arc issue 138

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#138 Cover Story: MYS Hotel, Thailand Hospitality Lighting Hoare Lea Light + Building Preview


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Welcome It’s that time of year again where our attentions turn to Frankfurt and the impending Light + Building exhibition. While 2022 was something of a soft relaunch, with the show considerably smaller than in previous years, it looks like this March will be much more of a return to form, with a lot of the big names that were absent last time taking up stand space once more. I for one am excited to get back to Frankfurt for the fair, not only to check out the latest products and innovations on show, but also to reconnect with you, the wonderful international lighting design community. I was at Light + Intelligent Building Middle East in Dubai in January (read my thoughts on the event later in this issue), and it was a genuine delight to catch up with so many friendly faces, many of which I’d not seen in person for far too long! If you’re going to Frankfurt, make sure you pick up a copy of the magazine at the Trade Press Stand, just outside Hall 4.1 (you may in fact be reading this having grabbed it at the show, in which case thank you! I hope your feet aren’t too tired? See

you at the Irish bar later??), and if you see any of the [d]arc media team walking around the show, make sure to say hello! Not to show any Frankfurt bias, and with a busy schedule of events on the calendar, you can also expect to see copies of arc at the upcoming Workspace Design Show in London (where I’ll be moderating a fascinating panel on the aesthetics of repair and re-use in lighting design), at LEDucation in New York, at Architect @ Work London, and even at the Archiproducts showroom during Salone del Mobile in Milan. With the magazine going to all of these events, we’ve been hard at work to make this one even more special than usual. To that end we’ve packed it out with a global array of inspiring projects and beautiful Eye Openers, alongside some really insightful comment pieces and interviews. Amongst which, I’d like to welcome the magnificent Marcus Steffen to our team of contributors. A business owner and lighting design extraordinaire, Marcus is putting together a series of columns for us on the business side of design, and the trials and tribulations that come with running your own practice - essential reading for many, I’m sure! Enjoy the issue, and we’ll see you soon!

Matt Waring Editor

Front cover: MYS Hotel, Thailand (Image: DOF Sky Ground)


Inside this issue Regulars 024

Event Diary


Drawing Board


In Conversation We speak to SLL Young Lighter winner Teresa Aguilar Carrasco.



Features 036

Light + Intelligent Building ME Matt Waring fills us in on a successful trip to Dubai this January.


Snapshot Light It Design

Hoare Lea Learn about the inner workings of lighting design within a multidisciplinary firm.


The Reluctant Businessman Marcus Steffen talks of the transition from designer to business owner.

Lumiere Durham The biennial light art event returned in November to great fanfare.


Light + Building Preview A look at some of the products to be found at the Messe Frankfurt this March.


LEDucation Preview We pick some of the highlights from the upcoming New York event.


Silhouette Awards The Silhouette Awards founders talk of the programme’s growth.


GreenLight Alliance Buro Happold share the findings of its Lighting Manufacture Survey.


Manufacturer Case Studies


Bucket List Daniel Green


Copacabana Palace Hotel The landmark hotel’s Art Deco façade gets a facelift thanks to LD Studio.

Eye Openers


MYS Hotel A boutique destination that fuses Scandiavian and Thai styles, with lighting from SEAM Design


Palazzo Tirso The Neoclassical façade and modern interiors of this hotel have been illuminated by essequadro | p ingegnaria architettura


1 Hotel Mayfair Visual Energy designed lighting to match this hotel’s eco credentials.


Aesops Infusion Lighting brings an “intentionally kitsch” scheme to this Bangkok-based Greek restaurant.


Al Mamlaka Social Dining Lighting Design International create a luxurious, warm scheme to match this Riyadh dining hall.


Hospitality Lighting Case Studies


VEKTOR Christopher Bauder


Cones SpY


Convento do Beato Filamento


Zhoushan Ocean Cultural Center Ning Field Lighting Design


Opso Studio N


Geist This is Loop


The Woolworth Tower Residences Schwinghammer


Rays of Light Tamar Frank



Projects 088


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EDITORIAL Managing Editor Helen Ankers Editor Matt Waring

Events Diary FEBRUARY


Workspace Design Show

[d]arc sessions Europe

27-28 February

14-16 May

London, UK

Troia, Portugal


Clerkenwell Design Week 21-23 May London, UK

Light + Building

3-8 March




19-20 March

9-12 June

New York, USA

Guangzhou, China


Prolight + Sound 19-22 March

IALD Enlighten Europe

Frankfurt, Germany

21-22 June

London, UK

Architect@Work 20-21 March London, UK

Online Content Creator Ellie Walton

COMMERCIAL Managing Director Paul James Head of Business Development Jason Pennington Media Sales Manager Andrew Bousfield

Frankfurt, Germany

Contributing Editor Sarah Cullen

SEPTEMBER Plasa 1-3 September

International Account Manager Ethan Holt Events & Marketing Manager Moses Naeem

DESIGN Design Manager David Bell Design Jez Reid Production Mel Capper


[d]arc awards

London, UK

27 March

Chairman Damian Walsh

ArchLIGHT Summit

Finance Director Amanda Giles

London, UK 17-18 September


Dallas, USA

Credit Control Lynette Levi

Milan Design Week 16-21 April

[d]arc sessions Asia

Milan, Italy

24-26 September

Phuket, Thailand

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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Step inside INNSiDE by Meliã, Bangkok Sukhumvit Hotel

See video of project using link above

MIMI LED housing installed within diamond pattern façade Lighting Design: Bo Stieber Lighting Design, Thailand Photography: Apichat Piyapaka Branch: KKDC Bangkok

eye opener

VEKTOR Berlin, Germany VEKTOR is the latest audio-visual installation by international light artist Christopher Bauder, launched at Kraftwerk Berlin this February. In his most personal work to date, Bauder fuses kinetic light from 50 moving lasers with a self-composed, three-dimensional soundscape to create a synaesthetic work of art. Moments and memories from his life are processed into an abstract light art experience, with visitors submerged into a fascinating sound and imagescape. VEKTOR marks the third time that Bauder has presented work at Kraftwerk – one of his favourite venues – after SKALAR and Deep Web. For the first time though, Bauder has also composed the multi-channel soundtrack to his installation himself. Sound elements are woven into a three-dimensional musical world of VEKTOR, recapitulating his previous work and outlining his path into the future. The distant church bells take viewers back to Bauder’s childhood in the countryside, the sound of the sea takes them to his island of longing, and the references to early techno tracks illustrate the nights spent clubbing in the Berlin underground scene in the late 90s. The architectural spatial sculptures are made of iridescent laser light, which are closely linked to the soundtrack, and lead far into an unknown, luminous future. In a previously impossible way, a multitude of light sources moving in space are woven into a single, almost living organism of pure light. 026 / 027

The transformative power of VEKTOR can be experienced in two different ways: exhibition and live performance. The exhibition runs continuously, without a defined beginning or end. It has a meditative character and invites visitors to dwell indefinitely, to walk around, sit or lie on the floor and remove themselves as far as possible from everyday life and the outside world. The exhibition is a full-body experience that invites visitors to explore the entire space with the installation and the constantly changing flow of light, movement, and sound from all sides. As a special highlight, Bauder is also presenting a few exclusive VEKTOR live performances, together with several guest musicians. In the live shows, Bauder unveils an extended version of the art installation in terms of time and content, which follows a concert-like dramaturgy. Bauder himself is at the controls to modulate both the visual and musical parameters of the installation live. The live shows have a dramaturgical development, in which ambient and beat-driven sections alternate. This is based on a classic concert setting, with a defined beginning and end. The close connection between beats, cinematic sound design and performative visuals plays a central role when Bauder and his fellow musicians interact with light and sound in real time, meaning that no two performances are the same. VEKTOR is open from 1 February to 7 April.

Image: Ralph Larmann

Drawing Board

Serpentine Pavilion London, UK Seoul-based Korean architect Minsuk Cho, and his firm Mass Studies, has been selected to design the 2024 Serpentine Pavilion – the 23rd iteration of the project. Titled Archipelagic Void, the Pavilion will consist of five “islands”, designed around an open space. Mass Studies envisions a void defined by a series of smaller, adaptable structures located at its periphery, intertwining with the park’s natural ecology and its temporal conditions. These structures will form a constellation that shapes a singular central circular void. The central void will act like the madang, a small courtyard found in old Korean houses, accommodating rich spatial narratives ranging from individual everyday activities to large collective events. Around the void, each structure of the multifaceted pavilion will be envisioned as a ‘content machine’, each individually named and serving a different purpose. The Gallery will act as a welcoming main entry, extending Serpentine South’s curatorial activities outside, while the Auditorium will serve as a gathering area. The small Library will feature to the north of the pavilion, offering a moment of pause. The Tea House will honour the Serpentine South’s historical role as a tea pavilion, while the Play Tower, the most open space, will feature a netted structure. Assembled, the parts become a montage of 10 spaces surrounding the void: five distinct covered spaces and five open, in-between areas, each acting as a threshold that seamlessly integrates with the surrounding park and pavilion activities. Highlighted by varying natural light conditions, these flexible spaces will welcome people and host live programmes. Minsuk Cho said of the design: “We are honoured and grateful to be chosen as the next Serpentine Pavilion architect. We began by asking what can be uncovered and added to the Serpentine site, which has already explored more than 20 iterations at the centre of the lawn, from a roster of great architects and artists. To approach this new chapter differently, instead of viewing it as a carte blanche, we embraced the challenge of considering the many existing peripheral elements while exploring the centre as a void. It also begins to address the history of the Serpentine Pavilion. By inverting the centre as a void, we shift our architectural focus away from the built centre of the past, facilitating new possibilities and narratives.” 028 / 029

The Serpentine Pavilion project began in 2000 with Dame Zaha Hadid, with the goal of presenting the first completed UK structures by some of the most significant and emerging talents in international architecture. The pavilion has evolved over the years as a participatory public and artistic platform for the Serpentine’s interdisciplinary, community and education programmes. The 2024 Serpentine Pavilion will be unveiled on 5 June.

Images: Mass Studies, courtesy of Serpentine


Image: Tennessee Titans / Manica

New Nissan Stadium Nashville, USA NFL franchise the Tennessee Titans has released the designs for its new, enclosed stadium, which will be nestled along the east bank of the Cumberland River in Nashville. The stadium, dubbed the New Nissan Stadium, will host Titans games, as well as TSU football games and community activities, while also attracting the world’s largest and most prestigious sporting events, such as the Super Bowl and Final Four tournaments. The New Nissan Stadium will encompass 1.8 million sqft, with a capacity of approximately 60,000. The project also includes a 12,000sqft community space to host classes for local schools, job trainings, and other community-minded events. Design features of the new stadium include a circular, translucent roof; exterior porches that offer panoramic views of Nashville; and improved sightlines for all spectators through a range of diverse seating experiences. The robust Architecture & Engineering (A&E) project team is comprised of 24 firms, including nine local businesses and 13 disadvantaged business enterprises (DBEs).

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Atlanta-based TVS is the Architect of Record for the project, with Manica serving as Lead Design Architect. HLB Lighting Design has been appointed as lighting designers for the project – its Miami and Denver studios working on the state-of-theart facility. HLB Associate Principals Simi Burg, Michael Lindsey, and Darcie Chinnis will lead the team’s efforts on the project. Simi Burg said of the project: “HLB Lighting Deisgn is privileged to join in partnership with the Tennessee Titans organisation, the other design team members, and construction team to bring this remarkable and transformative project to Nashville. Our firm passionately believes in the unifying and transformative power of light, and we look forward to utilising our team’s talents to deliver a vibrant, state-of-the-art venue for the Greater Nashville community and millions of fans around the world.” The New Nissan Stadium is anticipated to open in 2027.

Light with a sense of lightness With intricate lines and visual lightness, this LED wall luminaire is an eye-catching centrepiece for interior spaces. A white diffuser ensures uniform unshielded light distribution. Available in different sizes and surface finishes, on its own or as an ensemble, the luminaire opens up creative design freedom.

3.– 8. 03. 2024

Frankfurt am Main Hall 3.0 · Stand C 91

Das gute Licht.

Following her success in the SLL Young Lighter competition, Teresa Aguilar Carrasco sits down with arc to tell us more about her winning project, her burgeoning fascination with light, and what the future holds after the win.


How did you become interested in lighting? It emerged during my fourth year of Architecture school, thanks to a professor I had. The following year, when I needed to choose a topic for my final undergraduate project, I sought his opinion. At that moment, he introduced me to a project that had just begun within his research group that was focused on exploring the impact of circadian lighting on the health of healthcare professionals working in the intensive care unit of a hospital in Seville. The project involved collaboration with nurses, doctors, and biochemists who could analyse the actual effects of such lighting on melatonin and cortisol levels. Having never encountered the concept of circadian lighting or circadian rhythms before, I delved into research to learn more. The subject captivated me, so I based my final undergraduate project on it. How did you hear about the SLL Young Lighter competition, and why did you enter? This was the second time I entered the competition. The first time was in 2021, and I made it to the final. Due to Covid, the final took place online, so I couldn’t experience being in London for the event. That’s why, when I saw that the 2023 edition was returning to London, I decided to give it another try. As for the first time I heard about the competition, one of my PhD supervisors informed me about it. Since it was related to lighting, and considering the topic of my thesis, he thought I might be interested in participating. I visited the website, watched videos from previous years, found it intriguing, and made the decision to enter. Can you tell us about your winning project? The idea of creating a tool like CircaLight originated from my undergraduate thesis work, during which I had to invest a significant amount of time in creating models and simulations. Recognising that the hours spent on these tasks could be significantly reduced by a tool encompassing everything from spatial modeling to visualising circadian metric results, I realised it could greatly advance the analysis of results, which is the truly crucial aspect. Therefore, when I began my thesis, developing this tool became one of the milestones to achieve. Creating CircaLight as a plugin for Grasshopper allowed me to analyse numerous configurations of both electric and natural lighting. Subsequently, I could test in real-world scenarios those configurations deemed most beneficial, facilitating their optimisation. This approach streamlined the process and enhanced the efficiency of the analysis and implementation of optimal lighting solutions.

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How was the experience of presenting your project at LiGHT 23? It was a unique and highly enriching experience. Being at LiGHT 23 allowed me to connect with individuals working on related as well as diverse topics, offering me new perspectives. Furthermore, it presented a significant opportunity for my research to be heard by lighting experts. The most compelling aspect of such events is the chance to establish new contacts that may potentially contribute to a shared professional network in the future. How does it feel to have won the competition? It is a great satisfaction for me that several years of work are being recognised in this manner. The fact that multiple lighting experts have identified potential in CircaLight as a new tool for circadian metric analysis provides me with increased confidence that I am on the right track. What feedback did you get from the judges? The judges primarily emphasised the novel approach to the challenges of better integrating different metrics into an accessible and easy to follow workflow. The original work collected a number of different processes and presented new ways to tackle the challenges of undertaking the daylight assessment of different metrics, delivering a consistent methodology to present and communicate the outcomes in a consistent manner. Lastly, they highlighted the potential of bringing much wider support to the lighting industry and increasing implementation of good daylight design. What is the next step for you? I have just submitted my thesis, and I will be defending it shortly. Currently, I am establishing my own architecture studio with three colleagues, who are also deeply involved in the field of research. The new project is called “ancÁ estudio.” Therefore, I hope to apply what I have researched and studied so far to new real architectural projects. Concurrently, I will strive to continue my research and teaching career at the university, aiming to combine research with actual architectural practice. What advice or words of encouragement would you give to anyone interested in entering the SLL Young Lighter competition? I believe the most important aspects are enthusiasm and self-confidence, trusting in oneself and in the value of the work accomplished.


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24.01.2024 10:29:36

Snapshot Light It Design Utilising its background in architecture, interior design and industrial design, Light It Design has built a strong portfolio of lighting design projects across a wide range of sectors, in Australia and beyond. Here, founder Raffaele De Vita shares some highlights.

Google ODI Headquarters Sydney, Australia Situated in Sydney’s Pyrmont is the headquarters of the world’s largest and most well-known global technology company: Google. Spanning 10,000sqm, this state-of-theart workplace embodies the epitome of modernity, innovation, and inclusivity. Spread across five floors, Light It Design used a layered light approach and utilised its skills and expertise in hospitality, residential, and commercial lighting design to design a very versatile environment. The ground floor of the headquarters required a fusion of hospitality and retail approaches, seamlessly blended with workplace functionality, encompassing an entry lobby, pre-function area, an auditorium, gym, a wellness centre, and even an Instagram selfie area, catering to the social media-savvy culture that characterises our digital age. Working floors with a residential “work from home strategy” and an entire floor as food court also designed for flexible working on the above floors. Colour changing linear lights create a fluid river of light, assisting with wayfinding, guiding visitors towards the auditorium. The concept of lines and connectivity resonates throughout the main working floor. The linear lights create shapes that embody the essence of connection, symbolising support, and encouragement from the company to its employees. Countless pre-set scenes were programmed into the control systems for various functions, from cocktail parties, to events such as NAIDOC celebrations, to Transgender day and more. Sustainability was one of the key design elements, inclusive of compliance with energy savings standards LEED and NABERS standards.


Chanel Headquarters Sydney, Australia The Chanel headquarters in Sydney was a great opportunity to design at a new level. Completed in early 2019, the project extends across two floors and incorporates two internal stairwells and an aesthetic that not only reflects the iconic Chanel brand, but also infuses a Sydney vernacular.


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Respectful and proud of a deep heritage, the space declares it is Chanel through detailing. The architectural fittings on this project are almost invisible, perceiving mainly the effect of the light, with downlights integrated seamlessly within architecturally designed black channels. The emphasis is on the staircase, lit from the ceiling and the floor below with narrow beam pin spots located within the “weaves” of the backdrop wall. The main circular light fittings, low glare, are statement pieces recalling the grandeur of the brand, merging seamlessly with the circular design of the staircase and the paving of the floor. Sustainability was one of the key design elements. Daylight sensors reducing the brightness of the fittings, around the glass façade, employed only LED lights; Green Star and NABERS standards were some of the key elements of the sustainable approach.

Ovolo Hotel Sydney, Australia The first hotel by Ovolo in Australia is set on the Finger Wharf in Sydney’s Woolloomooloo. The main brief was to make this space attractive, for the guests of the hotel and for occasional visitors, revitalise and attract a new generation of guests. Heritage and iconic character were the original ingredients, which the lighting designers infused with human-scale design and energy-saving technology, allowing lighting to be a brush for painting on the canvas of the architecture. The lighting assumes the role of a unifying element, that binds various spaces together. To overcome heritage and scale challenges, the team designed to the human scale and created ‘pods’ to reduce the size of the area, creating a more cosy and intimate experience, and provided mounting points for lighting elements and cabling. All light fittings were affixed in a way to mimic a comfortable residential height and, without obstructing the impressive historic architecture. The intended use of each pod was carefully considered to ensure the lighting effectively facilitated activities such as dining and


working while providing optimal lighting comfort for guests and visitors. Influential lights, such as pendants and lamps were selected to suit Ovolo’s young, playful, and effortless luxury brand values. Filament LED lights were used to create a connection with the past and ensure energy efficiency. Low-level LED strip lights were used to define the interiors, act as wayfinding, minimise the heritage impact and give a floating appearance for visual appeal.

Heinemann Duty Free Sydney, Australia Working on such a versatile space with almost no opportunity for accent lighting to be mounted onto the ceiling, located at more than 10-metres in height, was an enthusiastic challenge. The goal was to create a lighting scheme that not only illuminated the products and provided a comfortable atmosphere for customers and passengers, but also harmonised with the design and layout of the precinct. The designers created a multilayered lighting design that was both functional and aesthetically pleasing by considering the architectural features of the space, resulting in a successful and cohesive composition within the context of the precinct. The selection of high-output light sources with a colour temperature of 3500K ≥95 Ra was imperative in the high-level lighting to bring out the gold and warm finishes of the new structures while also ensuring that the silver and blues were apparent. The joinery lighting was more dedicated to the use of each space, with accent lighting focusing from cosmetics, watches, clothing, and wayfinding. A lighting control system has been integrated to adjust levels of luminous output, via input from daylight sensing and time clock control. The ‘Halo, the statement in the ‘Forum’, recalling the geometry of the space and lighting integrated into the retail framework below has resulted a homogenous blend of light within the vision of the architectural team. The lighting control system has been integrated to adjust levels of luminous output, via daylight sensing and time clock control.



Based in Australia and Europe, with an Italian design background, Light it Design is an award winning independent lighting design practice with projects completed globally. Founded by Raffaele De Vita, the studio uses light like a brush to paint onto the canvas of interiors and architecture, improving people’s quality of life with its work. With backgrounds in architecture, interior design, industrial design, and services coordination, the team works collaboratively with interior designers, architects, clients and consultants to transform spaces with tailored lighting solutions. By staying on top of cutting-edge research into sustainability and wellbeing, Light It Design is able to explore new ideas and be innovative in its design approach. The team’s experience spans across a variety of industries, including workspaces, hospitality, heritage, retail, education, public realm, and healthcare.




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Light + Intelligent Building Middle East This January, arc editor Matt Waring travelled to Dubai for the latest edition of Light + Intelligent Building Middle East to check out its ThinkLight talks programme. Here, he recaps an educational trip.

Top Sharon Stammers, Co-Founder of Light Collective (right) leads a “Fireside Chat” with Florence Lam, Global Lighting Design Director, Arup (right). Bottom Left Andrew Bissell, Partner at Ridge and Partners. Bottom Right Martin Lupton, CoFounder of Light Collective.

