of adventure. The final solution is uplifting, functional, and uncluttered. Passengers experience the lighting qualities of local geographic forms while moving through the space.” He adds that the success of the project was largely due to the collaborative and supportive design and construction process across the board. He concludes: “The project is a terrific achievement because of a great client, design team, and contractor partners. While lighting is one small part of a much larger project, the new concourse is a wonderful example of design integration at all levels.”

Client: City of Phoenix Lighting Design: Reinhardt Swart, Maggie Hilgenkamp; SmithGroup, USA Architect: SmithGroup, USA; Corgan, USA Lighting Suppliers: Acclaim, Alphabet, Bruck, Columbia Lighting, Finelite, Hubbell, I2Systems, Kim Lighting, LED Linear, Lucifer, Lumenwerx, Musco, Omnify, Prescolight, PureEdge, Traxon Photography: Kurt Griesbach, courtesy of Corgan

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Dimotiko Theatro Piraeus, Greece

In Piraeus’ Attiko Metro, a permanent archaeological exhibition showcasing the city’s ancient water systems has been unveiled. Lighting from Matina Magklara beautifully merges this with the wider infrastructure in a lighting concept dubbed “transport meets culture”.


uring a large excavation of Piraeus’s metro

D line 3, a discovery of the city’s ancient past

was unveiled, revealing 150 structures related to the water systems of the ancient city of Piraeus. The Ephorate of Antiquities of Piraeus and Islands of the Greek Ministry of Culture & Sports, in collaboration with Attiko Metro, recently renamed to Hellenic Metro, came up with the vision of a permanent archaeological exhibition to display original and replica structures of the findings. The Ephorate’s archaeological team undertook a museological study and in collaboration with Attiko Metro’s architect, assigned and specified five exhibition sections in order to construct a “station-Museum” shaped around the museological narrative. Attiko Metro held an invitation-only competition to design the exhibition that would house the “station-museum” concept in the designated areas. The winning concept was designed by exhibition architects Despoina Tsafou and Spyros Nasainas, in which commuters can journey through time while understanding the importance of water as a cause for technological innovation and civilisation. The exhibition architects expressed creatively the museological notion of the time-capsule in which passengers entering the underground tunnelled doors would find themselves in; an ancient discovery watching the wells and cisterns stretching to the sky. The new metro station, now called Dimotiko Theatro, meaning Municipal

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Theatre, opened in October 2022, and houses the permanent archaeological exhibition named Tales of Invisible Water. To materialise their concept, the exhibition architects pulled together a multidisciplinary team of engineers and designers, of which Matina Magklara Lighting Architecture was the lighting specialist. The role οf the lighting was to create an immersive environment in a way that blurs the boundaries between the past and present. Simultaneously, the lighting had to balance practicality, this meant creating a scheme that would help visitors easily find their way around the exhibition, as well as create a design that could be easily maintained in a heavily used public space. Matina Magklara tells arc: “During our lighting strategy, we clearly defined the illuminated and the dark surfaces in order to create visual focus. As functionality is unnegotiable in these kinds of projects, we distinguished the passenger zone to the boundaries of the tunnel, where the displays, information panels and digital screens are located. We used different colour temperatures to layer the different spatial functions.” The team implemented a colour temperature of 4000K for the corridor walkways to match with the station’s overall CCT and establish visual flow throughout the station – this neutral white light tone brightened up the main walkway, corresponding to the whitish colour of the floor. To juxtapose this, a warm 2700K linear wash was applied to illuminate the longitudinal sections of the replica aqueducts, creating contrast, linearity, and depth in the subterranean wall cut-outs. The direction of light played a key role to resemble the relation between underground and overground in a way that mirrors the earth and the sky. “We achieved this in and out metaphor by grounding the aqueducts, washing them with light coming from below or opening the wells and cisterns to the sky with tuneable white light, linked to real-time conditions in order to simulate daylight coming from above,” explains Magklara. She adds that precise light beam distribution renders the geometry of the exhibits and shapes light only to the designated surfaces to avoid unwanted light spill. Transparency, colour, and mirrored reflections were tools applied by the exhibition architects in order to define the spatial boundaries, aspects that the team also incorporated in the lighting design. According to the Ephorate’s museological narrative, the journey through time develops in the pre-tickets areas and follows the commuters’ footsteps from three public entrances up to the main concourse and vice versa. The narrative had to be consistent and conceivable as a unity from any of the three entrances, spatially and technically integrated in this crowded, public space. The lighting concept is structured on the museological approach in terms of sequence, scale, time, movement, materiality, and function. Attiko Metro’s scope of the work included five thematic sections developed along the three entrances. The commuters entering the station from two of the entrances, approach the exhibition

from either one or two of the thematic sections. These sections include a wall display of replicas from the underground cisterns used to collect rain, and wells that drew water from the aquifer and aqueducts that carried water from springs located in Athens to Piraeus. The sections cover the chronological period from 5th century BC up to the Roman period. Visitors enter through arched gateways attributed with the symbolic meaning of a threshold. The gateways are indicated with a neutral white halo that highlights the arches on both sides. On the gateways, visitors can find brief information on the theme of the section they’re about to enter on blue arched panels illuminated by warm white spotlights concealed in the arched cladding. Upon entering the sections, guests can walk along the corridor towards the displays to find the replica exhibits of the excavated water structures. The water structures are displayed in sections, of which the other half appears as their reflectance on the opposite mirrored wall surface. The lower part of the aqueducts is washed upwards in a warmer white light while the top openings of cisterns and wells are lit downwards by tunable white light. Following the water structures and the digital displays one moves through the main concourse of the station to the ticket validation barriers. The third thematic section is located in between section one and the main station concourse. The display resides under a glass floor, beneath it are the original findings of an ancient home with a pebbled floor, a courtyard, well, and other everyday objects found during excavations to carry water. The glass floor protects the exhibit but allows visitors to experience walking through the house. This exhibit is lit in a diffused, very warm white light that outlines the structural walls of the house; linear luminaires are concealed below the metal beams of the glass floor, grounding the overall experience. Digital and illustrated information is displayed on the dark metal cladded walls to create high contrast. In the main concourse the scale of the exhibition displays changes, corresponding to the scale of the space. The area marks the fourth thematic section, where a digitally animated presentation demonstrates how water was used in the daily lives of inhabitants of ancient Piraeus. In the same area a large luminous structure depicts the ancient and modern maps of Peiraeus superimposed on each other. The nine-metre diameter map is located in the main concourse, recessed in the ceiling so that the city’s urban structure can be read from below. Most of the displays are kept at the perimeter of the tunnel passages. In order to create visual focus and enhance legibility, the illuminance along the walkways is kept to a minimum, focusing on cylindrical illuminance for facial rendition. Magklara explains that this choice was essential for continuity and maintenance requirements: “The illumination of the walkways was designed to comply with the station’s illuminance requirements and uniformity at floor level. The downlights specified utilise a precise, highly polished mirror reflector that directs wide beams of light accurately 070 / 071

on the floor without unwanted light spill onto the displays or on to the mirrored wall surfaces. “The walkway illumination not only met the station’s typical demands, but it went one step further, adding the assessment of cylindrical illuminance at 1.6-metres from floor level in order to provide adequate facial recognition to the commuters while crossing the walkways. A lighting simulation study was also carried out to assess the performance of the luminous structure recessed in the ceiling of the main concourse.” The third entrance to the station is through a public escalator; the escalator landing is designed as a gateway and corresponds to the fifth thematic section. The landing’s large wall is covered in blue metal cladding perforated with multiple language translations of the word ‘water’. The display wall is backlit in neutral white light, as are the rest of the threshold gateways and the guiding illumination in order to maintain consistency. This design concept is what Magklara calls “transport meets culture”. With all parties and disciplinaries worked in close collaboration to achieve this, including the client, Magklara adds: “While detailing the scheme, we demonstrated luminaire samples and mock-ups to the metro’s teams in order to assess the exhibition and walkway lighting. We also participated in workshops to evaluate and comprehend the physical and luminous characteristics of each lighting application. The aim of this thorough procedure was to implement lighting seamlessly in the project without pushbacks.” Magklara and her team worked very closely alongside Attiko Metro’s station architect Polyxeni Antoniou and Tetragon’s architect Elias Papadopoulos, in order to assess the performance of the luminous ceiling in the main concourse. This structure was the biggest challenge Magklara’s team had to face, as she explains: “Attiko Metro asked us to evaluate the luminous performance of the design in terms of the materials, colour combinations and efficiency of backlighting luminaires before implementation. Tetragon’s and Attiko Metro’s architects designed a structure composing of a nine-metre diameter lightbox that depicts the palimpsest map of Piraeus and the water structures that were found in various locations during excavation works. The ceiling structure is in the centre of the station’s concourse, and it has to produce enough light to comply with the station’s requirements.” In order to define the luminous characteristics of the structure, Magklara had to build two models, a digital and a physical one. “The physical model, a light box backlit with the luminaires specified and covered with the specified transparent acrylic covers, was built to measure the transmittance of various coloured translucent adhesive prints that could illustrate the “sea” and the “land” areas of the map, according to architectural design,” she explains. “The digital 3d model was built to insert the values measured from the physical model and evaluate the performance of each proposed colour combination for the illustration of the ‘land’ and



Client: Attiko Metro Joint Venture Contractors: J&P Avax; Ghella; Alstrom Transport Lighting Design: Matina Magklara, Melina Lasithiotaki; Matina Magklara Lighting Architecture, Greece Ephorate of Antiquities of Piraeus and Islands: Director and General overview: Stella Chryssoulaki Museological study and curating: Dora Evangelou Archaeological documentation: Panagiotis Koutis, Giorgos Pappas Architectural renderings: Aimilios Bendermacher-Gerousis Station Architect and Supervisor: Polyxeni Antoniou Project Management: Evangelos Kolovos, Sissy Voutyritsa Museographic Design: Spyros Nasainas, Despoina Tsafou Luminous ceiling architecture, ancient cistern presentation and exhibition construction: Elias Papadopoulos; Tetragon S.A. Graphic design: Akrivi Anagnostaki Video: Panagiotis Tsibiridis, Ino Theodorou, Betty Evangelinou Replica design and construction: Dimitris Selimis Lighting Suppliers: Electron, iGuzzini, Thorn Photography: Savvas Spyridonos, Matina Magklara

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the ‘sea’. The results assisted the station’s architect to choose from various colour combinations, the ones that meet the station’s requirements for illuminance levels and uniformity within the allowed electrical loads.” As far as project sites go, an archaeological museum in an underground metro station is not your run of the mill working environment for any lighting designer, and as with all exciting and rare projects, it came with its own structural shortcomings to conquer. In this case, all ceiling luminaires are integrated in the metal structures to meet high aesthetic requirements. However, these are structurally supported by the reinforced concrete core of the tunnel structure. To achieve proper mounting, Magklara’s team designed two custom metal trays to house the ceiling luminaires. “The first tray system houses the circulation downlights located in the centre of the corridors at the apex of the cladding’s arc. This linear zone has also been used by the station to recess various electromechanical equipment,” explains Magklara. “The second tray was designed for the spotlights that illuminate the information illustrated on the display arches. This system is also mounted on a concrete slab, and it is adjustable in height to ensure accurate luminaire positioning in two axes. Along with the spotlight tray, we have designed a scoop-like tiltable and lockable louvre, part of the metal cladding that conceals the spotlights and ensures architectural integration and visual comfort. Apart from the special trays mounted in the concrete slabs, we have designed a third metal tray mounted on the long display cases of sections one and two to house the linear wallwashers that uplight the aqueducts. These linear trays include a

base to mount the luminaires and an angled louvre to keep them out of sight, ensuring visual comfort.” Despite the obstacles faced, Magklara and her team have created a prime example of how lighting schemes can bring a unique design concept like “transport and culture” together. Magklara explains the pivotal role lighting has in such a nuanced design concept: “Lighting brings the proper balance for the legibility of the exhibition and a safe and positive environment for the commuters to walk. Along with safe navigation and consistent wayfinding, lighting also sets a benchmark for the passenger experience as it reveals a space of innovative quality to the general standards. This quality can only be the outcome of a strong vision that has been thoroughly designed and carefully implemented by solid multidisciplinary teamwork. I feel proud to have been a part of this project as members of an exemplary collaboration that has managed to share the ‘transport meets culture’ vision with thousands of people every day.” A year on from the project, Magklara looks fondly on the project and takes pleasure in witnessing her work as a part of the daily hustle and bustle of Piraeus metro. She adds: “I visit the station often and I see commuters slowing down to observe the exhibits, to read and watch the information displayed. They even stop to look up into the cisterns to see if there is actually a real hole that brings daylight in. What an achievement it is to slow down the frantic rhythms of the metropolis.”