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This January, the international lighting design community gathered in Dubai, UAE for the 17th edition of Light + Intelligent Building Middle East. Showcasing the latest innovations in lighting from the MENA region and beyond, the show this year was driven by the overall theme of Enlightened Future: How responsibility will guide the future of Light and Buildings. Spanning across three halls – with a 75% growth in event space and 128% increase in exhibitor numbers from 2023, more than 400 international exhibitors came to Dubai’s International Trade Center for three days of networking. Alongside the bustling trade floor, the show also hosted several talks programmes – the Smart Building Summit, InSpotLight, and ThinkLight, each with a healthy programme that looked at some of the key industry topics of discussion, from circularity and sustainability, to city design, technology (notably AI), and dark skies. Such was the strength of the talks programme, particularly the ThinkLight stage, curated by Sharon Stammers and Martin Lupton of Light Collective, I made the journey to Dubai (my first time in the city, would you believe!) to check it out. Having seen the growing buzz around the show in previous years, it seemed like an excellent chance to reconnect with some familiar faces, meet a few new ones, and get inspired by some fantastic speakers. First on the agenda, after a brief flurry of hellos, handshakes and hugs, was the incomparable Lauren Dandridge, Principal at Los Angeles-based Chromatic and Adjunct Associate Professor at USC School of Architecture, who opened proceedings with her keynote presentation. I’ve long been a fan of Dandridge, since our fascinating chat back in arc #126, so I was very

keen to hear her speak under the broader theme of Enlightened Futures: Cities. Her session didn’t disappoint, taking a particular focus on the notion of responsibility – whether this is circular responsibility, civic responsibility, or liability – and how the lighting design community can collectively take more responsibility in its work. A particular focus of hers is lighting in the public realm, and how urban lighting can be seen as a privilege for those that can afford it, or a weapon for those that can’t – this was again addressed, with some striking examples of “Omnipresence”, and the common misnomer that increasing light levels reduces crime, where lighting, she feels, is talked of as a “treatment for a virus”. Her talk was followed by a series of short sessions from Sebnem Gemalmaz, Lighting Design Leader at Arup Turkey; Charles Stone, Founder and President of Fisher Marantz Stone; Chris Lowe, Senior Design Manager on the Diryah Gate Giga Project, Saudi Arabia; Ahmed El Banawy, Associate Director at Nakheel, UAE; and Elisa Hillgen, City of Light Coordinator for Jyväskylä, Finland. Each presentation delivered a different take on issues surrounding lighting for the urban realm – whether that is using light to create an enhanced sense of belonging, particularly in underprivileged areas; the complexities of masterplanned cities compared to those that grow more organically over a long period of time; or how designers and urban planners can develop a culture around urban lighting, particularly in areas where natural light is lacking. All talks reverted back to the overall goal of needing to put people first, whatever the project or its brief. Following the brief presentations, Dandridge led a panel discussion with each of the speakers to

Images: courtesy of Light + Intelligent Building Middle East LIGHT + INTELLIGENT BUILDING MIDDLE EAST

Top Left Lauren Dandridge, Principal of Chromatic, talks with Charles Stone, Founder and President of Fisher Marantz Stone. Top Right Dorothy Di Stefano, Founder and Director of Molten Immersive Art. Bottom Left Emilio Hernandez, Founding Member of the GreenLight Alliance and Co-Founder of Ström, asks a question from the audience. Bottom Right Linus Lopez, Partner of Lirio Lopez Lighting Design Consultants.

go over some of the key themes. Taking questions from the audience too, the panel discussed the balance between people and technology, and how lighting design can be “normalised” for all users, regardless of budgets. Day One’s afternoon session turned to the subject of sustainability and the circular economy – a hot topic in the lighting industry, this session sparked a lot of debate amongst speakers and the audience alike. This kicked off with a presentation from Emilio Hernandez, founding member of the GreenLight Alliance and design practice Ström, who first addressed the irony of travelling from Sweden to Dubai to discuss sustainability (he did calculate the embodied carbon used and how to offset this). During his talk, titled Going Round in Circles, Hernandez covered the various strategies that arc contributors the GreenLight Alliance are employing to formalise the process of becoming a more circular industry, stressing the point that using LEDs alone is not a good enough solution, and that there needs to be more responsibility taken by designers not to “over-design” or over-engineer their works. Again, after Hernandez’s talk, a series of quick-fire presentations followed, all along the same thread of circularity. Florence Lam, Global Lighting Design Director of Arup, and Paul Traynor, Head of Light Bureau UK, shared examples of the work that their companies are doing to be more circular. Lam discussed the need for humility, admitting that we, as a design fraternity, don’t know everything, before 038 / 039

suggesting that perhaps we need a mindset shift from “sustainable” design to “regenerative” design. Initially looking at the need for more policy on the subject, Traynor posed the question of “would we need policies, if we just did our jobs better?” Sharing examples from Light Bureau’s portfolio of projects, he talked about the importance of engaging local engineers and manufacturers to create a sense of connection and pride. Hank Shih of J+B Studios demonstrated the Chinese approach to circularity, firstly namechecking the “Circular Economy Promotion Law of the People’s Republic of China”, before showing how this contrasts with some recent lighting design projects in the country, highlighting perhaps a disconnect between government leaders and the public about what a “good” lit environment is. Amardeep M. Dugar, founder of Lighting Research & Design in India shared some of his research into the circular economy, discussing the entropy of lighting – incandescent lighting, he believes was “high entropy”, with just 10% of the energy used actually producing light, while LED is “low entropy”, with 90% of all energy used producing light. The final talk, from Buro Happold’s Alexia Gkika looked at the built environment as a connected chain, with lighting, circularity, etc, links in the chain; all factors need to be working in harmony, otherwise this chain can break, so she called for a vision alignment and harmonisation in the way of thinking, believing that circularity needs to be a “must-have”

for a ‘global document’ to standardise regulations across the world, alongside a single “Dark Sky Design” document that is – crucially – created with the input of lighting professionals. Following this, Linus Lopez gave a poetic presentation on the unique challenges regarding dark skies in his native India, from its dense population and relative lack of empty desert space, to a need to change the narrative about darkness. As CEO of Dark Sky International, Ruskin Hartley is clearly very knowledgeable and passionate about the subject of dark sky protection, and this was evident in his stirring presentation, giving a string of answers to the question of why we should care about light pollution, highlighted by some alarming statistics, including the fact that 83% of the global population live under a polluted sky, and that approximately $50bn of energy is wasted each year. He also made the very salient point that there is “no such thing” as a wildlife friendly light, instead stating that the “only friendly light is the one you leave off”. Finishing off the afternoon session, Andrew Bates of Red Sea Global talked about dark skies at scale, sharing his experience of working on the Red Sea development – an area spanning 28km, approximately the size of Belgium – and the introduction of a Light Management Plan, produced in conjunction with the area’s existing community. Nathan Savage took a slightly different approach to the conversation surrounding darkness – examining the impact of things that may have previously not been considered, such as new, bright white LED car headlights. He also asked the question of whether events like fireworks displays – popular in Dubai in particular – have the same value amid increasing sky glow and light pollution. In a more low-key final presentation, Mohannad Al Salkhadi spoke to the audience about the harsh reality that there are some cities that are unable to get down to a dark sky level. Proceedings on Day Two were once again brought to a close with an intimate “fireside chat”, this time with Sharon Stammers speaking to Florence Lam about her stellar career to date, and how the industry has changed during her 30+ years at Arup. Disappointingly, a busy work schedule meant that I was unable to return to the show for the final day’s proceedings – a real shame given the strength of the talks programme on this day too with a diverse array of top draw speakers such as Tapio Rosenius, Carla Wilkins, Martin Klaasen, Andrea Hartranft, Rupert Tait and Dr. Armaghan Ahmadi. It also meant that I sadly wasn’t able to don my tuxedo for the annual Light Middle East Awards either (just as well, given that I don’t actually own a tuxedo…). As I left Dubai, the FOMO was strong, but all it has done is motivate me to return next year, and make sure that I stick around for the full three days of what is fast becoming one of the must-attend events in the lighting design calendar. Until next time, Dubai!


consideration, rather than a nice to have. The final session of the day came in the shape of a “fireside chat” between Martin Lupton and Charles Stone. Intended as a more intimate, conversational interview, Lupton asked Stone about his career to date, reminiscing on some of his favourite projects, inspirations, challenges, and the proudest moments of his career. With the two having a strong rapport, having clearly known each other for a while (Lupton shared a grainy photograph of the two of them as workshop heads at Lights in Alingsås from several years ago), it was a charming and illuminating way to end the day. Day Two began with a session dedicated to Art & Entertainment, opening with a session from the incredible Dorothy Di Stefano. Anyone in lighting with a LinkedIn account will likely know Di Stefano for her presence here, where she regularly shares amazing examples of light art from around the world, and her talk at ThinkLight took a similar tack. Throughout her presentation, which included many eye-opening installations and projects, she talked about the combination of factors that invite people in – from interactivity and audience participation to storytelling, emotional connections, and even the blurring of boundaries between the physical and digital world. Keeping on this topic, Eugenia Cheng, founder of Hong Kong-based lightorigin studio talked about how architectural lighting can create feelings of immersiveness, engagement and inclusion in environments. Another popular topic of conversation, not just at the show but in the industry at large is the growing emergence of AI and digital art. In a fascinating session, Daniel Green of Into Lighting looked at the real-world applications of AI, pairing this digital tech with physical installations to form a new experience that transforms in line with the advancing technology. Whether through virtual or augmented reality (or another new, yet to be uncovered tech!), Green asked the question of how we “digitise” physical experiences, and shared some illuminating examples of his own research into the subject. Closing out the session, Egyptian lighting designer Ghada Dwaik, shared her own examples of multisensory experiences, and how, while there is a natural tendency to focus on visual interaction when it comes to art installations, touch, sound, and smell can also combine with light to create fully immersive experiences. The afternoon session on Day Two tackled another of the industry’s biggest talking points – Darkness. Leading proceedings, Andrew Bissell, Partner at Ridge and Partners and Past President of the Society of Light and Lighting (SLL), delivered a presentation titled Participation. Certification. Legislation. In this, he looked at the growing recognition that we are losing the dark sky, and the realisation that internal lighting can, and has, been a cause of external light pollution. Through his experience with the SLL, he called for the need

eye opener

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Cones Ghent, Belgium The latest site-specific installation from international artist SpY has been unveiled at Ghent University. Titled Cones, the piece features hundreds of traffic cones, wrapped around the front columns of the Belgian university’s Aula Academica building. The intervention, SpY explains, “alters the building’s assumed solemnity through an unconventional and thornily subversive aesthetic re-envisioning of its front”. Working from the appropriation of an everyday urban element, Cones takes over the building to create unexpected and intrusive, yet playful encounters for viewers. During the night, the cones glow, adding a layer of transformation to the experience of the street space.

Artist SpY has become known for his use of elements from the urban landscape in his artistic projects – objects that we see every day fulfilling functions of direction and control are transformed into tools for formal play, and a vehicle for unforeseen meanings. In Cones, he continues to explore new monumental formats that involve new concepts, dialogues, processes and tools, as well as new ways to spark reflections through a variety of artistic strategies. Cones was created as part of Lichtfestival Gent, which ran from 31 January to 4 February.

Image: Dave Bruel & SpY

talking with…

Hoare Lea arc editor Matt Waring sat down with Hoare Lea Directors Juan Ferrari, Ruth Kelly Waskett, and Jonathan Rush to talk about the logistics of lighting design within a multi-disciplinary firm, and learn more about the organisation’s North Star initiative.

“The beauty of design is not that you have to rethink the wheel, it is that you need to enhance the wheel every time you are building one.” Juan Ferrari Project Director 042 / 043

L-R: Juan Ferrari, Ruth Kelly Waskett, Jonathan Rush


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uring our time as a publication, we have run interviews with practices from across the full spectrum of the lighting design world – from solo ventures to international studios, each coming to us to speak of their inspirations, design approaches, and overall appreciation of the power and beauty of light. Given the diversity of lighting design as a profession, it is always fascinating to see the differences, and similarities, in the way that these firms operate – from ateliers and independent studios, to lighting design divisions of larger multidisciplinary and engineering companies. One such example of a lighting design studio within a multi-disciplinary operation is Hoare Lea. Formed in 2000 by Dominic Meyrick, the lighting design department has since grown from a small start-up to a major contender in its own right, with offices across the UK and beyond, and a number of award-winning projects to its name. Now led by Directors Jonathan Rush, Juan Ferrari, and Ruth Kelly Waskett, alongside Meyrick, the company is leading the charge in sustainable practices, with its North Star initiative putting people and planet at the heart of everything it does. Keen to learn more about how a lighting design studio operates as part of a wider, multidisciplinary offering, arc travelled down to Hoare Lea’s London office – just a stone’s throw from the trendy Coal Drops Yard – to sit down with Rush, Ferrari, and Kelly Waskett to talk people, planet, and more. While Meyrick established the lighting design wing in 2000, Rush and Ferrari both came on board in 2005, having worked together previously at another lighting design practice. Kelly Waskett, by comparison, joined the team initially as Principal Daylight Designer in 2017. As is the way with lighting design as a profession, each of the Directors arrived at the company through their own, unique route. Kelly Waskett recalls the journey that led her to Hoare Lea: “My path is like most people’s: it’s got lots of twists and turns, but broadly my background is mixed between engineering, architecture, and lighting. I started with a degree in engineering, and I worked as a building services engineering consultant for about five years. During that time, I felt a bit restless because what I was doing wasn’t satisfying me creatively, so then I did the MSc in Light & Lighting at UCL – that was around 2005. “I continued to work for multi-disciplinary practices, and later did a PhD in Daylighting – and after that I started doing some work at UCL, because it was setting up a new degree in Architecture & Engineering Design. I wrote some of the material for the new module on lighting, and then Hoare Lea reached out. “So, I came here, and I was absolutely delighted because at that point I’d realised that I didn’t want to go down the academic route. I’d done a bit of time in academia, and I’m really happy that I did – I’m still a visiting lecturer at UCL – as it brings something different to what we do here.” Ferrari shares an equally convoluted route to Hoare Lea, although his took him down a much more theatrical path, as he recalls: “I started as an actor, then moved into directing theatre and teaching

in schools. In doing that, I fell into musicals, and through them into lighting. “Not being very good at playing any instruments but loving musicals, I could “play” a lighting desk – I thought that it was the way that I could express myself.” “Long story short, I then trained in theatre lighting. I came to the UK and studied at the Royal Central School of Speech and Drama, and then decided I wanted to explore architectural lighting – I was fascinated that everything was lighting, but it was approached in very different ways. So, I started studying it, and through that I fell more and more into architectural lighting, and that’s how I’m doing architectural lighting now; by being curious, you fall into something, and you end up doing it.” By comparison, Rush believes his story is “much more boring than all that”. He adds: “I did a furniture design degree, I needed a job and I needed to learn CAD, because my university all those years ago didn’t have CAD, and so I found a job, and it was at a lighting company that did sports shops. I did that and I thought it was quite interesting; I’d quite liked architecture before, and it seemed like a route


Apollo Victoria Theatre, London, UK, 2003 (Image : Redshift Photography)

to architecture without having to do any of the hard work, if truth be told. I worked for a series of practices, and then came here in 2005.” These varying routes between Rush, Ferrari and Kelly Waskett are also reflected in the wider lighting design team, with members coming from paths as diverse as interior design, product design, theatre, engineering, and even psychology. It’s something that the team feels is only a good thing. “It’s beneficial, because you end up with a very diverse way of thinking, not just one fixed route, but they always tend to be more human-centric and put people at the heart of things – even product design, everything about that is the user experience of that product. I think that’s probably where there’s a common thread between us all,” Rush says. “We like to think that we can do everything related to lighting, and that comes from the fact that we have a team that has multiple backgrounds, and therefore can plug in different ways to whatever the requirements of the project are,” Ferrari adds. “I’m very proud of that fact, and that we have always balanced perfectly well the technical side and the aesthetical side of lighting, and we put that

forward to all of our projects.” While Ferrari leads the architectural lighting design element of the team, Waskett oversees the daylighting team – again demonstrating the diversity and scope of the practice. She explains: “When I joined Hoare Lea, it was mainly to develop the daylight offering that we have as part of the lighting team. It was recognised as a huge part of lighting, and that it deserves to have a place within the lighting service offering. Over the years, I’ve built up that team, and I’ve got a number of people whose sole focus is daylight, and integrating that with not only the lighting design service, but also with the other things that we do at Hoare Lea – it’s a huge part of sustainable building design. “I’m really proud of the fact that we have daylight as part of our offering, because there are a lot of firms out there that do some beautiful work, but they don’t address daylight – they shy away from it and treat buildings as if it was just night-time all the time. You can have a lot of fun with that and do beautiful things, but there isn’t a recognition of the 24-hour life of a building, of people in that space, and the fact that most of us, in reality,


Forge, Woking, UK, 2021 (Image: Jack Hobhouse)

experience light coming from multiple sources, natural and artificial. I love to embrace that, and that’s part of the reason why I’m here.” Elsewhere, Meyrick looks after the environmental impact side of things, with Rush serving as Group Leader. However, he feels that despite the moniker, it is a much more democratic process. “Everyone is massively autonomous, and there’s no dictation – it’s not hierarchical. We try and communicate most things, and most things that we do are discussed as part of the team; we try not to be authoritarian.” This collective approach to leadership is something that ties into the overarching culture that Rush, Ferrari and Kelly Waskett are trying to instil within their team. “We want to provide good jobs for nice people,” Rush adds. “Work is work – we’d all rather be on a beach somewhere, relaxing and drinking mojitos, but we have to work, and therefore we prioritise staff wellbeing in what we do. We want to provide good jobs, challenging jobs, while giving people the root space to grow. “Our design philosophy follows that because we want it to be relevant; there’s no point in doing something that the world doesn’t need just to hit the zeitgeist of the time.” “And the new generation know that too,” Kelly Waskett continues. “From what I see, the people coming into the industry are looking for something that has a purpose and a meaning. Designing 046 / 047

beautiful things without that purpose isn’t enough anymore, there’s a vacuousness to it. The world that we’re in today means that we cannot just get by designing beautiful things. We’re always looking for a greater meaning in what we do, a greater social and environmental impact.” Taking a more socially and environmentally responsible stance is something that ties in with the wider Hoare Lea philosophy of people and planet. However, while there are a lot of companies operating under a similar “ethos”, Hoare Lea is striving to do more than just talk, taking tangible steps to improve their environmental impact. These steps vary from encouraging staff to commute via public transport, to an electric car scheme, to meat-free catering in the office, and measuring the carbon impact of everything it does. And Ferrari adds that the firm is still eager to do more. He explains: “We have always been very conscious of the sustainable side of things, and this is continuing as we are learning. We know that we don’t know everything; we don’t have all of the answers, but we love the learning, both on the human-centric side and the planet side of things. “With regards to sustainability, being a multidisciplinary company and having a sustainability team within our company that we can relate to and learn from is one of the very basic benefits of being part of Hoare Lea. That’s why you won’t hear us say ‘engineering company’. We talk about a multi-disciplinary consultancy as we’re constantly sharing with a wider range of professionals. It’s amazing the wealth of knowledge that you get to progress your own specialism from working in a firm like this.” Kelly Waskett adds: “We’ve got people that are trained at doing embodied carbon assessments for the entire building, from start to finish. We have a huge amount to add to that in terms of the knowledge that we have about our bit – when I say “our bit”, it is significant, because we specify a lot of equipment, but that’s one of the benefits of being part of a wider firm.” Having been with the company for nearly 20 years, Rush continues that the collaboration with the wider team is something that has grown stronger over time, particularly in recent years. “Historically, we considered ourselves as a studio that happened to be part of a bigger thing, although in the last five years or so, we’ve made real efforts to not be that, because we’ve seen the benefits of being part of a more collaborative unit,” he says. “If you’re looking for influence and collaboration and innovation, what better way than just getting up from your desk and talking to someone from the Sustainability, Acoustics, or our Intelligent Buildings team. So many times, you can have a conversation and you’ll hear about one of your colleagues in one of the other teams that are doing something, and you’ll think ‘we’re not doing that, what do we need to do?’ And it drives you. You can talk to them, ask them how they approached it, and learn from that. It’s so easy to collaborate to drive innovation and thinking internally. “We don’t really have a thing called ‘business as usual’; I believe that there are lighting design firms









“We prioritise staff wellbeing in what we do. We want to provide good jobs, challenging jobs, while giving people the root space to grow.” Jonathan Rush

that are probably still doing exactly the same thing now that they were doing 10 years ago – except they now do it with LED. Whereas we now say, ‘what are we going to do?’ And we get so much more freedom to think about it because a lot more conversations are not just about what’s happening now, but what is coming, what is happening in five years’ time, where do we need to be then? We do what Ruth calls ‘Horizon Scanning’ – looking ahead. That comes back to employing good people, keeping good careers, because we want to be relevant in five years’ time, in 10 years’ time. We need to keep moving with the massive changes that are coming.” Ferrari adds: “If you ask me, the future of Hoare Lea, of our practice lies not in the three of us, but in the younger members of the team; and they’re already actively involved in shaping our progress and moving us forward. There is one thing that you get in a multidisciplinary practice, or in a larger firm, time. You have time to think together about the future, you have time to help people develop.” “As part of a bigger firm, we can afford to not be egotistical. If I was running my own practice, it might serve me better to keep my brand as me. Whereas our brand is not us, it’s a bigger thing. It’s bigger than me, it’s bigger than everybody. It’s quite a liberating thing,” Kelly Waskett explains. “On a slightly more banal note, we benefit from the fact that we’re part of a bigger organisation with infrastructure behind it. We don’t have to worry about accounts or HR or certain things that we’re not trained to do.” Being part of the wider multidisciplinary network also means that opportunities can arise for the lighting design team to work on projects that they otherwise might not have been presented with. It gives the lighting design team an interesting mixture of projects to work on. “It does open up our call to bigger projects, and projects that we might not get as an independent,” Rush says. “In addition to that, we work on projects just because they are fun, creative or engaging – for example, we do a lot of heritage buildings, which to some extent doesn’t quite fit within the mould of the bigger multidisciplinary practice. We have the ability to do our own small, unique pieces of artwork at the same time as larger infrastructure projects.” As Kelly Waskett puts it: “One of the things that we’ve always tried to do is balance out the fun and 048 / 049

unusual with more day-to-day projects. There will always be a flow of new-build projects, but then there’s also a recognition of the fact that we need to deal with existing buildings and retrofitting, and that has influenced the type of work that we do as well. There’s nothing that we would definitively say no to without evaluating it on its merits. We’re thinking about the fulfilment of our work as well, and the fact that we enjoy some smaller things, because we just want to have a bit of fun with it.” Rush adds: “You have small studios, or you have engineering practices, and then you have the rest the lighting that goes on in the world, which is done by electricians and manufacturers. And it’s really rewarding when you can do something where you can say ‘we probably wouldn’t have been employed as a small studio to do this, but we’re actually using the skills that we have to make a space that’s better for people’. “Healthcare is a good example of that. Typically, they wouldn’t employ a lighting designer or a small practice lighting designer, but we know that light has a huge power to make people’s lives better. There’s a lot that you can do within the healthcare sector to effect better outcomes for people. That’s one of the benefits of being part of a multidisciplinary company, you get to experience and influence a lot more buildings and spaces.” Ferrari continues: “That’s one of the reasons that we tend not to say no to something, because there is always something to contribute. Whether that’s looking at the human side of data centres, or helping hotel clients to understand the sustainability side and be more efficient, while still being gorgeous, it’s fascinating. There’s always something to learn in every project.” To that end, with the lighting design department forming just a small part of the overall offering at Hoare Lea, there are occasions where they won’t be directly involved in projects, but will instead guide and support the electrical engineering team to ensure that the highest standards of lighting are maintained. “There is a lot of knowledge sharing with our electrical colleagues on that front,” Ferrari explains. “There are a lot of electrical engineers, not only in our company, but in every single company that does lighting, and they have a reason to do lighting, so we need them to do it in the most appropriate manner from a company perspective, because we have the same signature, and so it is always important that their level of lighting knowledge is paired to ours. “This extends to the planet perspective as well – as an industry, we cannot judge ourselves for being energy efficient on a museum project or art installation, but then build schools, offices, hospitals, that are not efficient and doing everything wrong for the people that use them. It is important that we bring other people with us on our journey, and we start by bringing our own firm colleagues with us.” Kelly Waskett continues: “We want everyone to start from a good level of quality as a minimum, and it’s about making sure that we’re not just designing sustainable lighting that’s horrible, and people don’t want to be in the space, and vice versa.


NoMad Hotel, London, UK, 2021 (Image: Simon Upton)

Grain House, London, UK, 2023 (Image: Philip Vile)


Beecroft Building, Oxford University, UK, 2018 (Image: Jack Hobhouse)

“Last year, Juan and I went on a roadshow around our offices, which was really fun, and it was about sharing knowledge. It wasn’t us talking at people and lecturing them, we had games, workshop activities, and we got lots of great engagement with electrical engineers and sustainability professionals around how we can do this better together.” “It brings everybody to a higher level of lighting understanding, and therefore there is a better output for everything and everyone,” Ferrari adds. “Something I am very passionate about is the fact that the places we spend more time have the worst possible lighting, not only in the human sense, but in sustainability terms – schools, offices, even homes, have often been neglected of lighting design, and those are the things that we want to influence. And one of the ways of doing that is sharing knowledge, pushing together, upping our game. This approach means that the team has a broad portfolio of projects to look back on, spanning across multiple sectors and specialisms – to the point that it is hard for the team to pick out landmark favourites. “We’ve got a lot of great projects, but I always find it really difficult to separate them,” Rush says. “To some extent, the ones that you feel more fondly about are those that were smaller, where it was a really nice team, it was fun and you felt you were 050 / 051

doing something that had a bit more value, or a bit more like you were having a cup of tea rather than a meeting.” “It’s not always the glamourous, big, shouty projects,” Kelly Waskett explains. “When you say landmark projects, some of the things that come to mind are not the obvious blockbuster buildings.” Ferrari, however, is a lot more romantic in his view: “I have a poetic vision, in that I see cities as our landmarks,” he says. “I think that’s what happens when you walk around a city like London, and you see your input on the landscape, it is quite telling. “Using London as an example, when you arrive in London, if you travel by plane you might land in Heathrow Terminal Two, the Queen’s Building as it is called – that is one of our projects. You move into central London, you walk around, and you will see the Middle Eight hotel, Greenwich Market, Apollo Victoria Theatre, Kings Cross, NoMad London, the Grain House; The Bailey and so many others, it’s incredible when you start walking a city and you realise the volume of work that you have done. Picking up those landmark projects within our portfolio is quite difficult, but to look particularly in the cities that we have a lot of presence, is good because you can feel that you are working in your own house. We have done it internationally too – we have left an indelible mark in many cities and countries.”



Buckford Illumination Group CLIENT

Melbourne & Olympic Parks LIGHTING DESIGN



Coolon Aria X RGBW


Available in RGBW, Tunable White & Static White

Harris HMC






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


Hoare Lea Lighting Team Pottery Team Day Out - December 2023: (L-R): Jess Keates, Brad Joseph, Maria Gonzalez Matterson, Sean Kielthy, James Sander, Zoe Barkes, Ben Acton, Martin Crick, Karen Frances, Kael Gillam, James Buck, Ruth Kelly Waskett, Jonathan Rush, Chris Fox, Megan McCormick, Juan Ferrari, Liana Hoque, Harriet Davis, Joshua Welch, Ewan Ramsden, Rory Marr. Online: Dominic Meyrick, David Linville Boud. On Holidays: Anna Velarde Villaseca.

And yet, across this vast scope of projects and applications, there is a “standard” process, of sorts, through which the lighting design team at Hoare Lea will approach its work: a process that is largely built on listening and understanding what the client’s needs are, before addressing perhaps the most important question – why. “The first point is always to listen to what the project needs are, what the client needs are, and what they are trying to achieve with it,” Ferrari explains. “Then you bring a tailored expertise that is only relevant to that project – there are things that you learn from other projects that you have done and from your experience, but the process is tailored from that point onwards. That is the beauty of design – it is not that you have to rethink the wheel, it is that you need to enhance the wheel every time you are building one.” “Listening defines a brief”, Kelly Waskett adds. “One of the things that always comes to me is the importance of empathy in design. People look to the future of design, and they look at AI, but I believe that humans have got the upper hand there, because we each have our own experiences, 052 / 053

and we can bring these to what we do. So, when it comes to the design process, I think that empathy is part of the initial engagement because what we’re trying to do is understand. In maybe a less mature time we would have said ‘what lights do we need and where do we need to put them?’ Now, we’re asking what the client is trying to achieve and how we can help in getting there. That may or may not include lights. There are some cases where we might have to say to ourselves ‘do we need new products here or is this a reuse conversation, or a daylight conversation? What do we want to light and why? Is it helping us get to the aim?’ We want to think about it in a more holistic sense because people are experiencing light. We’re not imposing lighting upon people, they are experiencing light coming from different places, and we’re trying to orchestrate that.” Rush continues: “There was a day when lighting design needed to shout more – a space would have lighting dictated upon it to some extent. Whereas I think lighting designers and practices can be more mature now – using light to inform the human experience much more than dictate it.

“The world that we’re in today means that we cannot just get by designing beautiful things. We’re always looking for a greater meaning in what we do, a greater social and environmental impact.” Ruth Kelly Waskett

“Definitely listening, defining what the brief is and understanding it sets the tone for the rest of the project. And I think the industry is much more enlightened about this sort of stuff. It’s more of a collaboration, a conversation, trying to look for new ways of doing things, taking the overall holistic view of how it all feels, how it fits together as one big, wider vision.” Central to the wider vision at Hoare Lea is its North Star, a company-wide initiative that Rush explains is “making sure that everything that we do is driven by the purpose to be more meaningful, to support people and planet, better buildings, less environmental impact”. “It’s the start of a journey that’s going to develop over a period of time,” he continues. “Embedded within that is the need to try and lead a lot more conversations. Whether it’s sustainability, AI, whatever it is, let’s try and do something with it, get it out there and have a conversation with the industry and wider. For us as a team, it’s going to be about being much more outwardly focused – if we’ve got a thought or an idea, get it out there, share it, discuss it so that instead of as an industry being more passive, we’re actually feeling engaged and active in the conversation. “Sustainability is a great example because it’s moving so quickly. It’s so easy to be told ‘you’ve got to hit this many watts per metre square and you’ll be energy efficient’, whereas we aim to get to the bones of that, discuss what that is, what the targets are, what we need to achieve or what we want to target, and then work out how we get there and lead that conversation.” “We can’t be thought leaders on our own,” Ferrari adds. “We need to work with like-minded individuals, clients, architects, that have that sort of approach to what they do and work together. We’re constantly seeking these collaborations.” Rush continues: “It’s not enough anymore to just turn up and do a design. You want to have a wider conversation, engage with the stakeholders that are going to be using the space to find out what they want as opposed to just telling them what they need. Those conversations are going to be much wider going forward because everyone’s got informed opinions now, and we need to listen to those opinions.” “We see more of a partnering philosophy where we’re working with and collaborating with

organisations on a journey together,” Kelly Waskett adds. “And for us to be a trusted advisor in that partnership, it helps us with everything that we’re trying to do when it comes to sustainability, that approach is a lot more fruitful because we can all learn and continue to feed that back in.” With much change set to come in the lighting and wider building industry in the coming years, Hoare Lea is hopeful that its North Star vision will lead a path forward. And Rush, Kelly Waskett and Ferrari are equally excited about seeing what the future will hold for lighting design as a profession. “Even the industrial revolution brought more jobs,” Rush says. “It’s going to be a really fascinating time. We’ve talked about maturity within the industry, and I think we need to see and feel that a bit more. As an industry, with what we know about light now, it isn’t something that can just be put in to look pretty, it impacts life and sustainability as well. I would love to see, instead of lighting design being an artisan thing where people just create beautiful objects, it has a wider influence across the building stock that we have in this country, that hits all kinds of socioeconomic backgrounds. “It’ll be a real shame if in 10 years’ time, for instance, we’ve got all the AI supporting us, and lighting design is still doing hotels and restaurants – it’s a generalisation, obviously, but there’s much more that we can do. It’s going to be a crazy time, but I think everyone is genuinely excited by it. Change drives business. Someone has to manage it.” Ferrari shares the excitement, with plenty of hope for what is to come too. He adds: “I’m a believer. I believe in the industry and in the world. I believe that the industry will find a path and that we are going to be part of driving that conversation – I don’t just mean ‘we’ as in Hoare Lea, but everybody involved in the lighting industry. I have faith that we are going to go through this process and we’re going to get out of the situation in which lighting just means either a technical spec or the beauty of something, and we are going to combine everything that lighting means and push forward. But it is a difficult task.” The final word though, goes to Kelly Waskett, who concludes: “I feel that like Juan, I have to believe in it or else I won’t be here and pushing it with the energy that I have. I know that there’s going to be unexpected twists and turns, and I say: bring it on!”

eye opener

Convento do Beato Lisbon, Portugal Situated in the heart of Lisbon, Convento do Beato was built in the 15th century, and stands as a testament to history and spirituality. A refurbishment project, initiated in 2018, saw the space transformed into an events centre for parties, corporate meetings and product launches, opening its doors to the public in 2023. The renovation, led by architect atelier Risco, was focused on improving comfort and safety, with a new lighting design from Filamento playing a decisive role. The project included the conservation of existing materials, textures, and application of traditional construction techniques, dealing with stone and timber, for example. One of the strategies for the lighting, in order to accompany the architect’s attention to detail, was to organise a series of mock-ups and tests on site with the goal of controlling light distribution, the creation of shadows, and the quality of light and colour rendering. The main space of the project is the central cloister, designed for hosting large-scale events,

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with a system of orthogonally arranged trusses covering the central area of the space, now generously lit from above by skylights. As daylight fades, the subtle interplay of light and shadow unveils the details of the cloister’s interior façades. The artificial lighting in this space addresses the necessity for different preset scenarios for specific uses, while allowing full dimming flexibility, to achieve different ambiences and moods. Linear lighting fixtures have been discreetly integrated into the skylights, in a matrix where each skylight can be individually, digitally addressed, switched and dimmed. This way, lighting carefully balances modern technology with the preservation of the site’s historical authenticity, creating a memorable experience for visitors. Away from the main space, the arcades and main stairwell of the building were also refurbished and lit elegantly, bringing accent to the beautiful heritage features, colours, and architectural details.

Image: GonÇalo Soares


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Copacabana Palace Hotel Rio de Janeiro, Brazil

To commemorate its centenary year, the Copacabana Palace Hotel has undergone a renovation of its beautiful Art Deco façade, with lighting design from LD Studio.

ituated on the lively Copacabana

S Beach waterfront in Rio de Janeiro, the

Copacabana Palace Hotel has long stood as an iconic, Art Deco landmark for the Brazilian capital. Opened in 1923, the property celebrated its centenary year with a dramatic renovation of its façade lighting. To do this, the hotel owners turned to local lighting design practice LD Studio, itself celebrating its 26th anniversary, to create a new lighting scheme that would “preserve the fabled tradition” of the famous hotel, while also presenting something new and unique. The studio has a longstanding relationship with the hotel, having worked together since 2004, previously renovating the lighting in the hotel’s interiors, most recently in the theatre space in 2022. Monica Luz Lobo, Founder and Creative Director of LD Studio, explains the approach for the building’s illustrious façade: “As we have this close contact with the hotel design team, the idea to review the façade lighting is an old plan, but the celebration of the 100th anniversary of the hotel was the catalyst to make it a reality. The Divisional Director of Engineering – Americas, Paulo Pozzobon, asked us to renew the lighting of the main façade, adding the ability to address colour on special occasions. “It was quite a simple approach: make the hotel shine bright, and give the possibility to play with colour in a way that we didn’t need to hire scenic lighting that is expensive and damaging to the façade.” With Pozzobon’s briefing, and the understanding of the importance of the building to Copacabana Beach’s night scene, Lobo explains that the lighting concept for the façade was “to celebrate the legacy, reveal its soul in all its splendour, while showing its contemporary relevance using the latest technology to make it communicative and accessible by displaying scenes that show inclusion, joy, disruption, innovation, dynamics, and celebration”, all the while retaining the elegance and glamour of the hotel. “Our idea was to create a way for the hotel to dialogue with the city. We aimed to bring joviality and modernity to this centenary monument without betraying its original characteristics,” she adds. To bring this fusion of modernity and heritage to life, Lobo tells arc that this was a “hugely collaborative work”, in which a number of parties were all pulling in the same direction – particularly the design studio’s close work with lighting manufacturer TRYKA. “We had a great team that was united to build the best version possible of this renovation,” she says. “The Director of Engineering, the project director, relied on us fully to make it happen. We also had the collaboration of national and local heritage teams, and the full partnership of the contractors. “One decisive addition was the collaboration of TRYKA and its team. This was key to make sure that we could count on efficient, seamless, and intelligent equipment. From the first studies, we planned to build a mock-up on a whole vertical length of the building that could give us the certainty that we would achieve a soft light 058 / 059

distribution and composition, considering it is all done through grazing effects.” Speaking of light composition, Lobo explains that the approach was “to reveal and highlight the rhythm and details of this eclectic façade”, while assuring an elegant composition and perception of the whole building. The lighting designers opted for a warm 2700K during standard scenes, to emphasise the elegant nature of the hotel, while also bringing an inviting and warm ambience to Copacabana Beach’s night scene. On top of this, the placement of the fixtures, as well as their addressable possibilities, gave LD Studio the option to design graphically with colour, while also preserving the identity and elegance of the building. “We programmed 14 scenes, working in collaboration with the hotel design and marketing teams,” Lobo adds. “The majority of the scenes bring very precise and graphic areas of specific colours that connect with the desired messages. Just one specific scene – carnival – disrupts the whole thing and brings a luxurious festival of colours to the whole façade, intentionally. This is the nature of carnival; a special period where you can transform yourself into something else in your dreams – an apotheosis.” A combination of TRYKA’s Continuity, Stripline45, Stripline AG, Aura 5 and Aura 7 fixtures were used to bring the new light to the hotel’s façade, with custom glare shields, which also housed the LED drivers, designed and supplied by the manufacturer. These were finished in a customselected RAL to match the design and shade of the newly-renovated façade. The lighting was commissioned with a control system that brings the 14 different scenes to life; all luminaires are individually addressed on a DMX system, controlled by an LPC2 from Pharos Architectural Controls, while ECS controls provided programming services. Alongside the façade itself, the centre and rooftop sign have also been given a new glow, as have the flagpoles and flags erected in front of the hotel. All the changes were made taking into account the knowledge and support of the National Historical and Artistic Heritage Institute (IPHAN). Lobo adds: “We are aware of the importance and historical value of the Copacabana Palace Hotel, and its symbolic role in Rio de Janeiro. It is important to cherish this heritage and keep this jewel as it is. “Since 1997, LD Studio has been working with preserved works, interfacing with heritage agencies. We are absolutely aware of the respect that one must have when working with listed assets, even more so when it holds an important place in the carioca’s affective memory.” In addition to the new lighting system from LD Studio, the hotel’s façade was also physically restored, receiving a new coat of paint, bringing back the “Pearl Palace” – a shade of pearly white unique to the property. Other treatments included the restoration of room windows and the maintenance of the original colour of the handrails and vertical structures, and bringing back the exposed metal of the Juliet balconies.


Monica Luz Lobo, Creative Director at LD Studio, reserved special praise for the “anonymous lighting heroes” who rappelled down the side of the Copacabana Palace Hotel to focus the newly installed luminaires.


Client: Belmond Copacabana Palace Hotel Lighting Design: Monica Luz Lobo, Daniele Valle, Jordan Rocha; LD Studio, Brazil Architect: Ivan Rezende Arquitetura, Brazil Lighting Suppliers: ECS, e.light, Pharos Architectural Controls, TRYKA Photography: Andrés Otero

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Some elements also underwent structural interventions, while window frames were also restored and repainted. Despite the grandeur and cultural significance attributed to the hotel and its recent renovation, Lobo explains that this aspect of the project had a very short turnaround time – something she feels was both a blessing and a challenge. “We were hired in May 2022 to deliver the renovation and get everything up and running by August 2023 – it was a rush, but we were blessed to have a great and engaged team, from the hotel side, through to the design, management, and construction side – it was an awesome, collaborative process. “As a studio, we have worked on several big heritage and cultural projects, including the Theatro Municipal do Rio de Janeiro and the Igreja da Antiga Sé (the first cathedral of Brazil). Those projects always take years to be developed, so this one was a record, and a challenge. However, it was made possible because of our years of partnership with the hotel design team, and the bond of trust that we have built with them over time.” Indeed, it was this sense of collaboration, teamwork and trust that Lobo believes is the essence of the project’s success. “The success of this project, especially given the short deadline, relied on all partners working symbiotically,” she says. “The history of trust that we have built up with the building owners, through almost 20 years of collaboration, was certainly of great benefit to the final outcome. All teams involved have worked

together previously in the same spirit and have faced the challenges and risks due to the tight schedule with passion and lightness. Although our relationship with TRYKA was new for this project, they have engaged perfectly into this spirit, partnering up with local distributor e.light following our introduction.” Lobo also reserves special praise for the lighting technicians who rappelled down the side of the building to carry out the focusing of the luminaires – the “anonymous lighting heroes” that only added to the hugely collaborative process of the project. Unveiled in the winter of 2023, the new-look illumination of the façade will ensure that the hotel’s beauty and renowned architecture can be appreciated after dark – with some of the more refined and unique details now explored in a soft and elegant manner; while the added colour changing dynamics allow the building to be adorned with colour for special events. The hotel’s transformative overhaul has ensured that the location remains vibrant and attractive, and aligns with the positivity and hopefulness of the city itself. Lobo concludes: “The Copacabana Palace Hotel is undoubtedly glamourous and sophisticated, yet it represents a piece of all of us. It celebrates Rio as a city, the Brazilian way of life, our history, and our future. As a must-see destination for visitors to Rio, we are thrilled to have been part of this beautiful project.”

The Reluctant Businessman Kickstarting a new series on the business of lighting design, Marcus Steffen, Founder and Director of MS Lighting Design, talks about the adjustment that he had to make from ‘designer’ to ‘business owner’. COMMENT MARCUS STEFFEN

When people ask me what I do, I usually say I am a lighting designer. That has been my profession for approximately 20 years, and it is a core part of my identity. But now I don’t think I can keep saying that. As I have built my own consultancy business over the last 10 years, I have had to focus on running the business. I have hired staff, I do training, I do marketing and sales; everything that comes with a business. It has slowly become apparent that I am a businessman first, and a lighting designer second. This was something I fought against for a long time, since my passion for light is still there, but I have come to realise that they complement each other in wonderful ways. arc has been kind enough to give me the opportunity to write about the business of lighting design. With my series of articles, I hope to share what I have learned and why, even as I focus on the business side, I still feel the essence of a lighting designer inside me. In the design world I often feel that we believe business, money, organisation, profit; these are all dirty words. As if thinking about these somehow sullies the creative process in which we work and that if we don’t focus on purely the design element, we are somehow not producing our best work. But over my journey from starting my own consultancy to growing with staff, number of projects and their size, I feel that the opposite is actually true. Every step I have taken to building my business and focusing on that side has resulted in better quality work, happier clients and allowed us to incorporate good lighting into many more projects. I believe that the two go hand in hand. But why start your own business? I think most designers dream of the freedom of being their own boss. They really want to focus on producing the best designs they can for clients, and having control over their time, all the while supporting them with income. I know this is what motivated me to start my own business. I dreamt of a few well-paid projects, time to travel, and a comfortable place to live. Unfortunately, when you start out, it is hard work, and a lot of it is not related to 062 / 063

design. There are accounts, endless admin, dealing with clients, trying to win projects, building processes and endless other tasks, pulling you away from your design work. This can take its toll, and generally leads to frustration, exhaustion and even burnout. You fall out of love with your dream and normally the business fails soon after. Many numbers fly around but generally half of businesses fail in the first five years, and 70% after 10 years. These are tough numbers to face. The harsh reality is that if you want to spend your days creating the most amazing, beautiful lighting designs then your best option is to work as hard as possible to get a job that allows you to do this. Working in a company will give you the freedom to focus purely on design and being creative, while the company takes care of getting the projects and looking after all the admin. Actually running a business is an entire other job from what the business actually does. I run a lighting design business, so we produce lighting designs for clients. I have lighting designers who work for me and produce the majority of that design work, and most of my time is spent on what happens around the lighting design. I am focused on ensuring the designs are delivered on time, where the new projects will be coming from when we finish those designs, looking to the future, and how we can improve the services that we offer. Almost none of that is doing actual lighting design. To run a business, you really need to have more than one person because there is just too much to do. If you start on your own, then it is almost a race to grow, expand and fill those roles before you burn out from exhaustion of doing 3-4 jobs by yourself. Over the years I have had many lightbulb moments, but one of the key ones was thinking about what would happen if I got ill. If I was unable to do the lighting designs then clients would be upset, bills wouldn’t be paid, and I would be in a very tough position. This became even more relevant once I had employees since I wanted to ensure that they felt secure in their jobs. This fear (and fear can be an excellent motivator) led to


“It has slowly become apparent that I am a businessman first, and a lighting designer second. This was something that I fought against for a long time.”

me building a business that will not need me to function day to day. I want it to be able to produce incredible lighting designs that blow clients away, and can be easily delivered by contractors, but doesn’t rely on me to do this. My knowledge and experience isn’t used for dealing with projects day to day, but rather it is embedded in the training of designers and in the design processes and systems we have put in place to ensure good designs are produced. I balance the need to create and design (which is still a huge part of me as a lighting designer) with building a business that does what I love when I am not there. I don’t want to put you off starting your own business, or if you are running one already, make out that it is hopeless. On the contrary, I think creatives can actually make amazing business owners. That problem solving, innovation and ability to create are all essential skills. The key is to remember to apply them to the business, as well as what it produces. For me, the ability to do many more designs as a team has inspired me, because that means there are less projects out there that are poorly lit, to the detriment to everyone who uses those spaces.