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Adelaide Airport Duty Free Adelaide, Australia

Channeling a concept titled “The Black Datum”, Studio All has crafted a discreet and wellbalanced lighting design for Adelaide Airport’s high-traffic Duty Free stores. 074 / 075



n the realm of contemporary airport

“The challenge lay in seamlessly integrating

I design, aesthetics and functionality coexist varying light levels, accent contrasts, and colour

seamlessly, enriching the passenger experience and shaping memorable journeys. Lighting design plays a pivotal role in this experience, significantly influencing a traveller’s perception of a space. Adelaide Airport’s Duty Free area has recently undergone a striking transformation through a meticulously executed lighting upgrade from Studio All. Brought on to the project by client Lagardere AWPL having previously collaborated with its Head of Development, Matthew Evans, Studio All was tasked with elevating the customer experience and “encouraging dwell time for leisure shopping” by crafting a discreet and well-balanced lighting design for a high-traffic area devoid of natural light. Liam Petrie-Allbutt, Founder and Managing Director of Studio All, explains further: “Our approach involved creating distinct zones within the expansive 1,500sqm Duty Free area, each tailored to engage a diverse demographic across categories such as cosmetics, wine, spirits, electronics, confectionary and wellness.

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temperatures across this considerable expanse to form a cohesive and inviting shopping environment.” Reviewing the architect, peckvonhartel’s (PVH) finishes schedule and utilising one consistent wall light level treatment was, Petrie-Allbutt adds, critical to visually making the space coherent. The lighting designers also had to ensure that any vertical elements of the rear walls were consistently illuminated to create a backdrop. He continues: “The retail-specific brief revolved around establishing a clear visual hierarchy within the space. This hierarchy was designed to feature the architect’s exquisite finishes as the backdrop, termed as ‘negative space’, while emphasising the merchandise as the primary focus.” To bring this brief to life, Studio All developed a concept that it titled the “Black Datum”. Central to this concept was the desire to “eliminate visual light clutter” – a common challenge in busy airport environments – through concealed luminaires and strategically positioned light sources. Petrie-Allbutt adds: “The Black Datum concept epitomises a paradigm shift in our approach to illuminating retail spaces. At its core, our design philosophy champions the prominence of merchandise and products within the space. The overarching objective was to ensure that the lighting remained inconspicuous, eschewing the role of a dominant visual element, and instead providing a sophisticated backdrop. This necessitated a departure from the conventional practice, where luminaires were often visible, disrupting the spatial aesthetics.” To accomplish this objective, Studio All honed its focus on the strategic concealment of luminaires within the architectural framework, strategically integrating them within the ceiling. “The use of the black datum line allowed for a slightly wider beam angle and extended aiming angles, especially when combined with honeycomb filters,” he continues. “This unique approach broadened the scope of luminaire performance, enabling a more costefficient solution without compromising on the quality of illumination. This distinctive characteristic gave rise to what we aptly term a ‘finer grain of luminaires’. “The seemingly subtle element of the black datum line has an outsized impact on the overall spatial experience. It serves as a linchpin in the reduction of glare and the strategic concealment of lighting from shoppers’ direct lines of sight. “Consequently, the separation of ceiling luminaires serves to refocus the shopper’s gaze on elevation wall finishes and merchandise. The visual hierarchy of the retail space becomes firmly anchored in the merchandise and retail environment, in harmony with the primary objective of the Black Datum tool.” In realising this concept, the lighting designers looked to go the extra mile with an approach that “extended beyond mere compliance”, through collaborative engagement with both the client and shopfitters. “In the conventional framework, adherence to standard uniformity and lux level

norms was the primary objective,” Petrie-Allbutt says. “However, we adopted a holistic perspective, one that transcended the two-dimensional planning stage, and regarded the space as a dynamic environment necessitating an optimal quality of illumination. “Our emphasis rested on understanding not only the merchandise but also the shopper’s journey through the space, recognising that effective lighting is instrumental in enabling customers to engage with and appreciate the products on offer. “Our lighting design methodology is founded on the analogy of ‘space as a canvas’. We commence with a black-and-white 3D line representation of the area, akin to a blank canvas, upon which we apply layers of light, mirroring the technique of a watercolour artist. These layers accumulate, creating a nuanced interplay of luminance that, conceptually, mirrors the notion of ‘less is more’. Just as a surplus of pigment can obscure the subtleties of a watercolour painting, an excess of light can diminish the spatial contrast and character. Our objective is to achieve a balanced illumination where light and shadow coexist harmoniously, accentuating architectural details and evoking depth.” In building up a layered lighting approach, the designers played with a variety of colour temperatures to highlight or accentuate different departments. Starting with a base ambient light level of 3500K, heroes and key products were illuminated at temperatures ranging from 3000K (high-end luggage) to 4500K (make up and perfumes). It was the belief of Studio All that by varying colour temperatures throughout, it not only ensures products are showcased in their best light, but creates areas of contrast and gently breaks the space up. Petrie-Allbutt explains how, with such variation in colour temperature, an underlying consistency was created: “The process of testing and conceptual development using architectural colour pattern diagramming ensured the variances were subtle, blended and not polarising or at all startling. Mocking up, initially in our studio, to achieve the correct ambience and that all important “feel” of the light and then presenting this to the client to ensure they were happy with this approach and outcome was imperative to the success of the installation. The overall comprehensive approach to the solution was tricky for the client to fully appreciate until they experience the finished product. This required a great trust from the client in our capability to deliver conceptual ideas into the real world.

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“To ensure a harmonious and consistent atmosphere within the space despite the significant diversity in colour temperatures, a meticulous approach was adopted. The space featured a range of ceiling treatments, spanning from dark to light, incorporating louvres and finished plaster. Achieving consistency in this context involved a strategic pairing of luminaires in black and white to correspond with the ceiling colours. This consideration was augmented by acknowledging the reduced reflectance associated with darker ceilings. “The foundational consistency was established by employing a light wash of a wider beam at 3500K, serving as the blended baseline. Over areas where different colour temperatures overlapped, a skilful transition was accomplished by gently feathering in 4000K and 3000K lighting, referred to as “thresholds.” The architectural retail zoning and floor finishes also contributed significantly to this seamless blending of light throughout the space. “The perimeter wall, which remained a constant element, was uniformly lit at 3500K, serving as the central reference point for cohesion. This choice ensured that the “perceived” colour temperature of the entire space remained consistent, even as the experiential qualities within each zone were thoughtfully tailored and diverse. “This foundational layer was then enriched with a more detailed and deliberate approach to lighting. Specialised variable accent downlights or track spotlights were introduced, contingent on factors like the ceiling finish and the adaptability of floor fixtures. These various colour temperatures were strategically paired with specific merchandise types, thereby creating a layered lighting strategy that added depth and nuance to the overall visual experience.” Although the support of the client was integral to the success of the lighting scheme, PetrieAllbutt explains that the collaboration with both the architects and the shopfitters, Trivision, was of “paramount importance in bringing the lighting design to fruition”. “While Studio All enjoyed creative freedom in conceptualising the lighting scheme, with primary approval from PVH, it was the implementation phase where the expertise and precision of the shopfitters truly shone,” he explains. “In practice, every luminaire, though physically identical in appearance, required meticulous customisation with varying lenses and colour temperature chips. This level of detail and precision was solely achievable through the skilled hands of Trivision and their team of electricians. “The success of any design is, undeniably, contingent upon its effective execution on-site. Working closely with Trivision was essential to bridge the gap between design theory and the real-world realisation of the lighting scheme. Their intricate work in adapting and fine-tuning each luminaire was instrumental in ensuring that the envisioned lighting design seamlessly integrated with the interior architecture, and ultimately, created the desired ambience and visual impact. The collaborative relationship between the design



Client: Lagardere AWPL Lighting Design: Liam Petrie-Allbutt; Studio All, Australia Architect: peckvonhartel, Australia Lighting Suppliers: Lightning Thief Photography: Nicole England

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team and Trivision was pivotal in achieving a harmonious and successful outcome.” While Studio All’s collaboration with Trivision bridged the gap between design theory and realisation of the scheme, it was also important for the lighting to “bridge the gap” between the Duty Free areas, and the wider context of the airport itself. Integrating the scheme into the broader airport environment was something that Petrie-Allbutt describes as a “nuanced endeavour” that demanded careful consideration of both macro-level lighting strategy, and the overarching ambience. He continues: “As lighting designers, our objective is to orchestrate a harmonious and contextually relevant illumination scheme. We aspire to avoid scenarios where spaces are excessively lit or insufficiently illuminated, and where the store stands out as a discordant element within the airport’s design landscape. “The key to achieving this synergy with the wider airport scheme lies in conducting pre-design site visits. These serve as invaluable opportunities for

designers to immerse themselves in the natural daylight and the prevailing lighting conditions of the main terminal. This practice holds particular significance when designers from regions like Melbourne, Tasmania, Gold Coast or Perth are tasked with designing for airports located in diverse climates across the continent. “For instance, crafting a warm 2700-3000K light ambience may be well-suited for the winter ambience of Melbourne, but this same lighting scheme would translate to an inadequate and uncomfortable experience in sun-soaked, bright environments like Perth or the Gold Coast. Therefore, aligning the colour temperature with the local climate becomes an essential component in ensuring that the user experience harmonises seamlessly with the distinctive character of each airport location. In this manner, the lighting design is conscientiously attuned to the broader airport context, demonstrating the adaptability and finesse of the lighting design in accommodating the diverse conditions of its surroundings.” Working within an airport environment can present designers with a series of distinctive challenges that require meticulous planning and execution – from the need for specific certifications for lighting fittings designed for airport use, to aligning with stringent airport standards and regulations. “Yet, one of the most significant challenges in airport projects remains the urgency and the swift turnaround required,” Petrie-Allbutt adds. “The time frame from the approval of design drawings to installation often spans less than four weeks. This rapid pace demands the highest level of efficiency and precision in project management and execution.” Despite the quick turnaround requirements, Petrie-Allbutt is satisfied, on reflection, that the layered lighting in the Duty Free spaces creates an inviting atmosphere that plays a vital role in sales strategies; key points, such as premium brands and new arrivals, are strategically illuminated to capture passengers’ attention, accentuating merchandise and encouraging impulsive purchases. “This collaborative effort exemplifies how intelligent lighting can transform a retail space,” he reflects. “By considering passengers’ sightlines and movements through the space, we recognised that travellers are not just shoppers, but also individuals seeking a memorable experience. By seamlessly integrating lighting design and interior retail architecture, we have created an unforgettable journey for passengers, enticing them to explore, engage, and ultimately make a purchase.”

Innovative & Simple!

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Scenic Spirit Mekong River, Vietnam

Connecting innovation and tradition in a five-star environment, the Scenic Spirt cruise ship was given a lighting scheme from ASA Studios that complements its luxurious interiors, and the beautiful surrounding scenery.

he latest addition to Scenic Luxury Cruises

T and Tours’ Southeast Asian Fleet, Scenic

Spirit is a river cruise ship that takes visitors on a luxurious voyage along the Mekong River from South Vietnam up to the Cambodian capital of Phnom Penh. A boutique and intimate vessel, with just 34 balcony suites, the Scenic Spirit connects tradition and innovation in an environment akin to a five-star floating hotel, with features ranging from a sleek pool and steam sauna to a bar and open-air cinema. Noor Design served as lead interior consultants on the cruise ship, hoping to bring a design that would enhance and elevate the feeling of luxury for guests. Recognising that lighting is a critical element in achieving this, Noor Design recommended ASA Studio as lighting designers for the project. Thanh Tran, Design Director and founder of ASA Studios, tells arc about the initial discussions that the designers had with the client: “This was the first time Scenic engaged a professional lighting designer for one of their ships. It was also the first time ASA had worked on a river cruise with this premium requirement. So, we both had to learn from each other. “At first, ASA designers were briefed on how life onboard a ship like this would be: how the ship operates, the guests daily itineraries, how the scenery changed during the trip and how this would affect the mood and feel of passengers, who mostly stayed onboard throughout the journey. “There are also many technical issues for lighting to address. These were different from the usual challenges on other projects. For example, all lights must be fixed or integrated due to vibrations and water stalling. All lights must be powered by the ship’s generator, which can be limited and unstable. “We then shared with the client how light can enhance the onboard experience. We sat together and fine-tuned things between us – the client and the design team – to develop lighting design scripts for each space and each scene to enhance the onboard experience for passengers and also their day-to-day tour itineraries. That was an exciting exercise, but also a first for us all.” With the confined space within a ship cabin, and in-particular the low ceilings, Tran turned to furniture-integrated lighting fixtures that would be functionally simple and flexible, while crafting a soft, indirect, intimate atmosphere for longstay passengers. To achieve this, main ambience illumination was provided by indirect lighting built into the bedhead, cabinets, and wall details. Indirect light also helps to illuminate vertical surfaces and bring up the colour and textures of interior materials – all serving to make the space look more pleasant and interesting. Tran continues: “The ship corridors were all narrow and with low steel-cut ceilings. So, we had our lighting built into wall artwork along the corridors to save space, creating some visual points of interest for passengers when strolling along these long, narrow corridors with no daylight. “Lighting for each of the public spaces was carefully crafted. The reception was illuminated by soft-glow 084 / 085