Image: Olena Bohovyk, via Unsplash

eye opener

Zhoushan Ocean Cultural Center Zhoushan, China Nestled in Zhoushan, Zhejiang, China, the Zhoushan Ocean Cultural Center stands as a testament to the region’s rich maritime heritage. This architectural marvel, aptly dubbed the “fishing capital of China,” spans across a sprawling 55,000sqm construction area and, stands at a majestic 28-metres in height. The centre’s architectural design is a captivating interplay of form and function. Inspired by the intricate textures of the sea, the building complex seamlessly integrates eight distinct sections: a conference centre, exhibition centre, training centre, office centre, labour union activity centre, youth activity centre, women’s and children’s activity centre, and a magnificent concert hall. The lighting scheme, crafted by Ning Field Lighting Design, plays a pivotal role in bringing the centre to life. A harmonious blend of exterior façade colour-changeable floodlighting, with projection lighting and lighting from within, paints the building in a symphony of light and shadow. Echoing the ocean’s rhythm, crystal-clear light balls and water-patterned projectors cast shimmering ripples across the façade, adding an air of whimsy and dynamism. The architects ingeniously incorporated local climate considerations into the design. By creating a network of semi-outdoor spaces, they not only reduced the building’s energy footprint but also fostered a sense of connection with the 064 / 065

surrounding landscape. These inviting spaces, bathed in soft ambient lighting, serve as havens for communication and leisure, offering a welcome respite from the urban bustle. Five grand staircases, adorned with water ripple projection lights, lead visitors through the landscaped squares that fringe the site. These squares, each imbued with its own unique character, offer a delightful journey of discovery, with the play of light and shadow mirroring the mesmerising dance of the ocean waves. The Zhoushan Ocean Cultural Center is more than just an architectural marvel; it is a vibrant tapestry woven from history, nature, and human ingenuity. By seamlessly blending cutting-edge design with respect for the environment, the centre stands as a beacon of cultural and ecological harmony, beckoning visitors to immerse themselves in the captivating embrace of the sea.

MYS Hotel Khao Yai, Thailand

Nestled in the mountains of Khao Yai, the MYS Hotel is a luxury, boutique destination that fuses Scandinavian and Thai design. SEAM Design developed a lighting scheme that seamlessly blurs the interiors and exteriors of the space. 066 / 067


using contemporary Scandinavian and Thai-

required, delicate balance that would be “sufficient

boutique destination in Khao Yai, Thailand. Blurring interior and exterior spaces, the luxury resort provides a calming retreat amidst verdant greenery, giving guests a beautiful spot in which to relax and unwind. Lighting for the stunning new hotel was designed by SEAM Design, and one of the main parameters of the scheme was to delicately merge the modern and natural elements together into one cohesive ambience. Aticha Padungruengkit, Associate at SEAM Design, explains: “The project serves as the ideal retreat for those seeking proximity to nature while preserving their privacy and enjoying high-end services. Achieving this balance involves a thoughtful lighting design that facilitates wayfinding without being overly conspicuous, ensuring a harmonious blend of natural surroundings and modern amenities. “The overall concept for the lighting was to establish a sense of comfort that harmonises with nature, while infusing a subtle element of surprise. The lighting scheme is crafted to complement the distinctive architectural design – we hope that guests will always remember the unique character of the MYS Hotel and want to come back.” To realise this harmonious concept, the lighting design team conducted “extensive studies and research” to ensure that the lighting struck the

guests without disturbing the wildlife and natural surroundings,” Padungruengkit adds. Lighting control is used to ensure the appropriate amount of light is provided at the right times. During late-night hours, only wayfinding lights are activated, with lobby lighting dimmed while not in use, allowing for only a special light setting to remain on. One of the defining features of the hotel is its remarkable “levitating” outdoor pool; reaching out over the hotel lobby, the pool is connected to a lounge café that opens to expansive, highly curated gardens across the hotel grounds. Padungruengkit explains how the lighting helped to further showcase this standout feature: “The distinctive feature of the project is the levitating pool, easily visible from the main road in its elevated structure. We wanted to emphasise this ideal by incorporating vibrant colours into the pool, making it particularly prominent during nighttime from a distance. As guests pass through the gate to the drop-off area, they are welcomed by the watery floor that mimics the visual effect of the pool above, creating an immersive underwater experience.” The use of dynamic colours and movable lighting helps to further distinguish the reception area and set it apart from the rest of the hotel, but Padungruengkit explains how the lighting design shifts throughout the space to create pockets of distinction and enhance the overall guest experience. She says: “As guests move to the wine bar and restaurant, the ambient lighting and textures gradually lower to create a formal and refined ambience suitable for fine dining. “In the guest rooms, lighting is customisable, allowing guests to tailor the brightness to their preferences. A brighter setting is available for work or other business activities, an evening scene promotes relaxation, and a night scene is designed to facilitate a peaceful night’s sleep.” Padungruengkit adds that the illumination levels across the various areas of the hotel were designed to blend from space to space with minimal variation, while low-level lights, while providing different effects and functions, are similarly placed in terms of height and rhythm. These strategies, she explains, were used to seamlessly connect one area to another. That being said, the nature of the resort, and its merging of interior and exterior spaces, did provide a degree of difficulty for the lighting designers, as Marci Song, Director at SEAM Design, explains: “Blending across a fully glazed threshold between interior and exterior is definitely one of the biggest design challenges, particularly on a project in a mountain-side setting where there are hardly any buildings in sight. “When it comes to fully glazed partitions, the challenges are twofold: firstly, ensuring that the light spill from interior to exterior does not negatively impact the magical expression of the surrounding landscape and landscape lighting; and secondly that fully glazed openings allow views outward towards the beautiful vistas of the mountains, but they also allow for views within the rooms and villas. Careful

F inspired design, the MYS Hotel is the newest to create an inviting mood and atmosphere for

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positioning of lighting, optical accessories, and controlled scene settings all help to tune the light on both sides of the glass to increase privacy for the guest when and where needed.” Given the hotel’s beautiful surrounds, Padungruengkit adds that the lighting was designed with the idea of “facilitating a close connection with nature”, something that was posed to SEAM Design by the project architects, Urban Praxis. “We seized this opportunity to enhance the lighting scheme by developing creative concepts, delineating areas to be subtly and elegantly highlighted, while other areas were intentionally subdued to preserve the natural environment and privacy,” she says. This is but one example of how the design team worked in harmony across the board to achieve the desired, high-end finish, as Padungruengkit continues: “We worked closely together with the design and consultant teams from the project’s primary concept to ensure a unified vision among all team members. “During the detailed development stage, effective communication and coordination with the team became even more crucial, as the intricacies of lighting had to integrate with both architectural and interior details perfectly.” Being in close contact with the wider design team from an early stage also served to avoid any would-be structural issues later down the line, once the project got underway, as Song elaborates: “Structural constraints for lighting would need to be mitigated in the early stages of the design. We were lucky to be brought on board during stages two and three, where we had a chance to coordinate key details with structural engineers. “Sometimes, when we are brought in too late, the structures are fully coordinated, and we are only left with attaching rather than integrating the light. Other design opportunities could have been missed if we were not brought in for the early adoption of lighting. “The design is quite modernist, meaning that the buildings and structures are clean, and in a way monolithic, with very few embellishments. So, rather than attaching fittings for an expressed lighting approach, which is common in luxury and hospitality projects, we had to come up with clever and creative detailing. The luxury refinement is in the shaping of light with finessed details, rather

than deploying luminaires with refined finishes.” With the majority of the common spaces of the hotel open to the elements, the SEAM Design team had to work to find luminaires that would be durable and robust enough to withstand external use, yet available in the quality finishes and small sizes needed for a luxury environment. A tough balancing act to achieve, but Song explains that the team was able to find the necessary products needed to create the required ambience from local suppliers, where possible. “We do our best to find locally sourced products,” she says. “We worked closely with local suppliers and manufacturers to find high-quality luminaires that rival the European market. Where we can, we try to cut down on carbon footprint related to transportation, replacement materials and lighting equipment is supplied by the local and regional market with shorter lead-times for better support and customer service to the operator.” Completed in 2023, the MYS Hotel provides guests with a magical mountain retreat, with the fusion of Scandinavian and Thai design providing a contemporary, yet calm destination where they can immerse themselves in the beautiful Khao Yai surroundings. The lighting from SEAM Design only adds to the experiential nature of the resort, with Padungruengkit satisfied with how it fits within the overall visitor experience. She says: “Lighting can prioritise different areas of the resort, ranging from the entrance spaces where anyone can appreciate the captivating design of the lobby or indulge in a fine dining experience, to more private areas within the hotel building reserved for guests. The subdued illumination within the hotel rooms and pool villa, coupled with strategically positioned light sources, contributes to a sense of privacy.” Looking back on the project, Song is also satisfied that the collaboration on show has bore fruit, leading to a “magical” destination for guests. She concludes: “The project team, including the design team and the client team, were highly collaborative from beginning to end. While there are numerous resorts and vacation spots in the area, it felt like we were all working together for a common goal of creating a truly special place for Khao Yai. We think that we have achieved that.”

Client: MYS Khao Yai Lighting Design: Marci Song, Aticha Padungruengkit; SEAM Design, UK/Thailand Architect: Urban Praxis, Thailand Interior Design: Apichaya Krongboonying, Kalunyoo Sipiyaruk, Thailand Landscape Architect: Magla Landscape, Thailand Lighting Suppliers: Flos, iGuzzini, Illuspace, JRLite, L&E, L&L Luce&Light, Ligman, Live Lighting, Mosaic, Prolight Photography: DOF Sky Ground

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Palazzo Tirso – MGallery Hotel Collection 5* Cagliari, Italy

A beautiful example of 1920s, Neoclassical architecture, the Palazzo Tirso in Cagliari, Italy has been transformed into a stunning, five-star hotel. Lighting designers at essequadro | p ingegneria architettura sought to use light to showcase both the historic façade and modern interiors.


o perhaps an average observer, light is

T the unsung hero of architecture. The

observer in question may not embark on a journey to a 1920s Neoclassical building to solely scrutinise the quality of the façade’s luminosity, but it is undeniable that the absence of light would render such architectural marvels and be incomplete without it. The Palazzo Tirso Cagliari in Sardinia, now a revitalised luxury five-star hotel by Puddu Costruziono Group, acts as a testament to how light impacts structures and spaces, giving the architecture an overall completeness. The building was conceived in 1926 by the Cagliaritan architect Flavio Scano and is one of the first examples of Neoclassical architecture in reinforced concrete in Sardinia. It is called Palazzo Tirso as it was built by the Sardinian Electric Company, which controlled the Tirso dam. Acquired by Puddu Construzioni Group – leader of the construction sector in Sardinia – the building underwent renovation into the glamorous Accor McGallery Hotel Collection. This huge renovation involved a monumental refurbishment to the exterior façades and interior design, which beckoned the expertise of interior design studio Marco Piva and lighting designer Michele Schintu of essequadro | p ingegneria architettura. Engaged at a pivitol stage of the project, Schintu was brought in by Puddu Costruziono Group, having previously worked together on large-scale

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residential project, as they knew his expertise would be needed for enhancing the whole transformation. From the beginning, the project was developed with the intention of creating a welcoming and refined environment, in harmony with the interior design. Schintu says: “My lighting concept was oriented towards a light designed to enhance the environments, capable of being gentle, welcoming, not excessive and designed to make the hotel structure elegant. The contrast between light and shadow was fundamental. You can perceive it right from the entrance staircase to the corridors leading to the rooms.” A brief was made by the client explaining the project to Schintu, however it was through close collaboration with the interior design studio that the concept began to evolve. “Initially we had to use lighting concepts that I proposed by analysing the interior designers’ ideas and their renderings. It wasn’t easy but the interior design studio really liked the lighting concept I proposed,” says Schintu. “I wanted to combine the functional aspect with the architectural and scenic one, which could therefore highlight some historical parts present in the building, such as the beautiful arch with marble columns present in the entrance. I also had to combine two aspects, that of the result and that of the budget, as requested by the owners. The result was also high because they accepted the inclusion of important design pieces and some custom lighting fixtures.” In tailoring the lighting design for distinct environments, Schintu sought to seamlessly integrate aesthetics and functionality. His vision aimed at elevating the space and its colours by manipulating accents and light intensities. Precision in lighting placement became a pivitol strategy, guiding the gaze towards furniture or historical elements such as the marble column at the entrance to fashion striking contrasts and sculpt three-dimensionality of the surroundings. Schintu’s meticulous approach ensured that every nuance of the environment was embraced and enhanced, which was realised through the utilisation of lighting fixtures with different optics, flows and high colour rendering capabilities. “As we lighting designers know, light, with its intensity, colour temperature and also colour rendering, is fundamental for enhancing spaces, even more so in a five-star luxury hotel. I therefore tried to design a flexible system, completely dimmable and made up of lighting bodies with different optics. The objective was to illuminate what was necessary and not everything in a homogeneous way. In my opinion, an atmosphere is elegant when the light emphasises the space without becoming invasive or annoying to the eyes. This is what was done,” explains Schintu. The design took almost a year as the various environments were analysed and addressed individually. During the planning there were changes in detail regarding the interior design, which meant going back to the drawing board several times. This included aspects and details such as the lighting of the counters, for which three design proposals were made.





The ground floor –housing the reception, bar, and restaurant – was curated to feature varying light intensities. The reception, in particular, stands out with an elevated light intensity to craft a memorable impact upon the guest’s entry. Central to the ambiance of both the bar and restaurant were the two imposing custom suspensions, each spanning 12-metres and crafted from calendared and milled aluminium. The suspension over the restaurant was split into two six-metre parts. Infused into these fixtures was a sheet of hammered aluminium to enhance the light diffusion and decorate the lighting body with more shine. The approach departed from conventional fixtures with frontal opal placements and manifested from the idea of having a single cut of light. The rest of the ground floor is illuminated with recessed luminaires that have different optics depending on the area they have been inserted. Lighting as a tool for functionality and enhancement can be found in the stairwells. 076 / 077

The stairs feature an Art Nouveau railing that was restored and adapted to current legislation by Paddu Group. At the heart of both stairwells stands a glass elevator. Strategic deployment of lighting accentuates the pronounced contrast between the sleek modern elevator and the historic railing. However, the careful orchestration of light still adheres to the principal idea of having a guiding line of light that leads guests along to floors and to their hotel rooms. The corridors of the rooms are distinguished by a strong interplay of light and shadow, achieved through the placement of the asymmetric component, this is because of the positioning of light fixtures placed all on one side of the corridor and their optics. The arrangement results in a striking contrast that emphasises the contours of the corridor. The door handles and numbers of each room are highlighted by utilising narrow beams of light, that when flush with the wall exude a theatrical illumination. Once inside the suites, the lighting adopts a softer tone, complemented with the inclusion of suspended lights in the double height areas, adding a touch of elegance. Recessed luminaires within the suites are thoughtfully positioned to accentuate specific areas while miniaturised projectors under the mezzanine offer customisable adjustments to the occupant’s preferences. On the rooftop, light presents a soft and discreet light to cast a spotlight primarily on the greenery and trees but also the historical elements, such as the decorations of the hall, the plaque commemorating its construction, and the fountain. The rooftop restaurant has its own unique aura from being illuminated entirely of customised LED strips with specific measurements, a CRI of 95 and an emission spectrum slightly shifted towards red to enhance the presentation of the dishes. Meanwhile, the L’Occitane spa, located in the basement of the hotel, is illuminated with a very soft and relaxing glow. The corridors leading to the massage parlour and pool are illuminated from below using shielded recessed fixtures, a decision made to overcome the constraints of not having ceiling fixtures inserted. From there, the massage rooms are lit entirely with indirect light while the pool employs two 14-metre LED strips recessed between one joint and the grating sheets, exemplifying the project’s meticulous attention to detail. All fixtures chosen for the project were selected for the cleanliness of their optics, shielding, and the quality of the flow emission.

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architecture. From here I started with the design concept, verticality and horizontality had to be highlighted. The building thus has a vibration and a verticality that leads the gaze to rise and look at points of the building that perhaps previously did not attract attention. The coat of arms of the four Moors in the corner, the Art Nouveau decorations under the cornices, the ashlar of the pilasters, the mask above the main entrance. All these details are highlighted and enhanced by the light.” The designers were already well equipped to face the challenges that came with the exterior due to the refined planning using the model in the months prior. “The cornice present on both the second and fourth floors made it easier for me to anchor the lighting fixtures,” explains Schintu “and thanks to the measurements made I knew how much space I had, and I was aware of the fact that the space was reduced in the corner of the building. For this reason, I had stainless steel brackets made, which allowed me to bring the lighting fixture closer to the outside.” By the means of smoothing the accents, the result obtained means the façades became a characterising element of the whole hotel. In its entirety, the lighting bestowed a completeness to the project by infusing vitality into its existing beauty. Schintu captures the pivitol role of lighting in luxury hospitality, asserting: “It’s impossible to imagine a five-star hotel with bad lighting and amazing furnishings. I believe it’s impossible because they are two aspects that go hand in hand.” The Palazzo Tirso stands as a fine example to the indispensable role of good lighting design and underscores the importance of the time and planning that should be crucially invested. As a result, the design elevates the hospitality experience, from immersing guests in its rich history and architectural details to seamlessly interweaving with the contemporary interior design. In essence, lighting has breathed new life into this architectural gem.


A unique part of the lighting scheme, and a challenge for Schintu, was realised for the parts of the stairwell adorned with tapestries, designed by Studio Marco Piva, and created by Sardinian artisans. Schintu explains: “I like challenges and I like unconventional projects as you can unleash your creativity. I studied the more museum-type lighting for the lighting of the tapestries through the use of a custom body made by iGuzzini, which allowed me to illuminate these artworks in a uniform manner.” The exterior of the building presented unique challenges, demanding meticulous attention to capture every detail of the façade, decorative detail and the imposing faux ashlar base. The planning phase of the exterior component spanned for two months, focusing on a lighting scheme that would do justice the architectural elements. “With light I wanted to bring the monumental façade of the building to life in a new guise. Certainly, an element of strong impact was the desire to make the fake ashlar of the façade stand out during the night. Thanks to artificial light, you can decide what to highlight and what not. One of the details that I wanted to highlight on the façade is the Art Nouveau mask that frames a window of a room on the first floor. With regards to highlighting historical elements, on the terrace I enhanced the stair tower, highlighting the verticality of the arches present and highlighting the fountain and the plaque indicating the date of creation of the building,” adds Schintu. The initiative commenced with a laser scanner survey of the façades by Puddu Group to then create a three-dimensional model. The model was a pivitol tool for the designers to scrutinise the optics and the shadows of the building with precision. As a result, the light can showcase every facet of the façades and offers a more evocative interpretation during the night – an experience that previously escaped observers and now can be seen in its glory from the tourist port. Schintu expands: “The new lighting was certainly designed to enhance the reading of the

Client: Gruppo Puddu Costruzioni Lighting Design: Michele Schintu; essequadro | p ingegneria architettura, Italy Interior Design: Studio Marco Piva, Italy Lighting Suppliers: Flos, iGuzzini, Simes Photography: Studio Vetroblu

1 Hotel Mayfair London, UK

The epitome of “sustainable luxury, the newly opened 1 Hotel Mayfair brings the brand’s environmentally responsible hospitality to London’s Piccadilly. Visual Energy designed a lighting scheme to match the brand’s eco credentials. 080 / 081



ust a canape’s throw from Green Park, 1

Studio Moren on the 1 Hotel. GA Group, whom

J Hotel Mayfair opened in July of 2023. With its we’d worked with before, had recommended us.

bronze doors and a façade draped in a living wall of green foliage, it is immediately eye-catching among the buzz and flurry of London’s Piccadilly. Walk into the lobby, and you are greeted by a check-in counter hewn from a single 200-yearold oak tree, and a four-metre chandelier woven from living moss; Welsh slate, Yorkshire stone, and timber from fallen trees has been used throughout, alongside reclaimed materials, further emphasising what has been dubbed the “sustainable luxury” of this five-star hotel. The 1 Hotel group, across its portfolio of properties, strives for environmentally responsible hospitality that aims to reduce its carbon footprint where possible, while maintaining high standards of design, service, and experience. Adding to this ambition, 1 Hotel Mayfair resides in a pre-existing, 1980s building that has been totally gutted and upcycled from a seven-storey, “nondescript” building into a nine-storey, five-star premises. Visual Energy was responsible for the lighting design of the entire hotel – from the bedrooms and front of house to the restaurant, bar, café, and façade. Laurence Titton, Director at Visual Energy, recalls: “Five years ago, we pitched to Crosstree, the owners of the site, to work with GA Group and

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When we first talked to Crosstree, we emphasised our belief that simplicity and cleanliness should be the guiding principles for the hotel, and that we were keen to be on the project from beginning to end, which we were. “It was a project that really interested us from the get-go, partly because we’d seen and liked the group’s property in South Beach Miami, but also because of the sustainable challenge of the brief. “Having visited the group’s first property in Miami, the team were keen to impart the same sense of eco-sensualness and subtle warmth while staying true to the hotel’s Mayfair location. Throughout our five years on the project, the team worked to the mantra of “This is Mayfair”, riffing on the neighbourhood’s old-school reputation and the high-end craftsmanship found on Savile Row and Jermyn Street.” But the project also posed some interesting challenges – how to create a luxurious ambience while constrained by the limitations of the original building, and by the limitations of low energy consumption. The response, Titton says, was to get creative. Working with the original 1980s infrastructure of the building meant dealing with low bedroom and bathroom ceilings that couldn’t be raised. Visual Energy therefore used state-of-the-art, not yet released fittings from Delta Light boasting the technology required within a downlight that measured just 50mm high, small enough to fit into the tiny ceiling void. Elsewhere, to avoid energy waste, Titton and his team ensured that most lights served multiple purposes. For example, a single light illuminates the entrance, feature living wall, and water fountain next to each of the 108 bedrooms. “To illuminate the plant box in every bedroom, we devised a simple but effective solution that kept electrical output to a minimum – place a box within the box with an LED strip wrapped around it, which bounces light up and down, creating the distinctive shadow effect around the plant and lighting amenities,” Titton adds. Other challenges included creating a unique halo effect around the bedroom headboards, which involved placing a uniform line to follow the curvature of the design, rather than straight across. For the display shelves that separate the bar from the main lobby, the lighting team drew on its experience at the V&A, treating them like museum vitrines, creating points of interest with minute lights concealed in the uprights and shelves. When it came to lighting the façade of the hotel, the design team was mindful of the nearby Ritz hotel. Titton therefore explains how this impacted on the lighting approach for 1 Hotel Mayfair: “How can you compete with a façade like the Ritz, which has all that sense of history and theatre? The façade of the 1 Hotel was fairly unremarkable by comparison, thanks to the original building, although it had been re-fronted with Portland stone. “But there was also the group’s ethos of sustainability to consider – how would it look to

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have a façade awash with lights? In the end, we decided to use just a handful of lights to illuminate part of the exterior structure.” This “less is more” mentality extended to the lighting controls in each room. “We’re firm believers that the fewer buttons on show, the better,” Titton adds. “Not only is this more sustainable, it’s generally less confusing for the user. So, each control has just four buttons. “It’s common sense, really, but surprisingly rare: buttons that behave as traditional household switches, with a binary twin function for on/off and day/night.” The “less is more” approach was used on every lighting decision around the hotel, from frontof-house to the corridors – no light was placed without first thinking if it was strictly needed. This sparsity of lighting, the designers feel, has a dramatic effect on the atmosphere and mood. Within 1 Hotel Mayfair, its restaurant, Dovetale, has an identity of its own; a destination in its own right, with its own entrance, run by Michelin-starred chef Tom Sellers. The adjoining Dover Yard bar overlooks the hotel’s botanical courtyard, while the Neighbours lobby bar and café is a relaxed space for sit-down or grab-and-go snacks. Between them, they create a unique ebb and flow throughout the day, drawing guests and locals alike. When it came to lighting these spaces, the design team had to take into account the natural light coming in through the skylights, an open kitchen – and the chef’s need for direct lighting – and the shifting moods throughout the day and night. “The result is a galaxy of downlights set into the beautiful wooden ceiling, all working to showcase particular elements – ice buckets, food, bartenders – but without being obviously visible to the guests below,” Titton explains. “The lighting imbues a rich, warm glow – every hour is golden here. The separate entrance has also transformed a little corner of the city, from a shabby area where the bins were kept into a secret passageway with a living wall.” One of the major drivers for this project was to make it as sustainable as possible. From the materials chosen by the interior designers to the lighting approach from Visual Energy. The 1 Hotel Group is at the forefront of luxury, eco-conscious hotel design; all of its hotels in North America are LEED certified, while the London property is BREEAM rated – its commitment to sustainability ranges from a rainwater reclamation system for irrigating the waterfront park to a food-waste

reduction programme and even an initiative encouraging guests to donate unwanted items of clothing. On a macro level, 80% of the existing hotel structure was retained to reduce carbon emissions from rebuilding (around 4,200 tonnes in 1 Hotel’s case), and upcycled materials were used throughout, including metal floor tiles and the storm-felled tree that is now the reception desk. On the lighting front, Visual Energy was asked by the client how it defined sustainability in its work, and whether it could source everything, where possible, from within 250 miles of the hotel (excluding electronics from the Far East). “We looked at how low we could reduce the wattage for each room, starting at 10W/sqm then dropping to seven, and then believing that five was a realistic goal,” Titton states. “In the end it was 4.9W/sqm. “Overall, the hotel uses 50% less energy than the average five-star hotel, with light fittings that are up to 80% recyclable. Sustainability was clearly never going to be an afterthought, but a thread that ran through every lighting decision we made. “The revolution caused by low-energy LED lighting has often led to lazy, unimaginative solutions using far more lighting than is actually required. Generally, we feel that less is more, and we believe that the constraints around the 1 Hotel project led to some very creative ideas.” In fact, the sustainable “constraints” involved in designing the lighting for 1 Hotel Mayfair has had a long-lasting impact on Visual Energy, with the firm taking to heart some of the more eco-conscious practices and rolling these out on other projects. “Since the pandemic, Visual Energy has been travelling less to complete projects,” Titton adds. “We’d worked on LEED Gold and BREEAM projects before, we now know we can go further down that road using very efficient, good quality downlights and indirect lighting to achieve our goals with a very low wattage per square metre. We know we can use less materials too, by using smaller lights.


Client: Crosstree Lighting Design: Laurence Titton, Jonathan Taylor; Visual Energy, UK Architect: Studio Moren, UK Interior Design: G.A. Group, UK Interior Design (Dovetale Restaurant): Dion & Arles, France Shell & Core Architect: AHMM, UK Lighting Suppliers: Delta Light, Erco, LEDFlex, Linea Light, Lutron, Mesh Lighting, Precision Lighting Photography: Jon Day; Milo Brown; Visual Energy

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“Every company we now work with, we check to see if they’re greenwashing, referring to the TM66 guidelines on creating a circular economy in the lighting industry. We’ve turned down projects that we feel don’t align with our approach. Our outlook is: how can we still have great lighting, while having a low carbon footprint.” This outlook is evident within 1 Hotel Mayfair, with the project boasting a lighting system that reflects and complements the hotel’s elegant, biophilic design and its use of natural materials, creating a warm, comfortable feeling of relaxed, accessible glamour with a real sense of place. “We have worked on existing buildings before, but raising a four-star hotel to a five-star standard presented us with our greatest challenge yet,” Titton reflects. “And the hotel group’s ecoawareness has had a game-changing effect. As well as raising the bar for sustainable hospitality in

the UK, it has also had a lasting effect on the Visual Energy ethos – we are committed to sustainable practices on all our projects.” When the hotel officially opened its doors, Titton says that the team “felt a tingling on the back of the neck when we saw guests first come in”. “Lighting helps bring the natural materials to the fore. We’ve used multiple approaches, but the over-riding sense you get is an appreciation of the natural materials – from the living chandeliers that we lit using theatrical uplights on the ground, or the indirect lighting of the York stone behind reception. “We thought it was good, but didn’t know how it would be received. It’s a utilisation of a space that was dead. And I had a real sense of achievement in the city I grew up in. There isn’t a bigger landmark location than on Piccadilly, opposite the Ritz in Mayfair.”

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Aesops Bangkok, Thailand

Overlooking Bangkok’s Benjakitti Park, Aesops is a vibrant new Greek restaurant, with an “intentionally kitsch” lighting scheme, designed by Infusion Lighting, to further accentuate its party vibes.

n the heart of Bangkok, Aesops is a

I modern take on the traditional Greek

restaurant. Situated on the 25th floor of Column Tower, overlooking Benjakitti Park, the venue was once home to the beloved Long Table restaurant, and offers spectacular views of the Bangkok skyline. Complete with dancing shows and plate smashing, the restaurant has become a much sought after venue in the Thai capital. The lighting concept for the restaurant, designed by Infusion Lighting, was a blend of intentional kitsch and charm, seamlessly fusing modern vibes with ancient Athenian aesthetics, all under the client’s clear directive of “let’s party”. To that end, Aesops’ lighting design aimed to transcend hospitality lighting norms, creating an ambience that is “divine, enchanting, and brimming with fun”. The concept revolved around a meticulous layering of light, incorporating RGBW linear cove lighting to mimic the hues of the sky from sunset to sunrise. This harmonious ambience, the lighting designers believe, serves to “transport patrons to the Acropolis with funky, fun reinterpretations”.

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Spencer Baxter, Director at Infusion Lighting, tells arc of the journey that the studio went on to win this project: “Although Infusion is not a large company, we have many years’ experience working on a multitude of projects that have gained trust among those we know. Through a previous collaboration with a project management company, they felt that we would be well suited to this particular project. They introduced us to the client directly, who felt there is no better way to explore design possibilities than if we were to experience the brand through guest eyes. “So, we dusted off our dancing shoes and attended a night at the previous venue to better understand the inner needs of the client and customers. We ate and partook in the merriment to gain a sense of the performance, and the following day we were signed to the project.” After soaking up the atmosphere of the previous venue, the Infusion team looked to bring a “thoughtful blend of light, space, and time” through its concept, with the ambience evolving seamlessly throughout the evening and night, “from the enchanting golden hour, to the vibrant evening hues that transition into the night’s energetic ambience”. Baxter continues: “As lighting designers, we utilise light as a key element to distinguish each guest’s experience. The dynamic interplay of light at different times ensures that every visit to this restaurant is a unique and memorable journey, offering a diverse range of atmospheric vibes, from Greek fusion dining, to a party vibe. “Beyond elevating interior aesthetics with lighting design, our design principle was to infuse an additional layer of brilliance, distinguishing each zone with a captivating interplay of light – ranging from lower intensity for a relaxing or calmer atmosphere in areas like private dining and the bar terrace, medium intensity for more energetic and vibrant vibes, to higher intensity for the core areas, such as the long table and the main stage.” As guests enter the restaurant, they are greeted by a grand, arched tunnel of light, illuminated by Unilamp inground fixtures and adorned with backlit signage quoting the ancient Greek Gods – the first “Instagram-worthy” moment in the restaurant and an immersive welcome. The space then transitions into an expansive dining atrium, with custom ceiling waffle luminaires from Lumencraft for higher ambient lighting. This is complemented by decorative chandeliers and wall sconces that provide ambient lighting throughout the main space. Adjustable fixtures above each table serve a dual purpose, illuminating dishes and guest faces, while creating an intimate atmosphere. “The hierarchy of lighting achieves a perfect balance between functionality and enchantment, ensuring a delightful experience for guests,” Baxter adds. The luminous bar wall invites indulgence, while on the opposite side, the long table takes focus. Reinvented as a stage and elevated dance floor, the table is lit from both below and above, in dualpurpose design. An oversized sculpture of Zeus, illuminated with narrow beams of light, contributes to the celestial feeling of the space. The primary



feature wall boasts RGBW cove lighting at a high level, connecting the exterior skyline and interior spaces, while adding controlled bursts of colour. Baxter continues: “Our design goes beyond merely illuminating delectable dishes – we strived to craft an inviting ambience that ignites socialising and shared moments, creating an experience that is both captivating and memorable.” Within the private dining room, an intimate approach is taken, with carefully placed spotlights on tables, emphasising the stage and backlit brand signage. The interior bar features a large luminous wall, backlit merchandise, wellilluminated with decorative pendants elevating bar tops. Exiting to the rooftop terrace reveals the Bangkok skyline, with lower lighting levels via strategically placed table lamps, downlights, and a bar lit with a combination of neon signage and a traditional-style custom chandelier, establishing a visual hierarchy against the skyline. “We wanted to have a connection between the indoor dining and outdoor terrace, blending the atmospheric allure of the panoramic sky view,” says Baxter. “For the transition from golden hour to the city nightscape, we designed the outdoor dining area with a lower light intensity, with warm ambience from decorative lamps to cultivate an intimate setting. 092 / 093

“At dusk, the bar terrace features a lower light level, offering a serene contrast to the energetic indoor atmosphere. When it turns dark, the outdoor bar takes centre stage, with heightened illumination, becoming the prime spot for guests to indulge in drinks and enjoy the nightscape view.” While the use of coloured lighting throughout the restaurant adds to the fun, “party” aesthetic of the space, the lighting designers feel that it creates another, more subconscious, emotional dynamic for guests. “We believe that light is not just brightness, but lighting is an interaction between the designed space and the user’s feelings,” Baxter adds. “We receive light through our eyes, register it in our brain, but feel it through our hearts. We are communicating through silence, the use of colour is intended to directly interact with the feelings of the user. “We have designed lighting for many restaurants, but if we have the same design ideas as before, we will produce the same results over and over again. So, what we did was temporarily remove the spirit of the lighting designer from our approach, and viewed the space through the user’s perspective; if we were users, what would we expect to experience? We had this question ringing in our ears while receiving information from the design team, and from the client at the same time.

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Quellenhof See Lodge, St. Martin, Italia; © Quellenhof See Lodge – zulupictures

Stand 4.0 B20 3.-8. March 2024, Frankfurt/Main



WIBRE Elektrogeräte Edmund Breuninger GmbH & Co. KG 74211 Leingarten · · +49(0)7131 9053-0 Anzeige_236x333.indd 1

13.02.24 13:53


Client: Aesops Lighting Design: Natvalun Tavepontakul, Sedat Karagoz, Spencer Baxter; Infusion Lighting, Thailand Interior Design: Paradigm Shift, Thailand Lighting Suppliers: Automated, Lumencraft Lighting Thailand, Panini, Philips Dynalite, Soraa, Unilamp, Zico Photography: Adisorn Ruangsiridecha

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We feel that our design reflects and exceeds the expectations of our users. It creates a unique feeling that is different from other restaurants.” Similarly, the fusion of “intentional kitsch” with the “divine, enchanting” ambience was a balancing act that Baxter believes adds to the unique quality of the restaurant. “Even though we have designed dozens of restaurants, each one has different strengths and limitations – that’s what makes our job fun. “We believe art should be praised regardless of type. For this project, we intended to respect the faith of the past, a longstanding legend, including stories that live with humanity, without being disrespectful. But this is not a sacred temple, it’s a party venue. “We created a new challenge within the context by transferring the appeal of a statue of a God into a spectacle, dancing over a period of time, then turn the spotlight back on the statue from another time. But transition is not about reducing interest or leaving it in the dark – it is the existence of different light intensities. That’s how we respect faith and art, and within the context of the lighting design, blend divine with kitsch.” To achieve the harmonious blend of fun and

function, Infusion Lighting worked closely with design studio Paradigm Shift, collaborating to create an “immersive experience, extending the adaptability of conventional luminaire combinations and lighting controls from Philips Dynalite”. The tools at the design team’s disposal, Baxter explains, were utilised to transition seamlessly between different times of the day, ensuring each moment is carefully curated. Reflecting on the project after its opening, Baxter feels that the design and atmosphere at Aesops “surpasses the ordinary”. “It’s not just about illuminating the space; it’s about creating a memorable, fashionable, fun, and functional experience,” he says. “The interior fosters a friendly environment, exuding positive vibes throughout, with the added charm of a dusk-to-dawn scenery. “We see Aesops as a testament to the fusion of aesthetics, technology, sustainability, and the creation of a positive social dining experience. It’s not just a restaurant, it’s a journey into the divine ambience of modern Greek hospitality in the city of Bangkok, showcasing an innovative approach and a steadfast commitment to an evolving, fastpaced project.” A fun and exciting new venue for the city of Bangkok, Baxter believes that the lighting only adds to the initial design message of “let’s party”. He concludes: “We are genuinely impressed with the completion of Aesops. It aligns with our initial ideas and designs, translating our vision into a tangible and captivating reality. The lighting plays a pivotal role in transforming the social Greek dining atmosphere into a lively party spot, crafting a venue for guests to relish and enjoy.”

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The new Al Mamlaka Social Dining hall inside Riyadh’s Kingdom Tower has been given a warm, luxurious lighting scheme, designed by Lighting Design International.

ighting Design International (LDI) has

around the counters, and in between these

L created the lighting design for a new social sit mini downlights. While the pendants give a

dining centre in Riyadh. Al Mamlaka Social Dining is a multi-cuisine food experience in the Saudi Arabian capital. Located inside the Kingdom Tower, it forms part of the shopping mall housed within the striking skyscraper. The Al Mamlaka is the first restaurant in Riyadh where diners can experience high-quality food from all over the world, under the same roof – and it is open for nearly 24 hours each day. This new offering is a sophisticated space, and the lighting needed to mirror this. LDI was chosen to deliver the lighting scheme for the new dining hall. Its appointment came following a recommendation, based on the team’s wealth of experience in lighting food hall projects and food retail. The first attention-grabbing feature in the establishment is the coffee and cocktails station. This was a significant focal point for LDI – as it is the first sight guests see when they enter the restaurant, it had to look incredible; drawing people into the space and delivering an ultimate first impression. The LDI team used linear lighting around the canopy of the coffee counter, which offers a continuous ray of light, creating an impressive and stunning scene. LDI has introduced plinth-level lighting alongside lighting at the front of the panelling to the counter. Pendants provide an accent on the backstone, while task lights have been added at either side of the counter for baristas to safely carry out their work. Taking all of the elements together, LDI has created a multi-layered canopy. The overall space of the dining experience is vast, and LDI was commissioned to create the lighting design for all areas. This includes the spaces between the kitchen and the counters, as guests have a great deal of visibility of these areas. Each counter has a similar approach in terms of design so there are decorative lights around the signage, and concealed linear lighting to uplight the menus. Ceramic pendants also drop

glow, LDI wanted to add a pool of light onto the countertops, so the downlights have been used to provide an additional accent. The same approach has been reflected in the dining area, with the decorative lights made of fabric, partnered with rattan pendants. Two different variations have been used. Track lights pin spot the tables, which was an important part of the lighting design. A notable, beautiful detail comes from the glowing light under the banquette and counter, radiating into the floor. A CCT of 2400K was chosen for all of the linear lighting, which adds a warm depth; the architectural lighting is 2700K, while the lamps inside the pendants are 2200K. It was important for LDI to create warmth from the pendants, coupled with the accent lighting on the tables. Illuminating the plants was also key – as a very green, leafy restaurant, these plants needed to be showcased. Lighting has also been integrated between the banquette, uplighting the green features. This makes the accents very visible to the guests. Uplights in the planters throw patterns onto the columns, while lighting up the banquette. The window reveals are also uplit. Another important element of the design is to use light to guide guests from the door right to the very end of the restaurant. The lighting helps to direct diners to their desired location and different areas. As a demonstration of this, pools of light on the floor invite people to follow them from the coffee and cocktails, all the way to the patisserie at the very back of the dining space. Elsewhere in the space, the deli station has a completely different canopy and a unique interior approach, with a beautiful display. LDI has placed the lighting at the back of the pods, spices and books, to create a silhouette element at the front. The team specified the lighting in the fridges so that the colour is harmonious throughout, with a consistent quality too.


Al Mamlaka Social Dining Riyadh, Saudi Arabia


Client: Al Mamlaka Social Dining Lighting Design: Graham Rollins, Arianna Ghezzi; Lighting Design International, UK Interior Design: TGP International, UK Lighting Specified: Linea Light, Lucent, Lutron, TRYKA Photography: Gavriil Papadiotis

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Attention has been paid to all areas, including the restrooms. There is a contrast between being slightly darker and more intimate in the cubicles, but light as you come out into the vanity area. There are downlights in the vanity, and a wash over the ceiling as well as halo lighting detail around the mirrors. The lighting designers also made sure to highlight the natural and earthy materials used throughout the refit, by drawing attention to these through numerous uplights in the floor. The features include the cane panels of the doors, and rattan wrapping around the columns. Moving to the outside, the exterior lighting is focused on being really tempting and inviting. The tendency in the Middle East is to use cooler white light at 3000-3500K, but LDI wanted to keep everything warm; giving the luxury refined experience and Michelin-star look. On the façade, LDI has highlighted the copper finish that wraps the canopy and the greenery. This was to showcase the integration of nature into this public space.

Arianna Ghezzi, Associate at Lighting Design International, says: “As the project entailed reworking an existing building rather than a new build, we had to work within several constraints and limitations. “We have created a multi-discipline scheme that oozes sophistication and sets Al Mamlaka apart from the everyday, standard food halls. As an almost 24hour establishment, we needed to move the lighting along as the day faded and the nighttime set in. “We achieved this by programming all of the lighting across the hall, with four different scenes. These are lighter during the day, with more atmospheric, moody lighting during the night. A podium and a stage can be added to the space, so the lighting needs to support a party mood for these occasions. “The new dining experience of Al Mamlaka is certainly something unique, and the lighting is a key part of making guests know they are somewhere special.”

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Opso Dubai, UAE Lighting design consultancy Studio N has produced a lighting scheme punctuated with playful touches for Opso’s much anticipated reincarnation at the Dubai Mall. Located in the mall’s Fashion Avenue, the experience-led venue was reimagined by global interior design firm Bishop Design, which looked to transform the space into a multisensory, dayto-night dining destination. Studio N’s lighting design reinforces the brand story, balancing layers of light and dark to heighten the ambience and add visual drama. Opso is accessed via an enigmatic walkway featuring a starlit fibreoptic ceiling, designed to instantly suspend the mood and trigger a transformative moment. The illuminated ceiling is motion activated, and creates an energetic play of light throughout the corridor to pull guests through to the inner sanctum of the bar. The design language of the bar is a heady mix of deep orange tones, dancing media screens, and luscious greenery, so the lighting was integrated where possible to give the contrasting elements of the scheme space to shine. Narrow-beam recessed downlights direct functional illumination onto the countertop of the bar, while gentle lines of light draw the eye to key focal areas – the distinctive materiality of the bar and architectural columns, along with a showpiece open kitchen. In the restaurant, a similar focus on indirect illumination adds warmth without detracting from the scheme’s more theatrical features. Cove lighting and spike lights in plants create an atmospheric glow at both a high and low level, providing a gentle quality of light that works cohesively with the interactive media screens. A lattice-style ceiling provides an injection of colour and light from above, and features integrated RGBW LEDs that form a pulsating effect across the ceiling to ensure that the space always feels vibrant and alive.