fixed decorative table lamps enhanced by built-in counter lights and illuminated artwork to welcome guests and function as a living room when the ship is sailing on the river,” he continues. In the main restaurant, lighting was focused on illuminating the richly-patterned partition walls and hanging artwork to create the dramatic effect of a fine-dining onboard experience. Lights were also built into cabinets, counters, and wine shelves to elevate the luxury feeling, while also compensating for the limited ceiling spots. Elsewhere, the lounges and library have been lit up by cove lighting for a relaxed mood, enhanced by some local decorative standing lamps. The lower decks, which accommodate the spa and gym, have no access to natural light. However, lighting here was soft and relaxed, provided by shallow cove lights integrating light into walls and artwork. This helped to improve vertical illumination and created visual interest that would compensate for the feeling of being in a small space with a lot of noise and vibrations from the machinery in the lower decks. The swimming pool is one of the main features of the ship, however. Tran explains the lighting concept for this area: “Guests gather here in the evening for drinks and to enjoy the cool river breeze while looking at sunset scenes in different river settings. The idea was to make the swimming pool glow nicely, with light reflecting and bouncing back from the wood-clad ceiling. “We added some spotlights directed at the pool surface to add to the reflection, and some gobo light to cast some water effects on the deck. Light sources were positioned carefully to minimise glare and create dramatic shadows. “The ship’s top deck includes a viewing platform for sunset watching, and becomes a cinema at night. Low-level lighting was provided here, integrated into the skirting detail running along the perimeter of the top deck to provide safety and direction while also enhancing the beautiful shape of the ship’s design without obstructing the view.” Throughout the ship, lighting was integrated into the interior design, and as a result ASA Studios was in regular communications with the shipbuilder on what was and was not possible. Teamwork, Tran says, was key to bringing the concept to life, alongside many workshops, exercises and coordination. There were, however, a series of unique challenges to overcome that came with working on a ship such as this. He continues: “Firstly, there are many restrictions due to the structure of the ship. There are many positions and locations that we could not put any lights in. For example, the floors were all steel plated, and the ceiling was very low. There were many cross-structural beams and you could not run any electrical conduit through. There were also many items built from steel that we could not touch, such as staircases where there is no place to hide conduits or mount light fixtures. No glass, loose (such as spread lenses in the downlights) or breakable materials were allowed. “Instead, there were many built-in lights, and detailing them into partitions and furniture


to minimise exposure and direct glare was an extensive exercise between us and the interior designer. If there was a drop or cladded ceiling where we could have downlighters, the fixture had to be very slim and small – it was very challenging to find a low-glare, slim downlight with good optical performance.” Due to the ship’s operation, vibrations from machinery and traveling on water had to be considered. As such, lighting had to be fixed onto surfaces – no portable or movable lights were allowed, while adjustable downlighters were also limited as they would be shaken around and “impossible to keep focused”. All electrical equipment was powered by the ship’s generator. Because of this, the design team had to ensure minimal electrical consumption on lighting so as not to draw energy away from the ship’s machinery and operations. “Furthermore, the electrical supply was unstable and can easily damage the electronic components,

such as the LED drivers and lighting control system,” Tran adds. “There are very few spaces that we could have a lighting controller because of this limitation. We also had to look at the flickering rates of the lights, due to the unstable electricity supply, to ensure it was visually acceptable.” There were also plans to illuminate the exterior of the ship, but due to a number of extenuating issues, this was not possible, as Tran explains: “In our proposals, we developed a nice exterior lighting for the ship to be seen from the shore. Lighting was designed to feature the elegant shape of the ship’s outline. There were some spotlights to illuminate the water surface at the bow and stern of the ship to create a nice floating effect from the shore and the decks. However, none of these exterior lights were implemented. “Secondly, to build this lighting scheme, some alterations in the ship’s hull – the most critical part of the ship – had to be done. This required a reworking of the ship’s blueprints, which were


Client: Scenic Luxury Cruises and Tours Lighting Design: Dr. Thành Tran, Linh Tran, Hung Vu; ASA Studios, Vietnam Interior Design: Noor Design, Vietnam Lighting Suppliers: Elek, L&E, Osram, Soraa Photography: Scenic Luxury Cruises and Tours

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complicated, and also risked revoking the ship’s certifications. “Furthermore, there were regulations on waterway navigation, partly throughout the many signal lights mounted on the ship’s body. Adding exterior light could therefore interfere with the ship’s navigation and communication systems. There was also concern that exterior light may affect the aquatic ecosystem, such as attracting fish and insects, confusing their life cycles. “There were so many critical issues that we had to solve. The construction of the ship was very, very different to a building, and lighting designers like us had zero knowledge of this. So, in the end, we had to cancel our exterior lighting scheme.” Because of their lack of knowledge working in this kind of environment, the lighting designers were in regular contact with the ship’s designers and builders. “They told us if our ideas were feasible and suggested other possibilities to implement

them,” Tran adds. “In general, ship designers cared more about the functionality of our lighting scheme, light levels maintenance, and compatibility with the ship’s system. We did not have 100% freedom to do whatever we wanted, but they were very open to our suggestions and helped us a lot to implement our ideas.” Within the Scenic Spirit, there is a wide range of hospitality spaces such as restaurants, bars, the spa and rooftop garden. However, in each of these environments, the lighting was designed in such a way that it would instead complement the surrounding scenery. Tran explains: “Travelling along the Mekong River is a once-in-a-lifetime experience. It is very different to a boat trip along the Danube or Mississippi. The Mekong River is vast and enriched by the life and natural landscape of the shorelines. So, we wanted our lighting to complement these experiences. “The main narrative for our lighting scheme was that it should be soft, relaxing, minimal, and bring up the beauty of interior spaces through colours and textures with less downlighting and more vertical illumination. However, in each space, we spiced things up differently to create different moods, such as more contrast and drama for the restaurants, more glow for the common living areas like the lounges and the library, and some special effects such as water reflection and gobo lighting for the chill-out spaces. These spaces were lit slightly differently to create an interesting mood within a design narration.” Despite the restrictions that come with working on the confines of a cruise ship, ASA Studios has created a simple yet effective lighting scheme that highlights the interiors of the ship and complements the luxury aesthetic sought after by the clients. And while Tran believes that the design “errs on the safe side”, he hopes to use it as a stepping stone and learning experience for the next project. He concludes: “Functionally and aesthetically, we are very happy with the lighting, especially as we had to learn a lot about how to do lighting on such a ship. Going forward, we hope that we can do something more exciting for the next cruise ship project, where we can be more confident to propose more daring designs.”


x Power x Pilot x Detection


Material & Light, simply.






case study

Image: Tomasz Majewski courtesy of Erco

Copenhagen Central Station Copenhagen, Denmark An efficient LED update from Erco offers better illuminance levels and more safety at Copenhagen Central Station.

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Copenhagen Central Station is the city’s most important transport hub and an impressive example of neo-baroque architecture. The façade is decorated with sculptures, reliefs and ornate details, and the clock tower rises some 43-metres into the air. Shops and cafés line the large, open station hall to make travellers’ stay even more pleasant. The hall is flooded with natural light through a large skylight. Nevertheless, supplementary lighting was needed to provide sufficient brightness at all times and thus also improve travellers’ sense of security. In the latest renovation and expansion step, the aim was to modernise the furnishings as well as the lighting, while preserving the original architecture of the building. Until now, traditional metal halide luminaires with reflector technology were used for the lighting of the main station. The illuminance continued to decrease over the years, and at the same time the need for more brightness in the spacious architecture increased. Among other things, the surveillance cameras could not be used fully satisfactorily because of the low illuminance. So, it was decided to replace the halogen lighting with more efficient LED lighting: 76W LED luminaires from Erco replaced the old 150W HIT luminaires. This increased the illuminance level. A big gain, not

only in terms of energy consumption, but also in terms of safety: on the one hand, the surveillance cameras can now provide flawless images, and on the other hand, the increased brightness also increases the passengers’ sense of safety. A project-specific product solution was used: downlights (protection class IP54) from Erco’s Atrium pendant luminaires were enclosed in specially manufactured cylinders with a pendant solution. They provide sufficient light and guarantee a high level of visual comfort for travellers thanks to ideal glare control. At the same time, they blend inconspicuously into the historic architecture in the same colour as the ceiling. Finally, it was important to preserve the aesthetics of the building and yet find a lighting solution that meets the requirements of the project. In the outdoor area, beamer spotlights from Erco are used to illuminate the historic main station in the dark.


case study

Hannover Airport Control Tower Hannover, Germany Charged with creating a new lighting scheme that was both cost and energy efficiant, illumination Physics has transformed Hannover Airport’s control tower into a work of art.

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The control tower of any airport is inevitably a landmark, as it will always be the tallest structure in what must necessarily be a very low-rise environment, with an uninterrupted, 360° view of the runways and apron. For the same reason, the tower itself is also an interesting landmark, visible from up close and far away. At Hannover Airport, therefore, illiumination Physics was tasked by German air navigation service DFS (Deutsche Flusicherung) to design, manufacture, and install a custom lighting system that would enhance the architectural form of its control tower as economically as possible, not only from a cost perspective, but also in its energy usage. DFS also requested that the tower only be lit in a blue light. With the highest safety requirements in place, at no point during installation or operation of the lighting system, must safety be compromised; air traffic controllers must also not be impaired in the performance of their duties at any time, and under no circumstances must they be dazzled. With such stringent requirements, a detailed site inspection was conducted by illumination Physics, whch identified two key components for the illumination of the structure – the vertical, and the crown. The most efficient way to illuminate the height of the tower was through a cluster of upward-pointed wash lights with very narrow optics and glare shields, preventing unwanted light spill.

To accurately light the structure, three of illumination Physics’ IP Circular Wash Light series luminaires, each aimed at a third of the height of the tower, were installed. The crown of the control room is comprised of a distinctive, octagonal structure. Eight windows overlook an eight-sided balcony. To give emphasis to this unique-shaped structure, direct view linear light fixtures were the key to outline the structures. The fixtures were created in custom lengths to match the dimensions of the balcony facets; to avoid glare, the direct fixtures were mounted on the underside of the balcony and customised to aim 15° below the horizon. The IP Linear Series – Pixel Bar DC was the ideal base product for this application, and at only 14W/m, it was highly efficient. Through the new lighting, the essence of the structure has been captured, and all safety requirements of the DFS have been met with a solution that minimises cost and power consumption. Passengers arriving at Hannover Airport will have an enhanced sense of arrival, and the formerly utilitarian structure has been transformed at night into an object of art.

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eye opener

Image: Courtesy MSC Cruises, Photographer: Ivan Sarfatti

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Illuminated Trees MSC World Europa Swiss-based MSC Cruises’ newest futuristic mega-ship vessel concept comes in the form of a striking 333-metre long, Y-shaped architectural stern design with panoramic views. Constructed at the Chantiers de l’Atlantique shipyard in Saint-Nazaire, France, it is powered by Liquefied Natural Gas, the cleanest fossil fuel. The vessel was deployed as a ‘floating hotel’ for the 2022 FIFA Football World Cup, held in Qatar. It is an incredible feat of engineering that features a 104-metre-long external promenade, showcasing the record-breaking 11-deck high stainless-steel sinuous dry slide, the longest at sea. This creates a spectacular centrepiece in the evening when the ‘Illuminated Trees’, a stunning configuration of homogenous LED lines, introduce an energetic and dynamic component to the drama of this vast outdoor space. MSC’s brief to dpa lighting consultants was to characterise the vessel at night, creating a signature for their World Class cruise series. dpa’s goal was to maximise the impact of the ‘Illuminated Trees’ by way of expressing the volume and sheer verticality of the structure and ship’s profile, for all to enjoy. Architectural and theatrical typologies merge to striking effect, combining neatly integrated bespoke linear LED lighting to visually clad the otherwise bare structural elements, with a dynamic DMX lighting control system and audio sequencing. Maintained via the glass balustrade cleaning cradle, the LED lines are designed to have a rounded edge profile to maximise the lit impact and extent of viewing angles from within the space and adjacent cabins. Extensive lighting trials were conducted during the design phase to ensure that the lighting placement, integration and lit impact was effective from both onboard and from the portside. The design creates a cost effective and highly visual lighting solution that is both architectural and artistic. Against the monumentally scaled outdoor promenade, a sense of perspective as well as ambience and energy are achieved thanks to the combination of the control system and theatrical lighting equipment. When the lighting is operated ‘off’, the vertically mounted linear LED lighting becomes invisible to the eye and the lines are appropriately disguised from view to calm the space, before the ‘show’ modes commence. The locally sourced lighting LED lines combine RGB pixels and 2700k warm white, and are a single static colour when not in ‘show’ mode, therefore the power consumption is significantly lower. Through the night the LEDs are dimmed to reduce brightness and potential disturbance to the adjacent passenger cabins. The lighting control console has been fully set up to minimise the use of energy when the lighting is not sequenced within the theatrical modes.

Lights in Alingsås Returning for its 24th edition, Lights in Alingsås welcomed 70,000 visitors over the course of a month to experience a beautiful trail of light art.

Images: Patrik Gunnar Helin

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Running from 6 October to 5 November, the 24th edition of Lights in Alingsås saw the small Swedish town awash with light installations created by teams of students and senior lighting professionals. This year, six installations were created around the theme Rays of Light – One Peace At A Time. Speaking of the 2023 theme, organisers said: “The world needs peace and people need inner peace. Our worldwide situation requires a lot of patience, aid, and resilience. But also, the ability to see the light where it manages to shine through. Find that ray, streak, or flicker and find inner peace, if only for a moment. The light will break through – one peace at a time.” As with each edition of Lights in Alingsås, the installations were created by teams of lighting design students, each under the tutelage of prominent lighting designers, who acted as workshop heads. This year’s workshop heads were CM Kling + Associates President and former IALD President, David Ghatan; Partner at Lirio Lopez Lighting Design Consultants, Linus Lopez; The Beauty Movement founder Martina Frattura; Swedish lighting designer Lina Färje; Nick Dankers, lighting designer at Livingprojects; and the duo of Iris Molendijk and Sara Altelind – who both participated in previous editions of the event as students. Joining the seven workshops were 23 electrician students from local high school Alströmergymnasiet, nine recently graduated young professionals, and 41 lighting design and architectural students from KTH, JTH Jönköping, Una, Wismar, National University of Tucuman, Ariel University, Rose Bruford College, Toronto Metropolitan University, Politecnico di Milano, UCL, Aalborg University , SV Lighting & Lux Coeli, IED Madrid, Universidad Politécnica de Cataluña, IED

Kunsthal – Bilbao, Estudio Dedós, and Grupo MCI. Signalling the beginning of the installation journey are a series of mini-installations at Järtas Park. Comprised of permanent and new installations, new this year was Arcus, a rainbow of light created by Alingsås Energi in collaboration with Calidos, from Barcelona. The first installation on the trail, led by Martina Frattura, was located at Lillån and titled One drop at a time. Together we are stronger. Here, the design team wanted to create a synergy between the crafted lighting design and the evocative soundtrack on the site to “usher one into a profound journey”. “The first feeling that your heart encounters is tranquillity, and little by little you fall into silence. The world falls into stillness, allowing you to attune to your innermost thoughts. No longer besieged by the clamour of the external world, you find solace in the tranquillity that surrounds you. Only when one feels safe can they connect with the group, the community, and everyone around them, regardless of the differences between us,” said Frattura of the installation. Taking inspiration from the horizontality of the surrounding built environment (building lines, window borders, ventilation openings), and verticality of nature (trees, rain, etc), the lighting concept transitions between the horizontal and vertical through a loop of lights mimicking raindrops. Frattura adds: “One water drop is you, the individual, but they become more and more, turning into a group.” Site Two, Stampens Kvarn, was led by Lina Färje and titled Pulse of Life. The history and function of the location were the starting point for the lighting; the building’s character as a machine with its movement and sounds, the natural movement of water flowing and leaves blowing in the wind.


Site Two: Pulse of Life

Site Four: Intercludes of Peace

Site Three: Finding Peace

Site One: One drop at a time. Together we are stronger

Site Five: Eternal Horizon

Site Six: Shelter

Arcus, at Järtas Park

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A projection of the building’s interior was shown on the façade with warm light relating to the industrial era and activity that took place in that time. Over time, production increased and intensified until one day it suddenly ceased. Then something new happened to the building; calm settled. On the bridge, the story concludes with voices expressing wishes for peace, while a fresh light fills the building with a new meaning. The third site, Equmeniakyrkan, was spearheaded by Linus Lopez, whose installation, Finding Peace, was broken down into three different “journeys” to promote self-realisation and guide viewers into finding peace within. These journeys were Tension, Inner Peace, and Outer Peace. Lopez explains: “The first journey – Tension – with a selected discordant clash of light and colour, creates contradictions and glare within our vision, and across the base of the façade creates a sense of tension. This gradually changes to the next journey of Inner Peace, where the windows of the church are illuminated from the interior, creating a sense of warmth within, gradually glowing from within every window, reaching to the top of the building. “This scene is to portray an act of kindness to self, to have viewers enlighten and guide their souls to find inner wamth of light and peace spiritually glowing. Once inner peace is achieved, we can begin the last journey of our story, the Outer Peace. Our state of mind reflects our behaviour and actions, therefore with inner peace leads to outer peace. The church front façade, along with the trees, is lit up, a scene to unite and to spread hope, love, and kindness among people, while walking into your next path of journey.” Site Four, Allén, saw David Ghatan and his team create an installation titled Intercludes of Peace. Speaking of the concept for this installation, he said: “The journey of life is a unique experience for each individual, with its own pace and experiences. Take a break from the busy pace of life to stroll along this magical path. Along the path you will find some dwellings, both tangible and intangible, to pause and observe. “Accompanying your feelings and perceptions, you will encounter quietness in darkness, otherworldly experiences and warm comforts before resuming your journey towards inner peace. Always at your own pace.”

Site Five at Nygrens Handelsgård, was titled Eternal Horizon, and led by Nick Dankers, whose team worked on portraying emotions and reflections through their installation. To do so, they divided the area into three parts, where they aimed to convey places where the feeling of harmony is experienced in the body. The first part was water and mist; the second was dusk and dawn; the third part is moonlight and shimmer. A special focus was taken on the second part – dusk and dawn – through the combination of light and sound. With unique fixtures, the team created effects with varying patterns and movements that generate a dynamic atmosphere intertwined with the theme of eternal horizon. The final installation, located at Christinae Kyrkpark, was titled Shelter, and led by Iris Molendijk and Sara Altelind. The goal for this installation was to create a feeling of safety and kinship to instil a sense of peace. Of the installation, the duo said: “We experience peace in the hugs of the people we love. We feel peace standing alone deep in a forest or looking out to sea. We find peace in absolute silence, and also in loud laughter and music. We see peace in stillness, and also in movement. We associate peace with light, but we are also at peace in darkness. Peace moves us, fills us, recharges us. What a privilege we humans have to be able to discover peace throughout our lives. “In the end, it’s all about feeling safe. Feeling safe somewhere or with someone. Peace is that magical and universal shelter where we can take off our armour and be ourselves.” Over the course of the month, Lights in Alingsås welcomed approximately 70,000 visitors. The installations were made possible thanks to equipment sponsors Color Kinetics, Fergin, iGuzzini, LED Linear, Ledscontrol, Lumenpulse, Luxlight, Malmö Stad, Martin Professional, Meyer, Philips Hue, Signify, and Stockholm Lighting.

Event Photography: James Gifford-Mead

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LiGHT made its triumphant return to London’s BDC this November, inviting nearly 5,000 designers, architects and specifiers to learn more about the latest innovations in the lighting industry.

LiGHT Expo London, the UK’s only trade show dedicated to lighting specification, saw a 43% increase in attendees from its launch event last year – closing its doors to a buzz of positivity. Held over two days at the Business Design Centre, London the event saw nearly 5,000 attendees pass through the doors to see the latest offerings from more than 150 high-end international lighting brands and engage with 22 talks and presentations from design experts working with light. Attendees at the show included designers working in architecture, interiors, lighting, and product design, as well as engineers, end-users, and specifiers. Several new features were introduced to the show this year, including the new darc space decorative lighting area, which saw high-end lighting brands for the interiors market exhibit for the first time. The brands presented their latest decorative and bespoke lighting collections to designers keen to find inspiration for their next projects. One of the new additions to the show included the Associations Lounge, designed, and furnished by leading Danish brand Muuto, providing a comfortable space for designers to meet with colleagues. The International Association of Lighting Design (IALD) and the British Institute of Interior Design (BIID) invited existing members, along with potential new ones, to enjoy the space and make the most of the complementary refreshments. The [d]arc thoughts talks programme, in collaboration with lighting control specialist Lutron, again attracted a steady stream of guests across the two days, keen to learn more on the hot topics in lighting. The programme included a variety of presentations and panel discussions covering topics such as sustainability and circular design; designing for global brands, healthy office spaces,

and restaurant / bar design. As well as a project Q&A from interior design studio SpaceInvader and a special look at the bespoke lighting piece from Quasar, featured in the Netflix hit Glass Onion, the programme was topped by a keynote presentation from Peruvian-born, New York-based light artist Grimanesa AmorÓs. LiGHT 23 also provided a platform for the latest instalment of the ILP’s ‘How to be Brilliant’ talks, with Light Bureau’s Paul Traynor taking to the stage, while the very first Lighting Police walking workshop also took place on the final evening. LiGHT WORK made a return, with show visitors making good use of the dedicated workspace area. Illuminated by table lamps from British lighting brand Tala, creating a relaxing space allowing show attendees to complete office tasks. The area also offered dedicated wi-fi, free coffee, and charging points. Paul James, [d]arc media Managing Director said: “We are thrilled with the overwhelming response to the show. The massive increase in exhibitor and visitor numbers confirms that London, and the UK, has been craving a trade show that serves the lighting specification market. We have seen a 40% increase in attendees this year and it’s only year two.” James adds: “With an almost 100% rebook rate from exhibitors during the show itself, this is just the beginning for LiGHT Expo in London, and we’re excited to see what the 2024 edition will bring, as we expand further into the Business Design Centre. We have had nothing but positive feedback from exhibiting brands and visitors alike.” Dates for next year’s show are now confirmed as 20 & 21 November 2024 and will be free to attend.







Ariel In & Out F DGA Ariel is a family of projectors and downlights with minimum dimensions (Ø40mm) but with high lighting performance (900-1100lm output), available in various configurations. The series, which offers multiple benefits, is unique in terms of flexibility and adaptability to a variety of contexts. Thanks to its new decorative rings, Ariel is the ideal combination of technical performance and emotional reach. Visual comfort is guaranteed by the retracted optics that are easily interchangeable on site, thanks to the easy-to-change clip.

Outline Reggiani A minimalist, customisable, elegant and discreet system that fits into any architectural context, Outline is the new low-voltage track lighting system produced by Reggiani, ultraminiaturised (only 11mm thick) and ideal for hospitality and retail environments. The Outline system was created to meet the continuing need for miniaturisation of lighting products and their structures: track, projectors, suspended and linear solutions belonging to the system are thus distinguished by their size and their ability to fit discreetly into any architectural context.

InviTrack Nordic Power Converters LITE Architectural in partnership with Signify, Meteor, MaxiLED and Goboservices are revolutionising the world of lighting. With Nordic Power Converters as their newest partner, they introduce InviTrack – unleashing a revolution in Architectural Lighting. This flicker-free invisible track driver transforms lighting design possibilities, seamlessly blending aesthetics and functionality. Elevate your project with incredible design and unparalleled functionality. Experience the collaborative fusion of precision and creative vision as together they set new standards in the world of lighting.

STR10 GVA GVA’s STR10 compact luminaire is built on awardwinning technologies, Color-Stream, Infinity, and Color-Amp. It is available in monochromatic and colour-changing configurations with communication speeds up to 16x faster than DMX, pixel resolution as low as 100mm, liquidsmooth dimming, and transitions. It sets new standards in lumen output and maximum circuit lengths of 277m+ including up to a 200-fps refresh rate and a12-bit dimming resolution at 40 kHz dimming frequency.

P-3 Wash POI SGM The P-3 Wash POI is the newest addition to SGM’s precision toolkit. Delivering an outstanding 11,000lm from only 260w in calibrated mode, DynaMix delivers uniform output in saturated colour and dynamic whites from 2000k – 10,000k. RGBW quad chips offer choices of 3000k, 4000k and 5600k white LEDs; perfectly colour calibrated with superior colour management software. Durability assured via onboard thermal management technology, active dehumidification, marine grade corrosion resistance in a compact, rugged 8.1kg unit.

Terra Puk Terra is the new ground-recessed luminaire by Puk with highly technical features and with possibility – in a single product family – to have an infinite range of configurations. Three sizes, multiple light beams, very wide lumen package, full dimming options and anti-glare accessories make Terra a real revolution of its kind.