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Balanced use of dramatic and subtle lighting amplifies the mood in the Shisha area; a fibreoptic ceiling evokes a celestial feel, and is enhanced by an energetic band of RGBW cove lighting in the brand’s signature orange colourway. A delicately backlit metal-framed wall adds further contrast and tactility. The atmosphere is decidedly more charged in the all-red Shisha lounge and DJ area, where dynamic media screens and moving head LEDs sweep guests away to a world that feels a million miles away from the neighbouring mall. As comfort is key to the experience, indirect lighting in the form of narrow-beam downlights and cove lighting produces an enveloping blanket of light, which is broken up by beams of laser lighting, positioned to interact with the smoke emitted by the shisha pipes to form swirling visual effects.

Image: Alex Jeffries


case study

InterContinental Istanbul Istanbul, Turkey Clear Lighting’s Neon Flex orchestrates an ambiance, casting a radiant glow befitting the stature of the InterContinental Hotel in Istanbul, Turkey.

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At the pinnacle of sophistication in the heart of Istanbul, where history dances with modernity, InterContinental Istanbul stands as the epitome of five-star luxury. Picture the grandeur of this Ottoman capital, where each step unravels a tale of endless historic sites, museums, vibrant restaurants, pulsating clubs, and chic shops. Nestled in the beating heart of Taksim, the hotel commands breathtaking views of the Bosphorus, offering a mesmerising spectacle of Istanbul’s iconic skyline. Guests can view the majesty of the Blue Mosque, the timeless allure of Hagia Sophia, and the historic panorama of Sultanahmet’s peninsula. Embraced by lush green parks, InterContinental Istanbul is a short stroll away from the allure of Istiklal Street, Dolmabahce Palace, the cultural enclave of Ataturk Cultural Centre, the vibrant Vodafone Park, the bustling Istanbul Congress Centre, and the haute couture haven of Nisantasi shopping district. Amidst such opulence, the discerning choice for ZKLD Light Design Studio

and Redi was lighting that was befitting for this masterpiece - Clear Lighting’s Neon Flex. Forming an interplay of light in this exquisite tapestry of luxury and culture, Clear Lighting’s Neon Flex helps to orchestrate an ambiance across the hotel, casting a radiant glow that befits the stature of InterContinental Istanbul. Like a conductor directing a symphony, the lighting transcends the ordinary, seamlessly blending quality and luxury. In this splendid collaboration between opulent surroundings and exquisite lighting, the marriage of form and function is no accident – it’s the embodiment of a commitment to quality. As guests traverse through the corridors and bask in the ambiance, they are not just witnesses; they are participants in a sensory experience curated by the artistry of Redi and ZKLD Light Design Studio.



case study

Vida Beach Resort Manama, Bahrain The Vida Beach Resort Marassi-Al-Bahrain has been brought to life, courtesy of exceptional exterior fixtures from LEDFlex.

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Umaya Lighting Design worked in tandem with LEDFlex supplying partner Huda Lighting on the beautiful exterior of the Vida Beach Resort in Marassi Al Bahrain. The design intent was executed seamlessly and in tune with the vision of the designers and architects. In addressing the project’s requirements, LEDFlex’s flagship high-efficiency Eco Flex IP67, in combination with Recessed Rigid Profile 1709 were specified by the lighting designer. These selections perfectly complemented the dynamic exterior design, where the application of a warm white tone to the masonry orchestrated a seamless transition of the façade’s ambiance from the tranquillity of dusk to the allure of the night. The designer’s specification of LEDFlex in the lighting scheme was a strategic choice, fuelled

by the resort’s eminent status. Nestled within a premier tourist enclave, the resort boasts a unique flair that captivates the gaze, accentuated by the placement of linear luminaires. These luminaires are thoughtfully arranged in audacious geometric configurations, culminating in a resounding visual testament to architectural style. The exterior lighting plays a pivotal role in crafting the initial impression for guests. Vida’s inviting and visually captivating façade exudes a charming allure, setting the stage to warmly welcome visitors into a realm of luxury experiences. As an esteemed upscale lifestyle brand, Vida stands as a sanctuary for the next generation of entrepreneurial minds to stay, play and connect.

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case study

Image: Johnny Stephens Photography

Sexy Fish Manchester, UK The chic new Sexy Fish restaurant in Manchester’s Spinningfields features striking, bespoke lighting crafted by Unibox, including a curving bar and vibrant pink washroom.

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One of Manchester’s most glamorous new venues, Sexy Fish has recently opened in the city’s prestigious Spinningfields area. Sexy Fish Manchester, the brand’s third location after openings in London’s Mayfair and Miami’s Brickell district, is an Asian restaurant and bar, serving Japanese-inspired sushi, sashimi, seafood, fish, and meat cooked on a Robata grill and served amidst high-end glamorous and surreal décor. Local lighting manufacturer Unibox helped bring the restaurant to light through a series of bespoke solutions. An illuminated onyx bar top that betters its original design in Miami, a men’s washroom resplendent in backlit alabaster, and one of the most Instagrammable women’s powder rooms in the UK all feature Unibox innovations, rubbing shoulders with artwork by Damien Hirst, among others, in opulent surroundings. Unibox’s involvement in this project came about via its collaborations with the UK-wide Ivy Collection of restaurants, as both businesses are part of Caprice Holdings, owned by billionaire Richard Caring, whose hospitality empire includes Mayfair member’s club Annabel’s. One of the primary focal points of the new restaurant is the pink translucent onyx bar top. The concept for an illuminated bar top first became a reality at Sexy Fish Miami, but with a limitation that Unibox later solved for the venues in London and

Manchester. The big change was to illuminate the whole of the bar’s surface, including a bullnosed overhang, which was left unlit on the original. “We came up with a way of illuminating the whole shape of the bar surface, including the overhang. The finished effect with the pinkish hue from the onyx looks amazing, it screams luxury and produces real theatre, which it needs to do when there is artwork by some of the world’s leading artists hanging on the walls,” said Matt Burns, Head of Design and Development at Unibox. The bar’s dramatic impact was completed with uniformly uplit glass shelves that illuminate the bottles being stored on them – an effective concept first perfected by Unibox for a whisky cabinet at the London restaurant. Pink is also a theme in the women’s powder rooms, where Unibox created and installed an RGBW backlit floor that shines predominantly pink, but transforms to different hues depending on the time of day – another solution created at the client’s request and made possible by following a similar process to that employed to create the ‘paradise of glowing pink’ in the bar area. In this case, LEDs were laid on a foundation below a pink translucent agate flooring, allowing the light to shine through and show off the stone’s natural grain to its best effect.

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case study

McDonald’s Nationwide, Canada Part of a nationwide rollout that called for more sustainable lighting solutions, luminaires from GVA Lighting have been used at almost 1,000 McDonald’s franchises across Canada.

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Established in 1940, McDonald’s Corporation, the esteemed American fast-food enterprise, has evolved significantly over the past 80+ years. From its humble beginnings as a single restaurant, McDonald’s has actively embraced modernity in its design philosophy, implementing fresh architectural concepts through strategic upgrades and updated architectural designs. Throughout Canada, an instrumental facet of this transformative journey has been the integration of cutting-edge, more sustainable lighting solutions. For almost 15 years, the integration of GVA Lighting luminaires, specifically the widely acclaimed STR9 series, has been a key factor in this endeavor. Despite testing various products on the market, McDonald’s couldn’t find any other luminaire that worked the way they wanted with such precision. The advanced STR9 luminaires have been meticulously specified for application in just under 1,000 McDonald’s restaurants out of the 1,400 restaurants in Canada. Over two thirds of all Canadian McDonald’s are using GVA Lighting products. Beyond mere illumination, these luminaires are designed to highlight the modern architectural cladding, contributing significantly to the visual appeal and recognisability of this well-known restaurant chain. The McDonald’s franchise project required custom cantilever brackets to be made, not only to create

a safe and proper way to mount the luminaires but the STR9 luminaires themselves are also custombuilt. Two different light temperatures are used to enhance different areas of the restaurants and illuminate each in its most aesthetic and brilliant way. 3000K is used with narrow beams for the red blades, and 4000K is used for the drive-thru clips, including an elliptical beam with no scallops. Each STR9 includes a drop shield over the luminaire. Credit for the engineering expertise behind these lighting installations goes to Hammerschlag + Joffe, a trusted Canadian engineering consultancy that shapes superior spaces, integrating mechanical and electrical engineering services, providing simple, elegant solutions to help realise creative visions. Turner & Fleisher are the architects tasked with planning the initial two prototypes in Scarborough, Ontario, back in 2008 and have continued to maintain solid relationships with McDonald’s and enhance communities over the years. These two companies have been working with GVA all these years on the McDonald’s restaurants across Canada. This collaborative initiative between McDonald’s Corporation, Hammerschlag + Joffe Inc, Turner & Fleisher, and GVA Lighting underscores a shared commitment to longevity and excellence, blending aesthetic refinement with technical precision in the realm of modern architecture.

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case study

Image: Jordi Anguera

Sofitel Barcelona Skipper Barcelona, Spain Throughout the Sofitel Barcelona Skipper, fixtures from Linea Light Group have been used to bring a French elegance to the lively local Catalonian culture.

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A stone’s throw from the sea, very close to the Barrio Gótico and the beating heart of the city, Sofitel Barcelona Skipper combines French elegance with the lively local culture of Barcelona. A green oasis where you can take a break from the lively city and enjoy the unparalleled art of French living. The lighting design required the installation of several indoor and outdoor solutions, all featuring compactness, versatility of use and excellent performance, in the service of several definite aims. Starting with the exterior, the façade boasts a vertical garden more than 15-metres tall, the aim of the lighting scheme was to display it using perfectly integrated lamps. The wall-mounted version of Linea Light’s Archiline_W with elliptical beam aims to create a stunning effect that highlights the urban surroundings along with its Silicone_F LED strip lights, for a vertical rhythm of windows in the façade – a dynamic feel to greet the arriving visitor. In the entrance area, the platform roof is emphasised by Periskop mini spots, installed in the ceiling to light the floor below, and Rubber 2D LED strips to outline the shape of the platform itself. The scenic rooftop pool has Rubber 3D Protection LED strips installed at the edges for a discreet and elegant way to emphasise its shape. To add a touch of elegance, the designers chose the Silicone_C LED strip to light the access steps to the pool. To enhance the garden’s radiance and ensure its greenery remains visible during the night, Shaker directional spotlights were strategically positioned inside pots and planters. Additionally, the green wall beside the rooftop pool is adorned with the

Xenia AF Pro recessed strip, equipped with superwarm LED and IP68-rated light source. The interior lighting was also meticulously designed to showcase the hotel’s architecture and ambience. The public areas, for example, are lit with a combination of the Silicone_F LED strip and the Cell recessed downlight with wallwasher beam. Meanwhile, in the corridors, Optus-EX directional downlights offer compact design and minimal bulk, combined with the versatile Cob recessed spotlight, and the single-emission Ribbon Hi-Flux LED strip. The foyer of the conference room features the Cell_ Ww downlight alongside the Rubber 3D Optic LED strip and the Cob40 spotlight, highly valued for its compact size and great performance. The PU_C Plus Hi-Flux single-emission LED strip beautifully illuminates the marble counter in the foyer. In the bedrooms, the emphasis was placed on decorative solutions to accentuate stylish details. In pursuit of this goal, the Silicone_F LED strip is used in ceilings and inside some items of furniture. Complemented with Quantum_R directional recessed downlights, used to illuminate artworks, as well as providing excellent lighting in showers. To add an extra touch of sophistication in the bathroom, the Quara_R recessed wall lamp gives a drop of light set in a rounded aluminum body, with an LED source that emits a discreet, subtle light, perfect for revealing the figure. As for the terraces and balconies, the chosen solution is the Orma, a versatile recessed spotlight that’s ideal for any space and any installation.

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eye opener

Geist London, UK Part of Canary Wharf’s Winter Lights, which took place this January, Geist is an artwork created by Harriet Lumby and Alan Hayes, aka This is Loop. Working with world-leading particle physicists, This is Loop was inspired by the elusive neutrino or ‘ghost particle’, with Geist exploring the hunt that is played out in enormous neutrino detectors to prove the existence of these particles. Debuting at Winter Lights, Geist is designed as a touring artwork for exhibition in the public realm. Shaped like an octagonal carousel, six-metres in diameter, each of its faces is a 3x3-metre window into a figment of reflection and light, created by a mirror illusion and showing a suspended illuminated orb. The illusion is interactive; only by the proximity and movement of the audience does the suspended particle of light come to life. Individually addressable LED modules start flickering and glimmering in the presence of people. The public are the cause of the artwork’s existence, with their interactions eliciting a response from the artwork; a version of the ‘hide and seek’ played out in a neutrino detector, where only an interaction with an atom reveals the neutrino. The scientific narrative of Geist has involved input from particle physicists at the Rutherford Appleton Laboratory, part of the Science and Technology Facilities Council, and the Physics Department at Oxford University. The collected group of physicists have provided access to and context for real neutrino oscillation measurements from the T2K neutrino experiment in Japan. In collaboration with newmedia artist Motus Art, and sound artist Dan Bibby, This is Loop has re-interpreted actual neutrino interactions seen by T2K, using input from motion sensor cameras and complex code, into the animation of moving light and audio for Geist. The type of ‘neutrino’ seen will depend on the neutrino oscillation probabilities from T2K. When the audience interacts with the sculpture, Geist will reflect a visual and audio representation of the detection of a neutrino. “We are super excited about unveiling Geist,” says Alan Hayes of This is Loop. “The artwork has been a collaborative effort to take deep scientific theory and data and interpret it into a public artwork. “Neutrinos are one of the most significant areas of current scientific research, and have the potential to answer fundamental questions about the existence of the universe. “We’re honoured to have the support of the STFC and the physicists at Oxford University, and to get the opportunity to work with real data from the Kamiokande Neutrino detector in Japan is a dream come true.”

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Image: Alan Hayes

Lumiere Durham In November last year, an estimated 160,000 visitors travelled to Durham, UK for the latest edition of biennial light art festival, Lumiere Durham.

Images: Matthew Andrews

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At the end of 2023, approximately 160,000 visitors flocked to the North East of England for the latest edition of the Lumiere Durham light art festival. The event, held over four nights in mid-November, saw 40 artworks by artists from across 15 countries, with 18 new commissions and seven UK debuts, including works from Ai Weiwei, Chila Burman, and Rafael Lozano-Hemmer. Produced by creative company Artichoke, and commissioned and funded by Durham County Council with additional support from Arts Council England, Durham University, and a raft of further sponsors and funders, the free festival further established its reputation as one of the most celebrated light art events in the UK. Highlights from across the event included Javier Riera’s mind-bending Liquid Geometry, a 270° immersive abstract artwork projected onto Durham Cathedral and adjacent buildings. Inside the cathedral were 4,500 fluttering light bulbs, arranged overhead in an undulating canopy, which visualised the pulsating heartbeats of the audience beneath. Adam Frelin’s sequentially-illuminated arches for Inner Cloister recalled the footsteps of monks of old, while Ai Weiwei’s four-metre-high Illuminated Bottle Rack decorated with 61 antique and vintage chandeliers glittered in the cathedral’s atmospheric Chapter House. On Blank Pages, by Luzinterruptus, was also a hugely popular piece. The interactive artwork of thousands of illuminated notebooks invited visitors to share their thoughts about justice. Each night during

the event, thousands added to the existing 15,000 pages, featuring contributions from people involved in the justice system, from police and prisoners, to court officials and lawyers, refugees, young offenders, and victims of crime. Following the event, contributions were scanned and added to an online archive, viewable on the Lumiere Durham website. As part of a biennial spotlight on particular areas of County Durham, this year’s Lumiere also included four installations in Bishop Auckland. Spanish artist Daniel Canogar’s Amalgama Spanish Gallery drew on the collection held in the Spanish Gallery to create a beautiful projection that melted across the exterior of the building. On the other side of Market Square, Phil Supple’s The Drop animated Auckland Tower with light, choreographed to a lively musical score composed by collaborator and sound artist Toby Park. Lumiere Durham always strives to include local residents in the event, and the 2023 edition continued this trend, significantly increasing the number of local people taking part; 1,800 local residents and schoolchildren took part in 65 workshops and online artwork submissions across five installations, including Watchtower by Ron Haselden and Colour the Castle by Mr.Beam, as well as Luzinterruptus’ On Blank Pages. In line with Artichoke’s focus on making the 2023 event the most sustainable Lumiere to date, two community projects focused on ideas around recycling and solar energy: Diamond Garden by Mick Stephenson and Flowers and Chandeliers,


Illuminated Bottle Rack by Ai Weiwei

On Blank Pages by Luzinterruptus

Pulse Topology by Rafael Lozano-Hemmer

Inner Cloister by Adam Frelin


Liquid Geometry by Javier Riera

which transformed 1,600 plastic bottles into colourful lighted festoons in Prince Bishops and Bishop Auckland, inspired by ideas and designs by Durham Sixth Form College and New College Durham students. Helen Marriage, Artistic Director of Artichoke, says: “Each edition of Lumiere is an opportunity to create an outdoor art gallery on a grand scale and for me, this year’s was the most exciting and impactful yet. The idea is to explore familiar places through the eyes of the artists, and to take our audiences with us on this journey. “Lumiere is now established as the UK’s light art biennial, and as well as the tens of thousands of visitors who came to Durham and Bishop Auckland to experience this extraordinary exhibition, festival directors and art professionals from across the world gathered as part of our professional programme. “To put on this scale of event is not possible without the huge effort from our hundreds of local participants and volunteers, to the artists, technicians, riggers, projectionists, security, and crew, all of whom have pledged to support our sustainable Lumiere commitments.

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“It is a huge endeavour and I’m particularly proud of how much we’ve achieved in making Lumiere more accessible – not an easy feat in a dark medieval city with steep cobbled streets filled with tens of thousands of visitors. For the first time, we were able to run three separate accessible tours, which allowed people to enjoy elements of Lumiere in quieter moments. “A huge thanks once again to Durham County Council, who commission and fund Lumiere, and have done so much to support us in its delivery this year, and also to Arts Council England and to Durham University, and to all our wonderful partners and funders, as well as to The Auckland Project and Stronger Towns Fund for enabling Lumiere’s spotlight on Bishop Auckland.” Cllr Amanda Hopgood, Leader of Durham County Council, adds: “You only need to see the expressions on people’s faces to know how much they’ve enjoyed this year’s Lumiere. “It’s an event that always brings so much fun, wonder and joy into people’s lives and somehow it manages to get better and better each time.”

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Meet the Founders With the winners of the 23/24 Silhouette Awards to be announced at the end of February, the programme’s founders, Eve Gaut and Katia Kolovea, look back on how it has grown globally since its formation three years ago.


Now in its third year, the Silhouette Awards is continuing to shine a light on emerging talents within the lighting industry. The winners of the prestigious 23/24 awards will be announced during a virtual celebration at 3pm GMT on Wednesday 28 February, to celebrate the rising stars and discover the pairings of the 20 Silhouette Awards Mentees with their Mentors. We sat down with Silhouette Awards Co-Founders, Eve Gaut of Parrot PR and Marketing, and Katia Kolovea of Archifos, to discuss how the programme has evolved over the last three seasons, and what we can expect to see for the future of the awards. One of the biggest achievements of the rewards programme is the extensive community that it has built within the lighting and design industries. Once the 23/24 winners are announced, the Silhouette Awards network will include around 60 mentors and 60 mentees, connecting lighting designers in various fields to support each other with collaborations. Gaut states: “The most rewarding thing for me is supporting the industry I’ve worked in for more than 20 years and seeing emerging new talent come through. We are incredibly grateful to see this project in its third year, continuously growing our community of mentors, mentees, sponsors, partners, and supporters. There are so many who have supported the programme from day one, supporting the future of the lighting design profession by ensuring we can keep growing and providing opportunities. It’s so fulfilling to know 118 / 119

that the programme is solidifying a wonderful community and how it’s going from strength to strength with winners from across the globe.” The far-reaching popularity for the awards has been demonstrated by the vast number of entries which were received from candidates all across the globe, making this programme truly international. Kolovea adds: “It’s fascinating to receive applications from all corners of the globe. In three years, we have had submissions from 28 countries, and we are grateful to see the positive, overwhelming response from the lighting design community across the globe, wherever our team is traveling to spread the word about the programme and support the growth of the lighting design profession. It is an honour to meet young designers, see upcoming talents, and grow our network with people who are passionate and want to embark on a mentoring journey. We are very active in participating in events and exhibitions worldwide to support the community and to meet our mentors and mentees, including IALD Enlighten Americas, IALD Enlighten Europe, Light + Intelligent Building Middle East, Light + Building, the Workspace Design Show and LiGHT 23.” As the word continues to spread about the awards, there has been an increase in mentor applications in response to the open call, which demonstrates the willingness of the lighting industry to support future talent. Kolovea continues: “We have seen many young designers re-apply and those who maybe didn’t


Since its inception, the Silhouette Awards has participated in a series of events around the world, including LiGHT 23 (top), IALD Enlighten Europe (bottom left), and Light + Intelligent Building Middle East (bottom right) always eager to connect with mentors, mentees and partners.

get selected during year one then get chosen for year two as they have shown their progress and how they have developed. One wish for the future of the programme is to be able to provide further support to those who are not selected as winners, whether this is through offering more mentoring or support through virtual events where this group of upcoming talents can develop their skills and be ready to apply again next year. Our aim is to create an even wider community of support for those interested in the Silhouette Awards aims and ethos.” Gaut adds: “We are overjoyed that we have been able to continue the success of the Silhouette Awards for a third year. We could not be more grateful to our supporters and sponsors for their continued support in nurturing young talent through our

mentorship programme. As the awards grow each year, it is a wonderful collective achievement to see another 20 young designers’ benefit, progressing their careers and developing the future of the industry. We have seen a lasting impact from the past two years on how the mentorship journey has made a huge difference to our mentees.” The renowned judging panel has independently reviewed the entries and aligned with a selected final line-up of the very best of the industry’s emerging talent. Once the winners are announced in a few weeks’ time, the 20 successful candidates will be paired with and individually supported by one of the programme’s mentors for the following six months and beyond as the young professionals progress in their careers. With the support of the Silhouette Awards’

impressive array of sponsors and supporters, the winners will be rewarded with the opportunity to enhance their skillset, pursue their career ambitions and add real value to the industry’s creativity, raising the bar for talent worldwide. The Silhouette Awards team extends a huge thank you to this year’s Core Sponsors: ADO Lights, GVA Lighting, and LUG Light Factory, for their commitment and support to the programme, becoming leading brands investing in the future talent of the industry. The new programme begins later this year, so if you are interested in applying to be a mentor or mentee, discover more about the Silhouette Awards online.