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CORE5 AAG Stucchi CORE5 conveys a very elegant touch to residential, retail or any other specific application where space for track installation is limited and attention to details is a must. It brings the internal width of the track to just 5mm, and multiplies the possibilities of customisation and use by providing interior designers and professionals with a perfect design tool to use light as a scenic accent element in interior spaces.

Terra Linear Acclaim Lighting Terra Linear is a highly durable walk and driveover-rated fixture available in eight colour options, including dynamic and static white, for long-run applications. IP68, IK10, and 3G rated for almost any environment, it has a drive-over rating of up to 6,000 lbs/2,721kg with an anti-slip top coating and anti-theft security screws for use in public areas. Available in a standard optic and 100% frosted glass, direct view version.

Ripple Platek Platek creates outdoor landscapes according to different languages and balances between natural elements and man-made light elements. Ripple, designed by Jan Van Lierde, highlights how a light, which must necessarily be technical, can also have a strong decorative appeal and fit into the landscape, enhancing this aspect: through the reflections of light and shadow on the surrounding surfaces, whether they be the foliage of a hedge, a material wall or floor.


Graze L Iluminarc Iluminarc LOGIC Graze L is a compact 1.2-metre wall graze luminaire, ideal for illuminating surfaces up to 3.6-metre away. Its four-colour RGBW system produces soft accent light and saturated colours. Using Power Over Ethernet (POE), it receives power and control through an advanced driver. Control options include Calendar Scheduling, DMX, RDM, Art-Net, and more. Achieve efficiency and cost savings without sacrificing quality with this environmentally friendly lighting solution.

DASH Smart Neko Lighting The DASH Smart series impresses with its future-oriented approach of a replaceable linear light source, which shines with its ease of installation on a 3-phase track system. This approach is combined with high-quality lighting technology (80° beam angle with a UGR<19) and a high system efficiency of up to 155lm/W. The luminaires can be easily positioned anywhere by a simple click-in on the Driver. The ON-OFF or DALI power supply is visually concealed in the 3-phase track.

Pixol Kingfisher Pixol is a sleek, Italian-built bollard with a treated lamellar wood finish. With twin or single directional illumination, range of colour temperatures, and controls-ready tier one components, this is the perfect balance of form and function. The minimalist design is complimented by the other members of the Pixol family, which together create perfectly curated lighting solution.


Daline LEDiL Daline provides miniature Dark Light sophistication for architectural brilliance. As the latest addition to LEDiL’s Dark Light portfolio, known for exceptional eye comfort and captivating aesthetics, Daline optics are the perfect solution for compact, glare-free architectural lighting. It seamlessly integrates with the Linda-10 platform for effortless luminaire customisation, providing a versatile solution for refined lighting in various settings.


Framing Projector Tryka With an adjustable zoom spanning 8 to 50°, beam shaping and framing, you can dive into a realm of ambience with a dimming range from 0.1% to 100%. Choose your lighting palette with options like static white, full spectrum, or tuneable white light engine and elevate aesthetics with lens covers, louvres, and antiglare accessories, tailoring your environment seamlessly. Tryka’s latest lighting solutions redefine brilliance, with the track light available in 48v magnetic and 230v options, offering unparalleled control and versatility for a luminous experience.

Colour Ray Lighting System IP20 Radiant Architectural Lighting The Colour Ray Lighting System is the latest innovation in Radiant’s dynamic effect lighting range. The light-engine comprises of a DMXcontrolled matrix of coloured LEDs with optics. The light passes through a lattice structure made of chromed bars, creating a decorative polychrome prismatic effect, fluctuating with the dynamic LED dimming sequence. The lit-effect can be customised to suit project requirements. Available as an IP20 or IP66 wall-mount or IP67 in-ground.

Pixeline Flex Vivalyte Vivalyte featured their unique Pixeline Flex RGBW led solution, which makes buildings stand out with perfect façade lighting. Long flexible strips connect into endless coloured light lines without visible seams or variations in light intensity. Pixeline follows all custom shapes and can be controlled via DMX or SPI. Innovative, sustainable, and super easy to install with custom-engineered profile extrusions.

Micro Series Feelux The Micro Series is incredibly small in size, perfect for various applications. With a width of only 12mm and fitting into an 11mm cut hole with three colour options – black, gold, and silver. Micro come in three types – spot, point, and pole – making them ideal lighting for shelves, showcases, and more. The Micro Series range features an impressive 75lm/W brightness, high CRI over 90, and three beam angle options (18°, 32°, and 46°) across a colour temperature range from 1800K to 4000K, ensuring they will make your objects the main focus of attention.

Ultradark Optics Bega Bega Ultradark Optics feature a combination of internal louvres and an ultra black nano coating inside the luminaire to minimise the diffuse light percentage of the luminaires and ensures highly efficient, glare-free eye comfort. Special, proprietary optical lenses capture and direct the light generated by the LED modules. The optical lenses fit the louvres and the luminaire body exactly. Internal louvres optimise the glare suppression of the optical lenses for the best possible results.



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[d]arc thoughts The [d]arc thoughts talks programme was back at LiGHT 23, with a series of informative and inspiring sessions held over the two-day event.

A regular staple of [d]arc media events, the ever-popular [d]arc thoughts programme returned at LiGHT 23, this time in its own dedicated talks space. Presented in partnership with Lutron, the programme featured more than 40 speakers across 19 talks that ranged from in-depth panel discussions on some of the hottest topics in the industry, to project focuses and quick-fire presentations. The talks programme was spearheaded by a keynote presentation from Peruvian-born, New York-based artist Grimanesa Amorós. With a session titled Illuminating Boundaries, Amorós gave the audience an insight into her creative process, with a behind the scenes look at the intricacies involved in creating her monumental, sculptural works of art. Opening the [d]arc thoughts programme on day one, darc editor Sarah Cullen led a panel 104 / 105

discussion on designing for a global brand, where Nick Hickson of THDP, Renee Joosten of Joosten Studio, dpa lighting consultants’ Michael Curry, and Lewis Taylor of David Collins Studio unpicked what it takes to work successfully with a global hospitality brand, from ensuring continuity and design style, to the demands and challenges that can arise. Elsewhere, Jessica-Christin Hametner, Editorin-Chief at ICON Magazine moderated a panel on sustainability and circularity in design. A well-discussed topic in the industry, and a popular session on the day, the panel included lighting designers Rachael Flint of Michael Grubb Studio, and Kevan Shaw, alongside Nigel Tresise of Align Design and Architecture, and Charu Ghandi of Elicyon. The talk covered the ongoing movement towards more circular practices, both within lighting and the wider design set-up.

Day one also included two application-specific panel discussions, with Samta Nadeem, Curatorial Director of STIRworld moderating a panel discussion on designing for healthy office spaces; while arc editor Matt Waring led a talk on designing for high-level restaurant and bars. Nadeem was joined by Beata Denton of Reflex, Conran & Partners’ Simon Kincaid, Natalia Duffy of Cundall, and Lutron’s Miguel Aguado to examine the logistics that go into implementing healthy design in workplaces – a critical question, considering that healthy office spaces are fast becoming standard practice. The restaurant and bar design panel saw interior designers Tony Matters of Faber Design, and Matteo Bianchi, alongside Krishna Mistry of Mistry Lighting, dive into how hospitality venues can take their interiors to


the next level and stand out from the crowd. A new addition to the talks programme this year was the introduction of a series of rapid-fire, 15-minute presentations. Day one saw presentations from Tapio Rosenius, who shared the findings of his recent research into ambient communication, and how to drive human behaviour through light. Nicola Agresta of Foster + Partners offered up an insight into the firm’s recent installation, Inner Peace – a collaboration with artist Amelia Peng, a Textiles student at the Royal College of Art and musicians and composers at the Royal College of Music. Pippa Nissen of Nissen Richards Studio and Zerlina Hughes of Studio ZNA then took the audience on a tour of the National Portrait Gallery, outlining how lighting and interior design combined to create a memorable experience for visitors. Day one concluded with the final presentations of the SLL’s Young Lighter competition. Four young lighting professionals – Anna Freiesleben of Michael Grubb Studio, Irene Mazzei from Edinburgh Napier University / Stoane Lighting, architect Teresa Aguilar Carrasco and Tom Ruddle of EGG Lighting shared their presentations, with the winner announced at a later date. Day two opened with a conversation between Matt Waring, John Williams of SpaceInvader

and Paul Shoosmith of Lightforms on the soon-to-be-opening Eden at New Bailey. The project has been dubbed “one of the UK’s most environmentally friendly office buildings”, and Williams and Shoosmith shared examples of how the lighting and interiors contributes to this. Up next, Sarah Cullen shared the stage with Arjens van Gammeren of Quasar and set designer John McHugh to talk about the product specification process for a film set, with a particular reference to Rian Johnson’s Glass Onion, in which Quasar’s Pollux chandelier was specified by McHugh. Susie Rumbold of Tessuto Interiors then led an interiors-focused panel discussion, supported by the BIID, in which Stephen Dick of Residence Interior Design, Stephanie Dias from Sdias London, and Debbie Power of KSS discussed the lighting of big and small spaces, from the perspective of an interior designer. After a LiGHT Lunch in the Associations Lounge, the ILP brought its How to be Brilliant series to the talks space. Here, Paul Traynor of Light Bureau gave a presentation titled “Not About Light” in which, through a series of project examples, he explained how lighting does not have to be the core focal point of a project, but rather support a higher objective to create a first-class user experience.

Day two’s series of quick-fire round saw four inspiring presentations, each covering a unique topic. First up, lighting designers Ruth Kelly Waskett and Chloe Salvi talked about their new initiative, Parents in Lighting, which aims to provide a peer support network for expectant and current parents in the lighting industry. Next, Keith Bradshaw of Speirs Major highlighted the transformational power of light, and the impact that effective lighting design can have on forgotten or functional spaces in his talk, titled Pretty, Ugly. Moritz Waldemeyer then gave some beautiful examples of the revolutionary work of his studio, each challenging the traditional notions of art and light. Finally, Sandra Brookes of Lighting Design International broke down how designers can evoke luxury in high-end hotel projects through light. Closing out the [d]arc thoughts programme, The Lighting Police led a hands-on workshop experience, in which participants were invited to examine the lighting – both good and bad – in the area surrounding the Business Design Centre. All talks were recorded by Streeem, and will be available to view on the [d]arc media Vimeo page soon.







Washer Pro Traxon Traxon’s Washer Pro comes in five sizes: Nano, Micro, Mini, Midi and Maxi. The Washer Pro was designed with sustainability at its core. It uses 50% fewer emitters than leading competition, is radically smaller, but with higher efficiency. It’s 8° native optic is an industry first for 4-inLEDs, and has a modular industry design that comes with a range of optical and mounting accessories, as well as a range of LED colours. It comes in four colours; signature grey, slate grey, jet black and signature white.

Spoon Cariboni Group Spoon is the new urban lighting system designed for Cariboni Group by Atelier(s) Alfonso Femia. Spoon contributes to urban design with a strong chromatic and material personality and an unprecedented project choice, particular for an outdoor system: the volumes of the bodies are developed on asymmetrical geometries. The system is designed to offer maximum comfort and maximum efficiency both for horizontal and vertical surfaces. Numerous optical distributions are available for each lamp.

L1 Tilt Archion At LiGHT 2023, Archion seized the spotlight with the impressive L1 Tilt (L1/T). This fixture stands out in the realm of cove and cornice lighting, boasting a remarkable blend of durability and adaptability. Notably competitive, it leaves a lasting impression in Korea’s sprawling shopping malls. Archion continues to illuminate spaces with the innovative brilliance of the L1/T, making it a go-to choice for those seeking quality and style.

Glowrail The Light Lab Glowrail is an innovative LED handrail system, designed to provide discreet, seamless, functional lighting for almost any architectural handrail application. Fully tailorable in curved, straight, angular and helical sections, it comes in a variety of bespoke finishes, including stainless steel, timber, leather, polyester powdercoat and soft touch matte. Specified internally, or externally, for locations such as stairwells, offices, balconies & bridges, Glowrail offers the latest in handrail lighting design.

Amanita Stoane Lighting Complimented by specifiers, Amanita’s attractive design boasts an adjustable convex shaped head to offer soft, directional light to outdoor spaces. It’s IP66-rated and is available in any finish, including the aged-looking bronze that was admired at the show. Friction set in place, Amanita can be mounted using a simple ground spike or a bespoke mount plate. Its small size (Ø102mm) produces 300lm (initial) at 3W using three individual LEDs under a frosted diffuser.

Ianus Goccia Illuminazione Ianus is featured by the pure form of the cylindrical bollard, crafted in a sculptural and immediate way to let the light flow. And the light determines the angle of the cut and the proportions of the entire composition, to the maximum expression with elegance. Proposed in bi-emission or unidirectional, with two diameters and different heights, in resistant and precious finishes.



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The Lighting Police Concluding the [d]arc thoughts programme at LiGHT 23, The Lighting Police held its inaugural hands-on workshop, taking attendees on a tour of the surrounding area.

In a dynamic mix of lighting expertise and diverse professional backgrounds, the educational platform The Lighting Police (TLP) hosted its first in-person workshop as the closing activity of LiGHT 23. With a vibrant turnout of around 35 individuals, including the workshop heads Katia Kolovea, Gary Thornton, and James Poore, alongside collaborators from Helvar, the event created an excellent opportunity for constructive educational conversations focusing on observing and discussing lighting in urban spaces. The participants came from various fields, from the lighting industry – ranging from recent graduates to directors and engineers – to non-industry professionals such as health psychologists and railway transportation experts. This mix of backgrounds made the workshop diverse and interesting. The workshop’s core objectives were to observe the lighting landscape surrounding the event venue. Divided into three teams, participants engaged in discussions covering key aspects such as colour temperature, glare, luminaire fitting choices, installation, and the overall visual experience of the urban space, taking luminance and illuminance 108 / 109

measurements. The atmosphere was lively, with everyone contributing their insights during the walk and sparking constructive and sometimes controversial conversations. The workshop ended with a powerful moment when all three teams came together, wearing their brand new TLP hats and high-visibility jackets, to share feedback and applaud each other’s efforts. This collective celebration highlighted the success of TLP’s inaugural workshop. The findings from the workshop were similar among the teams, particularly on topics of glare, light spill on building façades from streetlights, and the interplay of colour temperature with different luminaire types. Notably, discussions around the main un-lit square of Angel district revealed intriguing perspectives – from concerns about safety, accessibility, intimidating contrast of street lighting, and more showcasing the various perspectives of people utilising those public spaces. Looking forward, The Lighting Police envisions taking these live walk-around workshop observations global. Leveraging advisory board members spread across 20+

countries and the project’s collaborators and supporters, TLP aims to engage local communities, making these workshops not only informative but also impactful in raising awareness about the significance of adequate and healthy lighting. Delighted with the workshop’s outcome and the invaluable feedback received, the TLP extends an open invitation to everyone interested, no matter their background, to reach out to our team and members and get on board. The platform aims to attract individuals who appreciate light, wish to deepen their understanding, and aspire to contribute to creating well-lit, inviting urban environments. Following the event, The Lighting Police said: “We would like to express our gratitude to our collaborators and supporters for making this happen! Thank you to the [d]arc media and LiGHT 23 team for the invitation and support, Studio Plus from our advisory board, for the great high-viz jackets and pins, and the Helvar team for aligning with our mission and supporting us in realising this unique workshop experience.”

Lighting designed for places and people Contemporary lighting solutions designed to enhance the beauty of outdoor spaces while also meeting the needs of both people and the environment

Exchange Square, Broadgate Lighting Design: Speirs Major Product: Pharola Max

Best In Show Resident product expert David Morgan shares his most interesting finds from the show floor at LiGHT 23. DAVID MORGAN

David Morgan runs David Morgan Associates, a London-based international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting. Email: Web:

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LiGHT 23 built on the success of last year‘s launch show, LiGHT 22, with many more exhibitors and visitors. This is a show that is in the right place and at the right time. The products that caught our eye this year incorporated elements of innovation, miniaturisation and, of course, a sustainable approach to design, production, repair and final disposal. I was particularly intrigued by the twin axis, 360° rotation mechanism on the Terrance Woodgatedesigned Infinity spotlight being presented on the Light Projects stand. The ingenious Trimless family from LightGraphix takes the design of inground luminaires to a new level of integration and detail. The colourful reflector and trim options on the new Concord Solstice downlight range, designed with Lewis Smith, added a surprising splash of product colour to a generally monochrome range of finishes on display at the show. The modular Plug system, designed by Frits Jeuris, from the Belgian manufacturer Eden Design has taken the well-known Jack plug connection component and created a nicely detailed full range of luminaires. Presented here is a selection of products that were of particular interest to us at the show.


Infinity Spotlight Light Projects A patented new track spot designed by Terence Woodgate that, for the first time ever, offers a continuous 360° rotation on two axes to provide ultimate precision for display lighting. Two versions are available – Infinity Dali and Infinity Dali with Invisitrack – each with either a Narrow (9°) or Standard (15°) beam. Both come in a wide range of finishes in various colour temperatures and a wide selection of lenses.







Solstice Concord The Solstice family of downlights is the latest in minimalistic, environmentally friendly, yet distinguishable design. The floating reflector design has a low glare light of UGR<19 for lumens lower than 2400lm with wide light distribution and beam angle of approximately 70°. This bespoke reflector system achieves class-leading performance of 141lm/W at Ta40°C.

Dezzi Spot alphaLED Building upon the successful philosophy of the original Dezzi family, the Dezzi Spot represents a combination of sophisticated design, focused on sustainability and a circular approach. The range utilises the same optic and light engines as the entire Dezzi range, making it the ideal companion to the Dezzi downlight family for any lighting application. The modular build allows for various bezel lengths, wallwash, zoom and framer configurations in both track and surface mounted options.

Trimless Family LightGraphix The new Trimless family is an exciting new addition to the LightGraphix product portfolio, offering lighting designers a modern aesthetic for their projects. These latest products, made with discretion in mind, allow the fittings to blend in with their surroundings by integrating seamlessly into the mounting surface. All robust fittings with toughened glass, the family is all IP66 rated or above, having gone through extensive salt spray testing. Each can be specified in all beam angles and colour temperatures from super warm 2200K to cool 5000K.

Plug Line Eden Design The basis of the Plug system, designed by Frits Jeuris, is the Jack Plug, as it has been repurposed to a connector and sliding contact, combined with LED technology. Every part of the system can be plugged into another, rotated 360-degrees and modulated in an imaginary 3D grid. Modulation is done with a simple system: every module is 15cm or a multiple of it. For merging the parts, no tools are required.

V20S Optic Lumino With its three beam options of graze, wash and flood, Lumino’s V20S Optic provides precisely controlled linear light just where it’s needed. The compact 20mm profile can be custom made to bespoke lengths or special finishes in either IP20 interior or IP67 exterior ratings. Ideal for wall-grazing, surface washing or display lighting applications, the new micro-louvre option reduces in-line glare. Accessories include adjustable surface mount brackets for fine tilt adjustment while the plaster-in recess channel enables seamless integration into surfaces.

Aiko 5 Formula Luci Thin, small, smaller and smaller, thinner, invisible. These are the market demands and trends that the industry is increasingly facing. Aiko 5 was born for a specific project, where the designers had proposed a luxury retail shelf less than 20mm thick, in which two lighting systems were planned. With two wattages available, 192 LEDs per metre, high light quality characteristics, and a magnetic fixing, Aiko 5 was born to solve this type of application.









Trend Spotting Keen to see if and how the lighting industry at large has taken to the push towards sustainability, GreenLight Alliance members Sophie O’Rourke and Alexia Gkika share their findings from LiGHT 23. GREENLIGHT ALLIANCE

This issue, with so many manufacturers under one roof and so many GreenLight Alliance members attending LiGHT 23, we decided to seize the opportunity to have boots-on-the-ground. To see how manufacturers from around the world were responding to the challenges and opportunities surrounding the lighting industry’s shift to sustainable practices and the ways in which they demonstrate that. Leading the expedition in typically effervescent form was the unstoppable Sophie O’Rourke (AECOM) and the charmingly tenacious Alexia Gkika (Buro Happold). Here is their report: As 2023 draws to a close, we had the great pleasure of attending the LiGHT23 expo on November 21-22. The Business Design Centre was buzzing with the familiar positivity that we’ve come to know and love from the lighting industry. We delighted in seeing new products, old friends and a range of talks curated by the team at [d]arc media. We took to the expo floor to see what sustainability developments the lighting world has been working on all year, looking at companies, products and innovations to see what harmonised metrics and trends we see emerging. The overall sustainability trends that we’ve been observing are: The uptake of TM66 TM66 is CIBSE’s circularity metric for lighting, with the result being a single figure rating. This is a number that lighting specifiers can put into schedules thus allowing those specs to be defended against the dreaded VE. We’re seeing lots of products with these figures ready to go, many in data collection phase, and many happy to obtain scores upon request. Not so many having been independently verified by the recently launched service from LIA. The eagerness to take on TM65.2 (and LCAs/ EPDs) TM65.2 is the recently updated, lighting specific, version of the embodied carbon metric TM65. 112 / 113

LCAs/EPDs are so important in order to ascertain clear and precise product data, but in lieu of access to the time, money and resource LCAs/EPDs can take. This updated metric gives us access to a faster, more cost-effective broad spectrum/ estimate CO2e figure that can be utilised by lighting specifiers. While not a direct replacement for an EPD/LCA, this is a great start and is being used consistently. Most manufacturers we spoke with said that if not already available, they could provide product EPDs and/or TM65.2 upon request – so be sure to allow time for this step when working on a project. Also, be sure to understand exactly which LCA tool and what EPD agency they are using – until some sort of harmonisation is agreed here, the results are not so useful for making like for like comparisons between manufacturers. Futureproofing and the upgrading of products and business models to embrace circularity Product ranges are being updated/created with the whole lifecycle in mind from the beginning, which means we are now talking about who replaces the light engine and what that means for the warranty? Does the fitting need to be sent back to the manufacturer to be repaired? How does the client/ end user instigate the process, and what are the benefits to the client? For example, we had multiple conversations about replaceable LED COBs and the fact that the spares you keep on site can be a small box of chips and optics as opposed to a room of fittings. Operations We also saw plenty of updates of internal practices within manufacturing facilities in order to reduce their own operational carbon. Data collection and research Design consultancies and manufacturers alike are collecting data. We see consultancies making internal databases of sustainable product information, TM66 scores, LCAs/EPDs and sustainable company practices; and we see manufacturers collecting various life cycle assessment data on their products and operational

DW Windsor



practices. Even if manufacturers don’t have all their LCA data ready to go, many are in the process of collecting it, which is encouraging to hear. Data collection is a crucial step that we all must take part in because we cannot accurately measure these successes unless we have the figures that show our starting points, how we have improved, and what figures we wish to achieve. How do we tackle the ‘reuse’ part of ‘reduce, reuse, repair, recycle’? Rather than repairing lights and keeping them on site, this is more about taking lights back into stock after they’ve been installed on site for some time, remanufacturing and then selling them on as ‘used’ goods. The big question being raised is ‘will clients be ok buying second-hand lights?’, and the answer…. We don’t know yet. Perhaps the issue is more of a societal mental block. However, if we look at the refurbished mobile phone market, or the vintage clothing and furniture market, one would hope that with time, second-hand lights will become more accepted. If these fittings can be sold on at a reduced cost, maybe the cost of living crisis will help change some minds, too.

Product Highlights

To follow are a few notable highlights products/product ranges that we came across, but (and we can’t stress this enough) this doesn’t even scratch the surface. So many manufacturers are embracing sustainable products and practices, and we are so impressed with the collective efforts we are continuously seeing. Any manufacturer not

demonstrating authentic progress on this front is surely curtailing their opportunities in the discerning specifier market.


Spa range, track and pendants • A modular product range made of recycled aluminium features replaceable LED COBs and optics, with each individual component able to be replaced. • Instruction manuals included showing how to replace the LED chips and components yourself (no need to send back to factory). Spares on site can be a box of chips, optics, and drivers, rather than whole fittings. • TM65 and TM66 supporting data is available, with scores updated for specific delivered project locations


All fittings • Modular fittings with fully replaceable components able to be bought separately. • Historic library of molds, tooling, etc., from all products kept in-house, so old components can be manufactured to restore old fittings. • All fittings are designed to be futureproof and upgraded as necessary (for example, from fluorescent to LED) - tooling for all fittings is kept in-house to support this. • All fluorescent fittings have LED module retrofits. • All products provided with a three year warranty (five years on request) with a 20 year continuity warranty (availability of replacement parts up to 20 years after purchase). • TM65.2 and TM66 available on request.

DW Windsor

Daytona range • Launched in 2020 and made of recycled aluminium, with the LED updated every two years. LEDs were last updated at the start of 2023. • The gear tray with LEDs is fully replaceable, upgradeable, and repairable by DW Windsor. • Fittings have always been designed with circularity in mind. • Latches are used to seal heads, rather than screws, for speed and ease of maintenance. • DW Windsor is working through TM66; intending to do TM65.2, but this process is taking longer to conduct. • The company states reuse as the next big challenge, and is eager to see what can be done, stating: “despite commercial gain, it’s about doing the right thing”.


Duo Mini downlight range • Set to be relaunched in 2024, the range is modular, repairable, and re-manufacturable. • Lucent’s Procycle remanufacturing programme collects used fittings for ‘recycled stock’ for supply back to the market. 80% of its product ranges are fully modular for interchangeability and upgrade, and the Procycle programme provides a 20-year duty of care following supply of the complete fitting. • TM66, TM65.2, and full EPDs are available, alongside raw finish options for improved TM66 scores.