Our Survey Says... This time around, the GLA hands over to Alexia Gkika, Rhea Balmforth, and Yasmeen Alwakeel of Buro Happold, who share the findings of their company’s Lighting Manufacture Survey

In this issue we gladly hand the platform over to the team at Buro Happold Lighting (UK) to share with us the progress they have been making on sustainability considerations in general and the Buro Happold Lighting Manufacture Survey in particular.

A Survey-driven Approach to Sustainable Design


A Survey-driven Approach to Sustainable Design This article provides us with an opportunity to share a thorough review of the Buro Happold Lighting Manufacture Survey distributed in November 2023. Initial statistical survey results were presented by Alexia Gkika, during Light + Intelligent Building Middle East in Dubai on 16-18 January 2024. As designers and specifiers, we may not have direct purchasing power, but we have influencing power, and this is as important. We have a responsibility to deliver the client’s brief using equipment that is long-lasting, efficient and designed with sustainability and the circular economy in mind.

Net Zero

In the ever-evolving landscape of sustainable design, the journey towards achieving national and organisation-wide net-zero goals is full of challenges. Recently, we sent out a survey to all manufacturers tucked away in our database, driven by the goal of advancing Buro Happold’s Net Zero Routemap at a discipline level. In line with other global multidisciplinary engineering companies, Buro Happold has pledged to two major commitments (see below).

Design all new build projects to be

net zero carbon in operation by

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The specification process stands out as one of the critical phases in any project’s journey, with a substantial influence over its carbon footprint. As specifiers, it is key that we carefully assess the embodied and operational carbon of luminaires, as well as their circularity. Many manufacturers have fully embraced and demonstrated their commitment to these sustainability principles by reporting the environmental footprint of their products using metrics and calculation frameworks such as Environmental Product Declarations, CIBSE’s TM65.2 and TM66. However, keeping pace with advancements in product development, manufacturing processes, and the increasing volume of environmental performance documentation, stands as a challenge for specifiers in staying up to date. Effectively tracking, updating, and disseminating this information is crucial in making informed decisions when specifying lighting products.

The Survey

One of the early steps that we took at Buro Happold as part of our Net Zero Carbon route map was to gather and process data on sustainability credentials and product features from a wide range of manufacturers. This in turn will be used to aid and inform decisions when specifying products at present for the environments of the future. The survey served a dual purpose, firstly, to update outdated manufacturer information, and more importantly, to establish a more efficient method of gauging and tracking each manufacturer’s

Reduce embodied carbon intensity of all new buildings, major retrofits and infrastructure projects by

50% by 2030

Global Sustainability Report 2022

Manufacture, assembly, and supplier locations

progress in their environmental journey. To ensure our environmental performance questions were targeted, yet provided meaningful results, we performed pilot tests with manufacturers to gather valuable feedback. These questions focused around three key topics (see above). The responses feed into a real-time, centralised database. Specifiers can efficiently identify suitable manufacturers for a project by applying filters based on key criteria. As an example, using the location filters, specifiers can identify manufacturers both local to the site and sourcing components locally, reducing embodied carbon emissions associated with transport. Another advantage is that the database reduces reliance on personal preferences, enabling a fairer comparison of products.

Key Findings

The survey was sent to approximately 150 manufacturers and distributors. To date, we have received 60 responses (40% response rate) from a range of manufacturers across multiple sectors. These valuable contributions have already helped us to draw some initial conclusions on the current landscape and identify areas of improvement. However, as the survey is still ongoing, it is worth noting that the encouraging percentages stated below may reflect the fact that typically manufacturers actively actioning steps to help transparency and decarbonisation would have been keen to respond early on. Taking a first look at the availability of embodied carbon documentation, of the manufacturers that

Circularity schemes

responded to date, 46% provide Environmental Product Declarations (EPDs) for either all or some of their product ranges. 49% of responses declared providing TM65 documentation. While these figures represent a great starting point, they also highlight the potential for further progress – already evident as a further 29% are actively progressing EPD documentation and 24% progressing TM65. Another key topic is circularity. Almost half of the manufacturers surveyed sourced components from suppliers within the same country (excluding LED modules, drivers, and reflectors). The number of manufacturers providing a TM66 circularity documentation is 40%. However, only 16% of these are third-party certified. Although, TM66 is built on a self-assessment basis, having third-party verification could help with greenwashing and harmonisation of data declared. Thus, avoiding false information leading to skewed, manipulated results. The survey also highlighted that a significant number of manufacturers have adopted circular economy schemes, with 69% offering repair services, 47% providing take-back schemes, and 83% complying with Waste Electrical and Electronic Equipment (WEEE) regulations, which also saw a set of changes being implemented as of January 2024 (see link via QR to the right). It is worth noting that 30% of the respondents did not declare any sustainability initiatives, highlighting the need for ongoing engagement within the industry to increase awareness.

Environmental performance documentation

WEEE Regulations


Manufacturer availability of EPD documentation



Available to all products


Buro Happold Manufacturer Survey

This series is curated by Dave Hollingsbee of Stoane Lighting,

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Available to some products

Next Steps

Product specific rules for Life Cycle Assessment of luminaires (PSR0014)

Manufacturer availability of TM65 documentation


Documentation in progress

Identifying areas for improvement and outlining the next steps is crucial in our journey. • We aim to broaden the scope of our survey to a global scale. This is crucial, considering that 70% of our current responses are from Europe and the United Kingdom. This will help to gain a more comprehensive perspective on the global efforts towards sustainability. • We value feedback from manufacturers as it helps us refine our approach and make necessary adjustments. We will continue fostering open communication in order to stay up to date with their progress in environmental efforts and product developments. • Establish typology-dependent benchmarks for specified luminaires with environmental documentation. Keep up to date with other key industry-wide efforts such as the LCA Incubator, led by Leela Shanker, founding member of GreenLight Alliance. • Anticipate and encourage swift adoption of any opportunity to harmonise when it comes to environmental declarations within our sector. In particular, PSR0014 (product specific rules for Life



Not available

Cycle Assessment of luminaires), published by the LCA programme operator PEP Ecopassport. It has growing support internationally from lighting associations, standardisation bodies and even other programme operators through recognition agreements. Potentially a de-facto LCA methodology to adopt universally. Watch this space. • Repetition of tasks by isolated groups often hinders progress. We all have a joint responsibility in preserving and protecting the environment. By making survey results and data publicly accessible for manufacturers, designers, and researchers we can inspire global initiatives around sustainability. The more consistent they can be in approach the more value they present. These steps will ensure that we remain on track in our journey towards advancing a sustainable design process. As data collection is still in progress, we hope to be in the position to publish our tracker to the industry within the first half of 2024. With the permissions of the manufacturers who contributed. If you are interested in contributing to this cause and aiding the industry in achieving sustainability goals aligned with the global net-zero vision, we invite you to participate in our survey (see bottom left QR code).


NEKO Lighting Ceiling Light System Special design with slightly recessed decorative reflector Available in 4 sizes Microprism diffusor for an excellent glare protection Ceiling mounted or suspended with wire or rod

eye opener

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The Woolworth Tower Residences New York, USA A masterful example of adaptive reuse, The Woolworth Tower Residences in New York has been transformed from an iconic office building into a contemporary luxury residential complex. The opportunity for the lighting, as conceptualised by Schwinghammer, was enormous: if done correctly, the public would be able to read, for the first time from the street level, the intricate terracotta details at the top of the tower. However, the innate challenge of lighting the exterior of a residence without trespassing and ruining the atmosphere in the interior required ingenious strategies and many hands-on studies that converged in a sophisticated, elegant design solution that claims its rightful place in the coastal skyline. The project presented many constraints from the conceptual stages that dictated some of the direction for the design. Firstly, the bottom half of the building would remain in operation as offices throughout the design and construction process. Secondly, the middle section of the building had to remain in shadow, given the unavailability of locations to consistently light all four façades. The Schwinghammer team proceeded to illuminate the upper two tiers of the structure, together with the copper roof and the lantern at the top. Two base layers of slightly varying intensities set the stage for the volumetric perception of the building and give it visual

weight in the skyline, in contrast with its immediate neighbours. A second layer of light targets the intricate details of the terracotta at the top of the tiers. For the first time since the building’s construction more than a century ago, these details are now perceivable from the street level thanks to a complex array of fixtures with a combination of five different optics aimed at the brickwork to create highlights and shadows, with enough contrast to be perceived from hundreds of feet in the distance. To achieve this, the team relied on multiple rounds of on-site mock-ups to understand the effectiveness of the solution. These four images show part of the process. They had to weigh competing variables that included the perception of the building on the skyline, the readability of the masonry from the street level, the visual comfort of the interior residences and an overall balance in the brightness levels of the composition. The result brings to life the lace-like work of masonry that adorns the structure with astonishing visual depth. With Schwinghammer’s intervention, the craftmanship that has made The Woolworth a revered architectural icon for more than a century is finally brought to light for everyone to enjoy.

Image: courtesy of Schwinghammer

Light + Building Preview Back in its usual slot of early March, Light + Building takes over the Messe Frankfurt in just a few short weeks. Here, we give you an early glimpse of some of the products you can expect to find on the show floor.

Image: Jochen Günther, courtesy of Messe Frankfurt Exhibition

Following Light + Building’s successful return in October 2022, after a Covid-enforced four year absence, this year the event returns to its usual March slot, taking over the Messe Frankfurt on 3-8 March, and with it a marked increase in exhibitors from the 2022 edition. To date, more than 2,130 companies have registered to showcase their latest offerings - a marked increase from the approximately 1,500 exhibitors in 2022 - with some of the biggest names in lighting making a return after missing out on the last edition. “With just a few weeks to go before the doors open, we can report a powerful final spurt, with a good 130 exhibitor registrations having been received since the end of last year. This represents another positive boost for the final stages until the trade fair begins,” says Johannes Möller, Director of Light + Building. Light in all its many facets can be seen in Halls 3-6 of the show. The international spectrum ranges from

design-oriented luminaires of all styles, technical lighting, outdoor and street lighting, emergency and security lighting to full-range suppliers. Manufacturers of lighting components, light sources and control systems can be found in Hall 8, while the latest topics of interest to the lighting sector will be taken up at the ‘Design Plaza’ in Hall 3.1. This area combines a stage for lectures, panel discussions and awards ceremonies, with adjoining special presentation zones and starting points for guided tours. The Design Plaza is the primary port of call for designers, planners and architects. [d]arc media will have a significant presence at the fair. The entire team will be in attendance, and visitors will be able to find the latest issues of arc and darc on the Trade Press Stand, located in the foyer outside Hall 4.1.

BENE 4F Round In/Out Bright Special Lighting Available in surface mounted, trimmed or trimless options, BENE downlights are made from cast pressed aluminium, with special linear PMMA lens, up to 150lm/W, 3Step MacAdam, 15°, 30°, 45° and wallwasher antiglare PC screen reflectors. With diffused light ensuring high visual comfort for total control of luminance, BENE has proven to be the right choice for a variety of lighting applications focusing on cost effectiveness. Easy to install and with excellent light quality and performance, in some cases, a fitting can become the centre of the room. Hall 3.1 Stand B20 ·

Reiko L&L Luce&Light The Reiko outdoor projector is ideal for illuminating architectural details, façades and greenery for parks and gardens. Offering a wide variety of light outputs, four sizes and numerous wattages, it has a square design and an extensive range of specific optics, such as very narrow 5° and 7° optics for enhancing architectural details at large distances, and sharp and elliptical optics. It can adjust the elliptical optics manually through 360°, with the magnet provided, and by the shadow-effect filter built into the sharp 32° optics, recreating the effect of daylight shining through foliage. Hall 5.1 Stand C20 ·

AW01 Olympia Lighting The Flexible LED Wall Grazer AW01 employs a modular design, featuring a flexible horizontalbend structure that can be adjusted to accommodate a variety of architectural irregular surfaces. Its minimalist appearance allows for seamless integration into modern architectural settings. Moreover, AW01 comes with eight lens options, including 15°, 20°, and 25°×45°, allowing for various lighting effects to be achieved. Hall 10.1 Stand A76 ·

Plume 10 AC/DC RGBW Coolon Plume 10 AC/DC RGBW is a compact outdoor spotlight engineered for accent and floodlighting purposes. Whether powered by an external supply or connected directly to mains power, Plume 10 accommodates diverse scenarios with its weatherproof extensions, splitters, and options for track or surface mounting. Plume 10 comes equipped with onboard Casambi technology, enabling control via smartphones, tablets, and panel mounted controllers through Bluetooth. Designed for immediate and precise control over lighting scenes with ease. Hall 4.1 Stand C41 ·

DINA DR1 Nicolaudie DINA DR1 DMX controller by Nicolaudie is now officially DALI 2 certified. With six DMX universes (expandable with Art-Net) and the capability to control two DALI buses, the DINA is ideal for those looking for a simple solution to output multiple lighting protocols simultaneously. Paired with the updated ESA Pro 2 software, which has DALI programming integrated, controlling, and programming a project with multiple lighting protocols is now more efficient and simpler. Hall 8.0 Stand C91 ·

Node System Linea Light Group Node System is the new indoor linear system designed by Linea Light Group’s R&D department to overcome any architectural obstacle. The connection joints allow installation flexibility, while the many available light modules and connection accessories – diffused linear bars or with dark-light microcells, projectors, suspensions, flexible diffused light elements – this guarantees total freedom and design creativity. Mono or bi-emission, wall, ceiling or pendant, Node System is synonymous with boundless linear and modular light for all interior environments. Hall 3.1 Stand F41 ·


Anole Clear Lighting Crafted from flexible silicone, the innovative mounting profile effortlessly blends both horizontally and vertically, adapting seamlessly to any environment. Its versatile design accommodates various installation methods including hanging upside down. The soft silicone ensures a user-friendly experience, making it ideal for installers and child-friendly spaces. There is a choice of finishes – classic white and black, or made bespoke to harmonise with any surrounding. Combining a blend of style and adaptability, this product is tailored for those who appreciate quality with a touch of personalisation. Hall 10.1 Stand C51 ·


Axis Erco Axis is the new modular system from Erco that offers light that is protective, effective, flexible, and precise with digital connectivity. The system includes miniaturised stem luminaires, surface-mounted luminaires and semi-recessed luminaires that can be individually adapted to their tasks. The variable stem luminaire provides additional flexibility in terms of the height of the light points. The Axis system offers various options for positioning its miniaturised, pivotable light heads. The single, twin and 4-gang semi-recessed luminaires integrate into showcase bases and ceiling panels. Hall 5.1 Stand B20 ·

IQ System NANOPTIQS NANOPTIQS’ IQ System is an optical system that merges advanced nano-optic technology with sleek and minimalist aesthetics. Tailored for modern architectural projects, it offers light control that can enable a wide range of applications and seamless integration into any design space. Facilitating the creation of lightweight and eco-friendly luminaires. Hall 8.0 Stand C61 ·

Pixeline Flex Vivalyte The Pixeline Flex is an RGBW pixel LED strip that enables creative lighting on a large scale. The long LED strips combine into flexible light lines with an even light intensity and uniformity over the whole length. The pre-assembled cabling guarantees easy installation and complete freedom of shape. Hall 4.1 Stand B30 ·

LED Modules Nichia Nichia’s newest LED solutions promise to deliver unrivalled sharpness and high-fidelity colour reproduction along with high efficacy. These products are ideal for indoor settings where vivid light quality is paramount, including retail, office, and healthcare settings. The new range of LED modules offer uniformity and a glare-free illumination while enabling luminaire manufactures to produce fixtures that are significantly lighter and slimmer. Hall 8.0 Stand D60 ·

i-3 Wash POI SGM The new i-3 Wash POI is a powerful exterior colour changing fixture with an elegant and durable new design. i-3 Wash POI features DynaMix, which provides increased, dynamically scaled output in mixed and saturated colours. Together with its individual colour LED engine, the i-3 Wash POI is a game changer in powerful and efficient longer throw applications. Experience unparalleled colour matched performance with SGM’s TrueColor calibration. Hall 4.1 Stand F51 ·




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LTwo APL LTwo is the world’s first lamp / luminaire system that can be transformed from a lamp into a luminaire using simple accessories and can be integrated into almost all materials and building structures. With the diameter of a one cent piece, LTwo impresses with its discretion and simplicity. 13 optics from one form factor and an innovative, magnetic luminaire holder system make LTwo flexible to use and LED technology interchangeable. The lamp is selfretracting and so easy to install that professional lighting becomes a ready-to-go solution. Hall 5.0 Stand A28 ·

Ultimo Neon 16 Domed LEDFlex The flexible diffused linear LED range, Flexi Neon, welcomes a revolutionary addition that promises to redefine the landscape of lighting design. The new Ultimo Neon 16 Domed, which features a distinctive domed top, enhances its beam angle and empowers designers with unparalleled flexibility in illumination. Encapsulated in silicone, this range epitomises durability and versatility, catering to a myriad of indoor and outdoor applications. However, the Ultimo Neon 16 Domed variant stands out as the ultimate solution for façade lighting, resulting from its wide beam angle. Hall 3.0 Stand F51 ·

Moduline 26 NEKO Lighting The modular 48V system Moduline 26 integrates perfectly into any architecture thanks to its minimalist design. Despite its smallest dimensions, Moduline 26 provides an ideal lighting mood with powerful and glare-free light insets. Reduced to a 26mm-wide aluminium profile, the Moduline 26 is ideally suited for ceiling and wall mounting. In the ceiling version, there are possibilities to install the tracks as a recessed, pendant, and surface mounted version. The standard track of 52mm is supplemented by a slim version with a height of 27mm. Hall 3.0 Stand F29 ·

Pharos Designer 2 Pharos Visitors to the Pharos stand will be able to explore new features in Pharos Designer 2 and Pharos Cloud, as well as being introduced to the exciting new development set to be launched at the exhibition. The new product is an architectural lighting controller that can adapt its behaviour to the way you work. Users will benefit from Pharos’ expertise in dynamic architectural lighting with an allnew, practical, and straightforward control solution centred around a single, reliable, set-and-forget piece of equipment. Hall 8.0 Stand C71 ·

On-ground Luminaire Wallwasher Bega Bega has developed new floor-mounted luminaires for special lighting results. These luminaires are used for the homogeneous illumination of vertical surfaces - they are able to illuminate façades from the base to the eaves. The upper light emission can be adapted exactly to the height of the façade without light being emitted unused into the night sky. The lower limit of the light distribution is linear, without the usual “light cones” of recessed ground spotlights. Hall 3.0 Stand C91 ·

VIVO II Zumtobel The new deep-source reflectors on the VIVO II LED spotlight offer better glare control and deflect more light beams, minimising scattering losses and efficiently focusing the light on the goods. The design of the reflector, housing and LED holder means that there are no light leaks and that light losses in the spotlight housing are kept to a minimum, with almost 80% of the light beams directed precisely where intended. FOR.0 A10 ·



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ILO LED Luks The ILO luminaire is one of the most versatile profile solutions on the market. Designed for projects that demand a high-quality lighting system and high visual comfort, it offers a vast selection of dimensions, mounting options, and optics to choose from. With its modular design, the ILO can be used as an individual fixture or as a combination of luminaires connected together in continuous light-lines with completely illuminated corners (X, T, Y, Z, U). Hall 3.0 Stand E11 ·

Filorail iGuzzini Filorail is a concealed rail with a technological presence that is only evident through its effectiveness, not its visibility. With an aperture of just 3.6mm, it blends subtly into the architecture. Using a simple adapter, Filorail becomes a slim shadow housing products such as Newfo, Palco LV, Robin, Libera, Laser, Laser Blade XS. Filorail can be installed as a recessed, minimal and frame surface-mounted or pendant system. It can move on horizontal and vertical surfaces, as a silver thread outlining straight or curved lines. Hall 5.1 Stand B90 ·

InviTrack LITE / Nordic Power Converters LITE Architectural and Nordic Power Converters have forged a groundbreaking partnership, unveiling the revolutionary InviTrack. This invisible track driver transforms lighting design possibilities, seamlessly blending aesthetics and functionality. With an extensive suite of solutions, LITE Architectural combines Nordic engineering precision with creative vision, setting new standards in architectural lighting. This dynamic collaboration offers an array of possibilities, illuminating spaces with cutting-edge technology and brightening the future of design. Hall 8.0 Stand A32 ·

LED Neon Acolyte LED Neon provides the classic gleam of neon with all the benefits of modern LEDs. These bendable, weatherproof fixtures can generate the full spectrum of lustrous neon colours and appearances. Acolyte offers custom assembly and cut lengths to fit any project. Neon Silhouette products feature pinpoint lines of light. Neon Contour options create traditional glowing tubes. Neon Apex offers a unique top-bending light face, while Neon360 is a bendable round silicone fixture that emits an even glow around its full circumference. Hall 4.1 Stand E61 ·

Akin Aero Lighting Aero’s Akin LED Strip light is flexible and bendable, making it ideal for use in coves, cabinets and confined areas where continuous effect is pursued. Aero has a variety of LED strip lights, from normal version to dot-free, from IP20 to IP67, from top bend to side bend. Also, a length customisation service is available for all projects on the strip light, which can save both the material cost, installation cost, and labour cost, so as to ensure the right lighting effect of luxury hotels. Hall 4.1 Stand F21 ·

Minimal Track Prolicht Flexible and almost invisible, the innovative Minimal Track lighting system combines pure minimalism with the latest technology. Thanks to its various corner connectors and individually available curve elements, Minimal Track makes it easy to realise creative designs. Thanks to its versatility in components and applications, the surfaced mounted Minimal Track can adapt to any spatial requirement, following the architectural lines set by interior design, without limitations and with a multitude of solutions. Hall 3.1 Stand F21 ·



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Come visit us

Swan Street Bridge, Melbourne, Australia - Illuminated by Coolon LED Lighting Lighting Design: Relume Consulting - Architect: BKK Architects


03-08 March 2024

Frankfurt, Germany - Stand 8.0 C91

eye opener

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Rays of Light Joensuu, Finland

Visual Festival is a light art event set in the beautiful surroundings of Botania Joensuu, Finland. The green space of the botanical gardens is filled with forest growth. One tall pine tree rises like a giant above the others, drawing attention as a natural beacon. This tree served as the starting point for the installation Rays of Light, created by Tamar Frank. Thin fluorescent lines extended from this central focal point to surrounding trees in a half-circle. The lines formed bundles, creating the illusion of rays of light, emanating from the tall tree’s trunk. In the winter landscape these light rays, appearing to shine from within the tree, evoked associations with the mystical north – a space where forest spirits roam and trees are sacred entities. This work was constructed of hundreds of

fluorescent threads, which were lit up with blacklight at night but could also be seen during the day, depending on the viewing angle. The nylon threads are so fine that they drift in and out of perception like a spider web. In total six ‘beams’ were created with lengths varying from 30 to 50 metres. The full installation covered an area of 60x70 metres. Frank’s affinity for using threads as a medium goes back to 2000, when she installed her first thread-based artwork under a bridge, creating an illusion of cascading water. Thread proved to be the perfect constructing material because of its ephemeral quality. It is almost invisible but when light hits it, it appears like magic before your eyes.