Linea Light

Stoane Lighting



Eyeconic downlight range • Made of 55% recycled aluminium, 97.45% of the product is recyclable. • Through Phos’ ReGen programme, products can be returned to be regenerated or recycled; 87% of products that come back are repairable. • Fully off grid with solar energy on its premises, Phos has partnered with the Reewild carbon scheme, and aims to be Net Zero by 2030. • TM66 is available, TM65.2 available on request.

Linea Light

Evo downlight range • 98% repairable, the LED chips and optics can be replaced using a screwdriver, while the aluminium heatsink is made from scraps. • Due to the use of plastic, the white and black bezel/baffles are the raw, unpainted material, meaning a better TM66 score. • The plastic baffles and bezels with finish only painted on visble parts of the fittings allow material to be recyled. • More cost effective than previous, less circular designs. • Linea Light is in the process of completing LIA verification for TM66 and TM65.2, alongside EPDs.


P3 Wash POI - RGBW Exterior Wash range • SGM has a factory-administered Renew Programme to track, certify, and restore SGM luminaires over their product cycle. • The company is also actively replacing P3 114 / 115

fitting materials that do not conform to modern environmental standards. • High efficiency for an RGB fitting (~11,000lm at 260W), few fittings can make a very large impact, also very compact considering light payoff. • The product feature’s SGM’s patented DryTech integrated dehumidification system, and a thermal drive providing on-board thermal sensing with predictive algorithms for maintaining optimum fixter temperatures. • SGM has a 100% renewable energy grid in Denmark and Orlando. Older products will be phased out and replaced with those engineered towards sustainability. The company is also prioritising local manufacturers and supply chains with sustainable operations.

Stoane Lighting

All fittings • All products at Stoane Lighting are made to order with close to zero speculative stocking. • Up to 97% of the company’s core aluminium is from a re-melt extrusion facility in northern England, while in-house, carbon-free aluminium waste utilisation has also recently been established. • Co-developed a 70% recycled PMMA (acrylic) diffuser product, now diverting engineering waste and de-listed optics into diffuser optics. • Products have a five-year warranty and 20-year duty of care, while Stoane also offers factory-based and mobile ReNew remanufacturing service. • All products displayed both TM66 (including some LIA verified) and TM65.2, while LCA and

EPD is potentially available on request; although the company is hesitant to invest too much in LCAs until scheme harmonisation is established.


RLE System • The Replaceable Light Engine (RLE) system is a unique solution for replacing the light source in exterior products while maintaining their IP67 rating. • RLE provides lifetime circularity for LightGraphix products, while allowing global partners to stock inserts, reducing shipping emissions. • A modular engine insert allows LED engines to be replaced/upgraded on site with the latest technology by a qualified individual with a simple tool. • 80% of the contents of the stainless steel purchased by LightGraphix has been formerly recycled, while the company also continues to minimise use of plastic or, where possible, switching to biodegradable plastic. • Features such as an anti-wicking barrier aid product life expectancy. • TM65 and TM66 data is available for most products. Looking at the progress 2023 displayed, we are excited for even greater strides in 2024, and we look forward to catching up with everyone at next year’s LiGHT expo.

This series is curated by Dave Hollingsbee of Stoane Lighting,

RAIL Part of the


group of companies


VAILO The GRP Bollard with Superior Spacings Designed and engineered in the UK, VAILO is manufactured from high grade GRP and hosts a bespoke optical system that offers a range of outputs. • • • • • • •

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United by Music Liverpool, UK This October, New York design firm Yellow Studio unveiled United by Music at River of Light, Liverpool’s outdoor illuminated gallery. The installation pays tribute to the 2023 Eurovision Song Contest, which was held in Liverpool earlier this year. United by Music was a 10-metre round installation connected by 12 columns, each with vertical lighting integration in every corner. An upper ring connects the columns and includes additional integrated lighting. At night, the lights were programmed to change colours in response to the music of the 2023 Eurovision Song Contest. The structure was adorned with a vibrant pink hue, and at its centre was a circular performance area surrounded by seating. Its radiant pink exterior was designed to capture the eye by day, and transform into a

captivating light-up art installation at night. The installation also served as a multipurpose interactive performance space. The goal was for the structure to foster community – inviting visitors to gather, sing, and nurture the spirit of togetherness and celebration that typifies the Eurovision Song Contest. The soundscape of the installation included six songs from the 2023 edition of the contest – UK entry Mae Muller’s I Wrote a Song, Heart of Steel from Ukraine entry Tvorchi, Because of You by Belgium’s Gustaf, Finnish entry Käärijä’s Cha Cha Cha, Unicorn by Israel’s Noa Kirel, and the winning song, Tattoo by Sweden’s Loreen. Yellow Studio also provided students from the Liverpool Institute of Performing Arts (LIPA) with the opportunity to play a vital

role in delivering United by Music for the River of Light programme. Students from the institution, founded by Sir Paul McCartney, worked with Yellow Studio on the light programming and audio mixing to create the installation. “Our monument honours the cultural phenomenon of Eurovision. The global message of unity, expression and diversity are celebrated through bold, monochromatic tones and the playful animation of light,” says Julio Himede, Founder of Yellow Studio. River of Light took place across 12 nights from 27 October to 5 November, and showcased 10 artworks from a host of local, national, and international artists along a 2km route.

All About The Journey Ahead of the deadline for applications for “Season Three” of the Silhouette Awards, Mentor and Mentee Fay Greenhalgh and Annabelle Hill, who were paired for the 2023 programme, reflect on their experience together.


As the six-month mentorship programme for the second annual Silhouette Awards draws to a close, aspiring mentees for season three are encouraged to submit their applications to meet the December deadline for this fantastic mentoring opportunity. Launched in 2021, the Silhouette Awards programme rewards and nurtures emerging talent within the lighting industry through recognition and mentorship. Through its selection process, the awards programme pairs promising junior designers with senior lighting professionals for a transformative six-month mentorship opportunity. Established by Parrot PR and Marketing and Archifos, the Silhouette Awards are dedicated to enhancing the skillsets of talented individuals, advancing their career aspirations, and elevating the industry’s creativity. They aim to set new standards for industry leadership while facilitating learning from established figures in the field. As the six-month mentorship programme for the second edition of the awards concludes, we take a moment to reflect on the journey of one mentormentee pairing, Fay Greenhalgh, Design Director, and Annabelle Hill, Lighting Designer.

Fay Greenhalgh

Having built a successful career in the lighting design industry, mentoring young talents has always been a fulfilling pursuit for me. The Silhouette Awards offer a unique platform for guiding emerging lighting designers in discovering their true paths. My mentee, lighting designer Annabelle Hill, possessed undeniable potential, with a diverse background spanning civil engineering, construction, project management, fine art, and lighting art installations. Our journey aimed to unlock her full potential and help her find her true calling. Our collaboration was marked by shared enthusiasm, candid discussions, and a realisation

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that Annabelle’s true passion lay in her artistic expressions. We decided to shift our focus toward her artwork and entrepreneurial nature, a journey that showcased adaptability and the beauty of aligning with one’s true calling. Annabelle has now founded Mindful Designs, unveiling unique surface design patterns inspired by her lighting research, and is crafting lighting art installations as an independent artist. Her story is a testament to the power of perseverance and the courage to make bold decisions.

Annabelle Hill

During my time in the Silhouette Awards programme, I had the privilege of being mentored by Fay Greenhalgh, whose experience and guidance were invaluable as I delved into the creative world of lighting design. While we explored diverse opportunities, my heart led me in a slightly different direction. My artwork, a facet of my identity I’ve treasured, emerged as a newfound focus. Fay’s steadfast belief in my capabilities gave me the courage to pursue this path. A decision both challenging and rewarding. Throughout this mentorship I was also kindly sponsored by LED Luks to attend and present my lighting research on biophilic lighting projections and brainwaves at the CIE conference in Slovenia. Afterwards, I had the unique opportunity to be a part of the LED Luks 10-year anniversary, where I visited its manufacturing facilities and was also welcomed to present my research. Under Fay’s mentorship, I learned it’s not just about a profession, but about aligning with one’s passions. Inspired and supported, I’ve now founded Mindful Designs, where I’ll be unveiling unique surface design patterns, inspired by my lighting pattern research, for many applications from lighting projects to interior decor. Concurrently, I’m crafting lighting art installations, including the Watery Perceptions installation for the Aarhus Festuge, with preparations underway for the Copenhagen Light Festival 2024 as an independent artist, including installations Liminal Spaces and Our Consciousness.


Season Three

Applications for the season three programme closed on 11 December, with winners to be announced soon. The selected 20 mentees will embark on a six-month mentorship journey individually guided by one of the 20 mentors. With the support of the Silhouette Awards’ impressive array of sponsors and supporters, the winners will have the opportunity to enhance their skillset, pursue their career ambitions, and elevate the industry’s creativity. Entries can be submitted by designers with eight years of experience or under within the lighting industry, who believe their talent should be recognised, and who wish to benefit from a bespoke mentorship programme led by an expert panel of judges. The Mentors comprise of senior influential lighting designers who are on the lookout to nurture young talent and help other like-minded individuals benefit from their own personal experiences.

The process for mentee applications is straightforward: 1. Complete the application form. 2. Upload a 3-minute (max) video recording. 3. Submit a short biography (max 200 words). 4. Upload your professional headshot. The current mentees are receiving muchdeserved recognition and publicity for their achievements to date, adding real value to the creativity of the industry while raising the bar for talent to steer and lead the industry in years to come.

Top Our Consciousness, created for the Copenhagen Light Festival by Annabelle Hill, Nicoline Jo Højer Hansen and Begoña Sanchez, and curated by Sofia Ivarsson and Mariliis Kundla (@mariliiskundla) (Image: Christoffer Askman) Bottom Left Liminal Spaces, created for the Copenhagen Light Festival by Annabelle Hill, Nicoline Jo Højer Hansen and Begoña Sanchez as a part of Ungt Lys. Bottom Right Watery Perceptions, created for the Aarhus Festuge by Annabelle Hill and Senja Ruohonen

case study

Image: Mike Houghton

Rhapsody Dolphins Kelowna, Canada Outdoor-rated fixtures from Acclaim Lighting shine a new light on Kelowna’s landmark Rhapsody Dolphins sculpture.

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Sunsets in Kelowna, British Columbia are a bit more dramatic these days thanks to a new lighting system that spotlights the Rhapsody Dolphins Statue located on the city’s waterfront. The large-scale fiberglass sculpture of three dolphins frolicking in a fountain is the creation of renowned artist Robert Dow Reid, whose works of art are often inspired by the sea and aquatic life. A focal point of Kelowna’s waterfront, until recently, the 20ft statue was not garnering the attention it deserved because of poor lighting, supplied by outdated metal halide lamps. Recognising that the statue could benefit from an upgrade to its appearance, Marriot Hotel contacted Macs II Agencies, which represents power, electrical, lighting and lighting controls manufacturers throughout British Columbia and Yukon Territory. Kelly Kozar, project and specifications representative for Macs II Agencies, said: “In replacing the existing lighting, we wanted the ability to add colour and increase the lighting levels on the dolphins. After a thorough investigation, we realised that we needed a product with hardwire and wireless control ability that was suitable for a very wet environment. This led us to specify Aqua Drum and Aria from Acclaim Lighting.” Aqua Drum Family Series is a high output, submersible, LED flood fixture. The IP68-rated fixture features an all-stainless-steel construction with an optional in-grade housing mounting. It is available in multiple colour temperatures of white and colour changing versions (RGBW and RGBA) and is ideal for fountains, ponds and various landscape applications.

Complementing Aqua Drum with its built-in internal receiver, the Aria DMX system is a compact, local, outdoor-rated wireless DMX system that can also be hardwired. Its transceiver can act as either the sending or receiving point with up to 15 channels on the 2.4 GHz band. 14 Aqua Drum fixtures were mounted in the bottom of the fountain and around the statue. The beam angle was set at 40x40 to highlight the intricacies of the three dolphins. Using eight high output and six standard output Aqua Drum RGBW (3000K) fixtures, the units deliver 3,259 and 1,600lm, while consuming only 36 and 18W operating on 100-270 voltage. The lighting system also incorporated the Art 500, a touch panel DMX Controller with 1,024 DMX channels and 500 programmable scenes, to provide powerful control features for setting precise colours on the statue. “We increased the lighting levels on the dolphins while maintaining the power consumption,” said Kozar. “The big change was adding and controlling the colour, which provides dynamic lighting effects. Since it was the first colour-changing installation authorised by the City of Kelowna, we were happy that the City was so happy with the final results. “We have also received positive feedback from the residents. As a result of all the buzz associated with the newly lit statue, the nearby hotel is now considering upgrading its landscape and building façade with similar products and colour-changing capabilities as a means to spotlight seasonal changes and local community events.”

case study

Image: Michael Sinclair

The Skin Lab London, UK The luxurious Skin Lab in London’s Mayfair features a sumptuous lighting design from Lichtvision, utilising fixtures from LEDFlex.

Recently unveiled in the heart of London’s Mayfair, the Augustinus Bader Skin Lab is an innovative spa and retail haven that redefines prestige and glamour. Combining luxury, cutting-edge technology, and clinical innovation, the Skin Lab delivers extraordinary indulgent experiences, elevating the health and vitality of the skin like never before. Within this setting of unprecedented luxury, lighting plays a pivotal role, seamlessly complementing the interior design and crafting an ambience that envelops the clientele in pampering and relaxation. The lighting design for this projects comes courtesy of Lichtvision, with Senior Associate Laura Cizauskaite specifying LEDFlex fittings throughout the space to craft a work of art that captivates and inspires. In the reception area, with its midnight blue walls adorned in plush velvet upholstery, LEDFlex’s Ultimo Neon 16 gracefully illuminates the banquette seating from underneath, conjuring a captivating floating effect that adds a touch of enchantment to the entire space. The reception area also features chainmail curtains adorning undulating walls, washed with LEDFlex’s Dual Bending Optic Solution, Flexi Grazer 3D in a 30° beam angle. The layered effect is evocative and dramatic, becoming the standout design detail of the project. Cizauskaite comments: “It was very important to display both the interior environment and client skin tones in true colours to judge accurate results of the treatments. In order to achieve

this precise colour rendering, the design team had to undertake many mockups to test various techniques, including the sandwich-like effect, where the metal curtain is offset from the wall and grazed with illumination.” This level of care with the materials and light distribution has delivered a beautiful and harmonious result. In tandem with the rest of the space, the suspended curved ceiling cove detail is illuminated by LEDFlex’s Ultimo Neon 22 concealed in the return, allowing for a warm halo of light to define the ceiling, creating the perfect welcoming environment for clients looking for a memorable experience. The holistic approach of using layers of light in different orientations not only provides a pleasing visual effect, but also serves a functional purpose, eliminating the need for downlights in the ceiling. The design intent extends to the cosy waiting room, enclosed in the same plush fabrics, with a beautiful deep circular skylight punctuating the ceiling, bathed in a soft blue light. The Flexi Grazer 3D 30 and Ultimo Neon 16 fittings illuminate the curtain and seating, perfectly complementing the false feature skylight. Even the treatment rooms feature LEDFlex fittings in the architectural detailing, with the Neon range easily integrating into the joinery and ceiling details. The family of light fittings ensures consistent colour output and design throughout the space.

case study

Image: Chapman Brown Photography / BAM Nuttall

David Oluwale Bridge Leeds, UK Part of Leeds’ South Bank regeneration programme, the David Oluwale Bridge has been given a dynamic lighting scheme, controlled by Pharos Architectural Controls.

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The David Oluwale bridge in Leeds stands proud across the River Aire between Sovereign Street and Water Lane. Welcomed to the city as a symbolic link between the past, present, and future, the bridge has been named after David Oluwale, a Nigerian national who drowned in the river in 1969 after being racially harassed by police officers. The bridge’s practical use provides a better link to the town centre for cyclists and pedestrians, and is a key element of the much wider and ambitious South Bank regeneration programme. Its significance is, however, much greater – acting as a symbol of ambition and commitment to diversity and inclusion in Leeds. To make the bridge even more poignant, it is illuminated each night using a Designer LPC 4 (Lighting Playback Controller 4) from lighting controls specialist Pharos Architectural Controls. The four DMX universe LPC 4 controls the lights situated in the panels that form the sides of the bridge. There are 16 of these Spectraglass light panels on either side of the bridge, illuminated by a KMX LED fitting from The Light Lab. Each RGB+W fitting can be addressed in 13 separate 115cm segments to create the changing light effects, which simulate the flight of an owl across the bridge. The Pharos Designer LPC is an award-winning, allin-one control solution for themed entertainment and LED lighting installations. Featuring individually controllable and independently running timelines and scenes, the LPC also offers the freedom of real-time manual overrides. Additionally, the control solution gives the versatility

of powerful show control and integration features. Pharos Architectural Controls was brought into the project by The Light Lab, who had been commissioned to deliver the lighting design and the manufacturing and installation of the bespoke Spectraglass light panels. Together, The Light Lab team and Pharos worked in conjunction with lighting solutions provider Architainment, Mott Macdonald Architects, and contractors BAM Nutall. The structure was built locally in Yorkshire, around 20 miles from the site, with specialist equipment moving the 30-metre long bridge to the riverside before its installation. Ryan Sainsbury, Regional Sales Manager for the UK from Pharos Architectural Controls said: “Pharos is very proud to be part of such a significant project that clearly means so much to the people of Leeds. The bridge is a lasting legacy and a true symbol of hope for a better future.” As well as general illuminations to showcase the bridge at night and remind locals and visitors of its importance, the structure can also be lit in an array of colours to support the city’s calendar of cultural events.

case study

Image: Ulrich Schwarz

Torhaus Berlin, Germany Traceline pendants from Reggiani bring a comfortable illumination and stylish flair to Berlin’s Torhaus office.

The Torhaus office project in Berlin represents a flexible, modern working space. The articulated brick façade incorporates elements of the typical Berlin commercial courtyard façades through the massive pillars. The office space is characterised by natural light coming from the windows and clean and minimal lines of the interior design. To complete the project, the light module Traceline in a pendant version is used to assure high quality lighting, and personalisation of the project thanks to the different shapes available, and finally minimal glare thanks to the dark performance diffuser. More specifically, Traceline pendant with Dark Performance Diffuser is installed over the desks, assuring minimal glare and therefore visual comfort for the employees. To spice up a bit, Traceline Dark Performance in “X” shape is installed over the meeting room table, becoming both a lighting solution and a decorative piece of the interior design.

Traceline pendant is characterised by a lighting module of only 20mm with driver concealed: this makes it possible to create long configurations that run into the whole rooms with no excessive cables showing. Traceline is available not only with the Dark Performance diffuser, as the range includes also Diffusive, Micro Prismatic, Dark Grid and Lens 48°. Standard colour temperatures start from 2200K CRI>90, going to 4000K CRI>90. Moreover, Tunable White and Warm Dimming options are available to fully personalise the lighting result. Traceline offers a diverse range of colour finish to make it suitable to every project’s needs: apart from the standard embossed matte white and black, it comes in a chrome plated finish, brushed gold to mention a few.

case study

Image: Lichtpunt Theatertechniek

Royal Eise Eisinga Planetarium Franeker, Netherlands The oldest working planetarium in the world has been given a new lighting system, designed by Lichtpunt and utilising fixtures from CLS.

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The Royal Eise Eisinga Planetarium in Franeker, Friesland, was added to the prestigious World Heritage List of UNESCO this year. Built by Frisian wool manufacturer and amateur astronomer Eise Eisinga, it is the oldest working planetarium in the world. The Planetarium consists of several visitor rooms, but the Planetarium Room is where it all ‘revolves’. This room houses a model in which the sun, moon, earth and five planets known at the time of construction. It took Eisinga seven years to do this, having spent many years precisely following the orbits of the planets. This model has now been used for 242 years to explain how our solar system works. Other permanent parts of the museum include Eisinga’s former wool combing establishment, his daily occupation, and an extensive collection of historical astronomical instruments. Modern astronomy is also represented; the film room shows documentaries continuously, while a permanent interactive exhibition, ‘De Ruimte’ (Space) has also been on display since 2016. In addition, the museum regularly hosts interesting changing exhibitions on current topics concerning the Planetarium or astronomy in general. In some visitor areas, the exhibition was redesigned. In the process, the lighting was immediately included and renewed. The exhibition designer approached Groningen-based Lichtpunt for this, based on previous positive experiences, giving them the freedom to create a suitable lighting plan for the various rooms and showcases. The Planetarium already had LED track spots

of another brand, but when replacing them, the choice fell on CLS. To perfectly illuminate all elements, the CLS Jade Zoom on the rails was chosen, among others. The museum already had CLS Focus fixtures and has now supplemented them with CLS Focus Micro and CLS Focus GIII fixtures. Replacing the lighting here was pretty straightforward, but coordinating with the other disciplines always remains a challenge. Leon van Warmerdam of Lichtpunt says: “The date of the opening is fixed long in advance. The lighting infrastructure has to be put in place before or during the structural work, while installing the fixtures can only be done when the exhibition builders and painters are completely finished. Only when all the objects are in place – not to mention all the text signs – can we light the exhibition and dot the i’s and cross the t’s.” The lighting plan was created by Lichtpunt’s Folkert Rinkema in close collaboration with the designer of the exhibitions. With the pallet of CLS fixtures, the desired result could be created for the general lighting, as well as for the light in the showcases and for the collection on the walls. The dimmers on board each fixture also allowed the lighting designer to perfectly match the lighting to the exhibition.

case study

Image: Courtesy of GVA Lighting

Northampton Street Bridge Easton, USA The rejuvenation of the 125-year-old ‘Free Bridge’ saw Domingo González Associates utilise fittings from GVA Lighting to showcase its heritage.

Northampton Street Bridge in Easton, PA, also known as the ‘Free Bridge’ has been given a fresh look as part of a complete rehabilitation and improvement project. The project’s objective was to extend the 125-year-old bridge’s useful life. With this comes a new, modernised lighting scheme by New York-based architectural lighting design firm, Domingo González Associates, using GVA Lighting luminaires. Spanning 560ft and featuring a three-tonne weight limit, this cantilever truss bridge finished construction in 1896, and holds a unique place in history. Designed by James Madison Porter III, it bears a striking resemblance to Budapest’s Liberty Bridge. The rehabilitation and improvement project at the iconic Northampton Street Bridge was in progress for two years with its ribbon-cutting on 9 November 2023. “The lighting on the Northampton Street ‘Free Bridge’ and the repairs to the bridge and pedestrian walkway are both beautiful and practical enhancements not just for the bridge but the entire area,” said Warren County Commissioner Director, Lori Ciesla. Domingo González Associates decided to use three of GVA Lighting’s products for this project, FL 25s, HLs and STR9s, for a dazzling final effect, leaving people in awe. They knew that Infinity and ColorAmp would be the technologies needed for the effects they wanted to achieve. The FL 25s are used to light the bridge’s columns evenly, from bottom to top. The HLs are direct view fixtures. Direct view fixtures are often used for specific lighting design purposes, such as

emphasising the source of light as part of the visual aesthetic, as is the case of the HLs in this circumstance. The STR9s are below the bridge, lighting underneath the bridge. These three types of luminaires were chosen due to their higher lumen output and colour-changing aspect, but especially because of Infinity technology. Infinity delivers up to 600-metres (2,000ft) from a single power and data input. All fixtures are connected with no occlusions. The lights are RGBW, which is an upgrade from the former lighting scheme. The colour changing lights are used for special occasions and holidays, while the white lights are used to light the bridge to keep the heritage look of the bridge most days of the year. Due to Color-Amp technology, the white is brighter and more vibrant using the luminaire’s full output in comparison to other brands. Rehabilitation work at the bridge has taken place on the structure, below the structure, and in the vicinity of the masonry abutments at both ends of the bridge. An entire rejuvenation. Now, this cherished landmark stands as a radiant testament to history, artistry, and engineering.

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Colour Ray System

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Nathan Thompson The Flaming Beacon “Keep an eye out for irregularly strobing Ganzfeld phenomena.”


Not so much a place as it is a situation. The view – what you see there – is as ethereally beautiful as the view inside Olafur Eliasson’s hazy colour fields, and as surprising and astonishing as hitting the sweet spot under Anish Kapoor’s big bean in Chicago.

Where & When

The first time for me was in the early 1970s, driving along a country road in the Australian bush, in the back of my mum’s Combi Utility, with the low sun shining through the trees casting shadows across the road. I found that if I closed my eyes gently and looked towards the sun, I would see an intense red field – the blood in my strongly backlit eyelid – and that strong red field would abruptly flash to black and then back to bright red with my passage through the shadow of each tree we zoomed past.

How & Why

With some time, this bright red irregularly strobing field starts to build up some artifacts – bursts of other colours that start as complementary but then aren’t. Shapes that start as a noisy bright spot but then aren’t. Fragmentary shapes of colour that appear differently in each eye giving the artifacts greater dimensional definition. And pretty soon I could relax myself into a full-field, all encompassing, hectic, strobing, psychedelic experience that would go for as long as we kept driving past the trees and through their shadows.

Image: Nathan Thompson

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Lights in Alingsås 2022, Sweden

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