Image: Janne Laukkanen

LEDucation 2024

Terra Drum Acclaim Lighting Acclaim Lighting introduces the Terra Drum series, a rugged, all-weather inground, driveover ready rated fixtures designed for recessed façade and tree lighting applications. Available in 15-, 30- and 60-watt, Terra Drums have a drive-over rating of up to 6,000 lbs, (2,721kg). Available in 2400K, 2700K, 3000K, 3500K, 4000K, Dynamic White (2700K-6000K), Quad Spectrum (RGBW, W=3000K), Quad White 4000K, and Quad White 6000K with multiple beam angles along and an adjuster to fine-tune the beam without compromising environmental protection.

Bolt Nova Meteor Lighting Bolt Nova is a natatorium-rated, indirect luminaire set to redefine the landscape of indirect applications. Engineered with precision and boasting industry-leading performance, the Bolt Nova excels in challenging environments. The Bolt Nova stands as Meteor’s next-generation luminaire, delivering an impressive 147,000lm that illuminates with unparalleled efficiency. With more than a decade of illuminating diverse natatorium projects, from community recreation centres to Olympic-sized pools, the Bolt Nova is an amalgamation of the company’s engineering prowess for natatoriums.

D 100 WE System IP 66 Radiant Architectural Lighting The Radiant D 100 WE IP66 is a DMX controlled, dynamic LED effect lighting projector for use in a wide range of exterior architectural and landscape lighting applications. Customisable decorative lit-effects are created from a light engine incorporating multiple colour temperature and colour LEDs, complex DMX controlled dimming sequences, and textured glass optics. Lumen output is to 600lm. A variety of mounting accessories including tree-strap, ground spike and custom brackets are available.

Klipo Zeplinn Zeplinn’s revolutionary lighting range Klipo seamlessly combines sustainability, high efficiency, miniaturisation, and breath-taking design. With sleek lines, minimalist aesthetics, and a range of possible colour customisation, Klipo transforms lighting into an art form. Its CRI of 98 ensures unparalleled colour accuracy, bringing out the true vibrancy and richness of your surroundings. Whether you seek ambient warmth or focused brilliance, Klipo delivers an extraordinary lighting experience that leaves a lasting impression while paving the way for a more sustainable future.

MOMO Series KKDC The IP44/67 MOMO compact housing series (MOMO-L, MOMO-R, MOMO-F) has received design upgrades, now with a more complete range of lens options, optical accessories and LED types available to be specified internally. The new mini high-power P030 lensed LED array is available within the MOMO Power series housings capable of providing light beam projections suitable for exterior façades in a small linear form factor.

Gen 2 CCT Tunable COB Luminus Devices Luminus has extended its Gen 2 CCT Tunable COB line with two new families capable of tuning from 4000K to 1800K or from 5000K Salud High Melanopic to 2200K. With industry-leading efficacy and flux density and available LES sizes of 6, 9, 14, 18, and 22mm, luminaire makers have a wide range of options to choose from. Like the 6500K to 2700K family, all of these dynamic COBs offer 90 CRI minimum high quality of light.


STR10TM GVA STR10TM is the cutting-edge addition to the STR product series. In both monochromatic and colour changing configurations, this architectural wall washing/grazing luminaire is built on the new award-winning ColourStream platform. Experience communication speeds up to 16 times faster than DMX, pixel resolution as low as 100mm, and liquidsmooth dimming and transitions. STR10TM uses Color-Amp and INFINITY technologies, breaking records in both lumen output and maximum circuit lengths - up to 600 metres. Available in INFINITY, AC or ELV input voltages.


Northport Landscape Forms Drawing inspiration from the ubiquitous acorn streetlamp, Northport area lights merge advanced LED technology and optics with an homage to the traditional-style lights so deeply rooted in landscape design heritage. Rather than as a glass globe, the “acorn” form subtly appears in the negative space between the arms at the top of each luminaire. Inside, an LED element mounted below the lens subtly recalls gas lamps or early filament bulbs, inspiring nostalgic connections and reinforcing the sense of place.

[Untitled] Lightly Lightly’s newest prototype, [Untitled], combines elegance, performance, and sustainability into a customisable linear lighting platform. Unlike the award-winning Butterfly fixtures, these prototypes incorporate a Red-List Free diffusion system, providing seamless indirect illumination. Recessed optics prevent glare, and new higher-gloss finish options are available to compliment your projects. [Untitled] is also the first Lightly fixture that is capable of being recessed into the ceiling, expanding the impact of sustainable architectural lighting.

Vyko Intra Lighting Vyko is a luminaire and a ceiling, solving three problems at once: it improves the acoustics, offers high quality illumination with absolutely no glare and replaces the false ceiling. With the Bartenbach LFO optic, Vyko illuminates the space pleasantly without seeing the light source. A secondary ceiling is no longer needed, Vyko acts as a ceiling itself, as an acoustic absorber and light at the same time. It is easy to install while replacing the plaster work.

Terraluz TE5 Lumascape The Terraluz TE5, is a high-output in-ground, combining technology and performance in a stylish linear form factor. Featuring a bezel-less edge-to-edge glass slab cover with a sealed ± 15° tilt adjustment, and powered by PowerSync technology, this luminaire is available in various lengths and combined with flexible junction accessories, this luminaire can be installed in multiple orientations. Choose from white, colour-changing, or tunable white light engines to illuminate with perfection from the ground up.

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.




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An increasingly popular fixture in the lighting design calendar, LEDucation returns to the New York Hilton Midtown this March. Here, we look at some of the products you can expect to see on the show floor.














case study

Cambridge City Hall Cambridge, USA When Cambridge City Hall needed to modernise its external lighting solution, designers at Lam Partners specified Acclaim Lighting and its powerful Dyna Drum luminaires.

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Built in the Richardsonian Romanesque style between 1888 and 1889, the Cambridge, Massachusetts City Hall serves as a centerpiece of the surrounding City Hall District, especially with the addition of its architectural lighting system. Designed by the architects at Longfellow, Alden & Harlow almost 140 years ago, the three-storey building, with its bell tower, rises to 158ft, and houses offices for the city council, the city manager and several municipal departments. The revival style building incorporates 11th and 12th century southern French, Spanish, and Italian Romanesque characteristics with its stone walls made of Milford granite trimmed with Longmeadow brownstone. The previous lighting system featured antiquated metal halide flood lights that were difficult to maintain, required a manual process of changing lenses to alter the colour output for City events, and lacked the lighting performance to highlight such an ornate building façade compared to the newer, more precise LED technology. In an effort to update the lighting system, the director of the City’s Electrical Department approached Omnilite | illuminate, a New England lighting representative, to investigate a more permanent, energy-efficient solution that could be used year-round for not only holiday lighting but also cause-related awareness campaigns. Omnilite worked along with Lam Partners, to establish the criteria for new exterior lighting. Jeff Landes, Principal at OmniLite said: “During our investigation, we determined that the new lighting system needed to be permanent as well as easy to install since the City electricians would be

performing the work. Second, the lighting system needed colour-changing capabilities with relatively easy programming to provide special lighting for the holidays and special events. After a thorough investigation, Omnilite specified the Aria wireless DMX system from Acclaim Lighting, including 12 Dyna-Drum SO flood lights along the base of the building to replace the failed HID units. In addition, another six Dyna-Drum SO flood lights were installed on existing pedestrian scale poles along the street without the need to run new wiring. Working in sync with the wireless DMX system is the Dyna Drum SO, an outdoor rated, LED flood fixture. It features an adjustable yoke, on-board digital display, and a 100-277VAC internal power supply. According to Landes, the RGBW capabilities of the Dyna Drum flood lights allowed the design team to fine-tune the general façade lighting scene to accentuate the warm Milford granite stone. In addition, the lighting system enabled the installation of a Colour Profile RGBAM projector from Elation Lighting in a city-owned building across the street. The projector features a 180W RGBAM (Red, Green, Blue, Amber, Mint) LED engine, a high CRI of 94 with 4100 total lumens, and 19°, 26°, 36°, and 50° interchangeable lens options. The system also includes the Art 500, a touch panel DMX Controller with 1,024 DMX channels and 500 programmable scenes for even more effective architectural lighting control to augment the capabilities of the Aria system.

case study

Stirling Old Bridge Stirling, UK LITE has created a striking, yet sympathetic lighting scheme for one of Scotland’s oldest bridges.

Stirling Old Bridge, located on the River Forth, is one of the most important crossing points in Scotland. The present Stirling Bridge was built around the 1500s and has played host to many important moments in history, including the Battle of Stirling Bridge in 1297 and the Jacobite Rising of 1745. One of the few medieval masonry arch bridges in Scotland, Stirling Old Bridge acted as the main crossing point of the River Forth until the early 1800s, dubbed a ‘gateway to the Highlands’. Electrical Contractors and Installers Forth Electrical Services (FES) appointed LITE to create a new, dynamic, colour-changing design for the lighting on the bridge. LITE provided initial designs and plans and supplied the light fixtures, recommending several solutions from its portfolio of lighting brands. LITE also carried out onsite trials with members of Historic Environments Scotland (HES) and local architects in attendance, to ensure the locations of fixtures and lighting levels were correctly and sympathetically placed. The river in this section has a history of flooding, therefore the groundmounted fittings were required to be IP68 and the main floodlighting was mounted onto columns. The team created an ideal solution to illuminate this historic monument. The proposal included lighting the four main semi-circular arches of the bridge from new column-mounted fittings, re-using the existing locations of ground-mounted fixtures, and installing uplighters on both the left and righthand sides of the riverbank. Power was available on either side of the river, but LITE installed new ducting and cabling for the required locations.

Color Kinetics ColorReach Elite 100 RGBW products were selected for cross-lighting, and Studio Due Aria RGBW IP68 products were chosen for ground-mounted lighting, to create a dynamic colour-changing lighting effect, controlled remotely by a Pharos LPC1 controller. DMX connectivity is provided via wireless technology and remote access to the controller is available via a 4G router or SIM card. The result is an innovative and dynamic lighting solution that brings modern, colour-changing lighting to an area steeped in rich history and traditional architecture. As the archways transition to various colours, the bridge is brought to life and its appearance is enhanced, with the effect appearing particularly striking at night, reflecting in the river. The modern solution also gives the end user complete control over the colour change to cast dynamic light shows and select programmed colour displays to mark national days and occasions for the public. Scot Baxter, Project Manager from FES, said: “LITE is a trusted partner that has done incredible work with Historic Environments Scotland in the past, therefore we knew that they were a reliable company to work on this project. They provided an innovative design solution and the kit and fixtures needed, supporting our installation from the getgo and ensuring we had everything we needed and that all was to plan. The effect of the lighting is truly striking and enchanting, and we could not be happier with the result.”

case study

Image: Dag Sandven

The Well Oslo, Norway At The Well Spa and Hotel, L&L Luce&Light has illuminated 20 life-sized sculptures along a mystical art trail.

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The luxurious The Well spa and hotel is located just a few minutes from the centre of Oslo. At 10,500sqm, it is Scandinavia’s largest spa and bathing centre, with 11 indoor and outdoor pools, 15 saunas and steam rooms, more than 100 showers, waterfalls, a Japanese bath house, a Turkish hammam, rhassoul treatments and numerous relaxation rooms. The Well also offers fine dining, and guests can enjoy traditional and fusion cuisine interspersed with moments of relaxation in a complex entirely dedicated to their physical and psychological wellbeing. Nestled in the heart of a peaceful pine forest, the rooms are aptly decorated in a Norwegian style and detailed decoration. While each one is different, they all face onto the forest, creating a connection with the vegetation. The proximity to this vast coniferous forest, which changes with the seasons almost like a living work of art, was an important consideration in the entire process of building the hotel and offering the wellbeing that comes from a total immersion in nature. The inspiration is taken by spa traditions and culture from all over the world, the resort provides a tranquil space that nurtures your mind, body and soul.

In the wooded area, 20 life-size sculptures have been scattered strategically along a lighted pathway. The trail, which is around 300-metres long, was given emphasis with a design by SML Lighting and the choice of L&L Luce&Light products. Linear 2.1 outdoor bollards, 8.5W 3000K, with an asymmetrical light output, a custom height of 1000mm and anthracite finish in a customised DALI version, which demarcate and illuminate the curved path. To light the statues, Ginko 2.0 projectors, 7W 24Vdc 3000K, were installed with 34° and 45° optics, honeycomb louvres and asymmetrical snoots. Two different installation methods were used for the fixtures, these being mounted on the ground with stakes or fixed to tree trunks with fastener straps, in order to obtain two different lighting effects. Ginko projectors were specifically designed to light plants, trees and features in gardens and parks, and they offer great versatility and a variety of light outputs, while their body is made of low-coppercontent aluminium alloy for excellent resistance to corrosion.






BRINGING ART TO LIGHT Rembrandt Self-Portrait with Two Circles, Kenwood House Photography: Andrew Beasley


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case study

Image: Studio SZ / Justin Szeremeta

Sanxingdui Museum Guanghan City, China Fixtures from Erco contribute to a captivating allure, guiding visitors on a journey through ancient Chinese civilisation at the Sanxingdui Museum.

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Nestled in Guanghan City, Sichuan Province, China, the Sanxingdui Museum stands as a testament to the rich cultural heritage and archaeological discoveries unearthed at the Sanxingdui site. The site holds a significant place in the study of ancient Chinese civilisation, and the museum is renowned for its collection of bronze masks, jade artefacts, and pottery. To illuminate these precious artefacts with utmost care and precision, Erco luminaires were chosen by iLicht Lighting Engineering Design. Erco was chosen as it meticulously evaluates the potential damage factors of its light sources, ensuring that cultural relics are safeguarded from the detrimental effects of light radiation. This dedication to protection aligns seamlessly with the museum’s mission to preserve and showcase the Sanxingdui artefacts for generations to come. The Sanxingdui Archaeological Museum is a vast and complex space, with a wide variety of exhibits. The lighting designers were faced with the challenge of creating a lighting scheme that would meet the specific needs of each exhibit, while also maintaining a sense of coherence and unity throughout the museum. The project had a tight construction schedule, which meant a shorter lead time and higher uncertainties. Due to this, the lighting designers proposed a “change-tolerant” concept – an adaptable approach that involved utilising luminaires with interchangeable lenses, allowing for beam angle adjustments without the need for fixture replacements. This level of flexibility allows for effortless adjustments to accommodate changing exhibition layouts and lighting

requirements. Furthermore, the implementation of Casambi Bluetooth control technology empowered the team to finetune the lighting intensity without disrupting the delicate artefacts. The showcases are lit with Erco Parscan 48V spotlights in size XS, drawing visitors to the intricate details of the pieces. The versatile luminaires deliver precise beam control and adjustable light intensity, ensuring that each artefact is illuminated evenly and effectively. The carefully controlled lighting eliminates glare and harsh shadows, allowing for the creation of dramatic contrasts and subtle nuances that accentuate the unique features of each piece. In addition to the beam control and flexibility, the high CRI of the Parscan spotlights accurately reproduces the colours of the artefacts – especially important for the bronze masks, where the rich hues and intricate details that were once veiled in obscurity now emerge with newfound vibrancy. The Parscan and Optec spotlights also enhance the overall ambience of the space; carefully controlled contrast levels create a sense of drama and intrigue. The flexibility of track lighting empowers the museum’s maintenance team to adjust the position of the luminaires with ease, or add, remove, or replace them as required. The harmonious interplay of Erco’s lighting solutions and the Sanxingdui artefacts has transformed the museum into a captivating sanctuary of ancient Chinese history, revealing the objects’ hidden beauty and captivating visitors with their enigmatic allure.

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case study

London College of Fashion London, UK The Light Lab created a bespoke timber LED handrail for Buro Happold’s design at the London College of Fashion’s Queen Elizabeth Olympic Park site.

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The Light Lab contributed bespoke lighting to the relocation of London College of Fashion, University of the Arts London, to its state-of-theart, purpose-built site at Queen Elizabeth Olympic Park on the Stratford Waterfront. Allies and Morrison and Buro Happold specified LightLab to fabricate it’s bespoke LED handrail fitting, the Glowrail, in a custom timber finish, spanning 15 storeys throughout the new building. Internally, Buro Happold’s structural team devised innovative solutions for the complex spaces radiating from the central atrium and circulation space, known as the ‘heart’. One such solution was the Heart Wall, a concrete frame comprising columns and beams that establishes a boundary between the central core and surrounding workshop spaces. This structure provides primary stability while retaining flexibility in space utilisation and service provision. The team manufactured and installed more than 430-metres of custom timber LED handrail, incorporating helical, curved, and straight sections to integrate with the sweeping concrete Heart Wall stairs and adjoining black steel staircases and wall mounted with custom black powder coated steel brackets. Mastering an unfinished surface presented a unique design challenge. Marcus Cave, Production

Director at The Light Lab, explained: “Fixing to a concrete surface demands complete precision, as there’s no room for touch-ups. To address this, our team devised a bespoke fixing method, which involved casting a spigot into pre-drilled holes in the concrete and attaching the bracket directly. The team did a fantastic job, delivering this perfectly on a hugely impressive build. Sincere thanks to Buro Happold for the opportunity with our Glowrail product. We’re thrilled with the result.” The new home for UAL’s London College of Fashion is conceived as a 21st century workshop, drawing inspiration from 19th century mill buildings. Outwardly simple, unpretentious, and robust, it accommodates multiple complex and processdriven internal arrangements, ensuring adaptability to change. The new campus has also now achieved a BREEAM Outstanding certification, with Buro Happold delivering engineering strategies that will achieve a 39% reduction in CO2 emissions against the original brief. The relocation of LCF consolidates departments spread across six London sites for the first time, making it one of the world’s largest dedicated spaces for the study and research of fashion upon completion.

Visit us at Booth #407, Grand Ballroom, New York Hilton Midtown. 19 – 20 March 2024.

Royal Albert Hall, London. Lighting design by EQ2 Light. 3D LED Flex 25 IP 66 fixtures provide wall-graze illumination within the curved niches on the facade of the Royal Albert Hall, housing new sculptures of Queen Elizabeth II and Prince Philip.

3D LED Flex 25 IP 66 System. 4x high-power LEDs with elliptical beam lenses per module. Exterior, 3D flexible, modular LED lighting system. Custom magnetic mounting plate allows for ease of maintenance. Anti-glare snoots ensure visual comfort. Up to 3,500 Lumens per mtr. | +44 ( 0 ) 208 348 9003 | | London, N6 5JW | All products designed by

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Acoustic Lighting combines a lighting source with sound-absorbing materials, to provide a luminaire that helps reduce unwanted noise in a space. These fixtures create a highly functional space that both absorbs the noise whilst providing a light source. BRIGHT provides different designs within acoustic light range. Lamps in combination with an acoustic function is a very efficient way to improve a space. HALL 3.1 STAND B20

case study

InnStyle Maarssen, Netherlands When revitalising the lighting at the InnStyle multipurpose venue, fixtures from CLS provided the optimum solution.

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InnStyle provides all the space for inspiration at its full-service venue, from a unique food experience, business festival, congress, product launch, teambuilding event and much more, both indoor and outdoor, all year round. Because of its unique location, CO2-neutral venue, in a natural and easily accessible environment, it has already welcomed many satisfied visitors. Venue owner InnStyle was looking to add an extra ‘personal touch’ to its events. To achieve this, it focused on the lighting. It partnered with Spot & Speaker, which it has been working with for more than 20 years to innovate and improve overall technology. In the room with the widescreen display, the team looked at optimising the lighting for sustainability and functionality. With the requirements on lighting used for this room, which manifested in versatile use in terms of functionality and low energy consumption, reduced environmental impact and long-term high performance for sustainability, they started looking at the various options available. In addition to the lighting requirements, the brand and supplier also needed to be considered. During an innovation meeting between Spot & Speaker and InnStyle, the choice to use CLS fixtures was quickly decided. CLS Lighting aided

the team in sourcing a suitable solution in which both high quality white lighting as well as coloured atmospheric light could be programmed. The CLS Jade Series was chosen for wall accents and the Ruby Series as general hall lighting. Because of the hall’s versatile applications, DMX was the obvious choice, as the reliable control system allows everything to be controlled directly. It also allowed the video and audio installation to be linked, for an interactive result. To control everything as easily as possible for InnStyle, a Pharos Controls show control system was used, linked to the building management system. All this was achievable through the modular construction of the CLS fixtures, which allowed Spot & Speaker to meet its client’s specific needs and provide them with a tailor-made solution. This therefore worked well in the preparation of a new lighting plan. The challenge in this project was in the operation of the old system. It had to remain operational during the installation of the new system so that InnStyle could continue to offer its customers an excellent experience, but this worked out well in collaboration with Spot & Speaker.

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Daniel Green Into Lighting “Keep your face always toward the sunshine, and shadows will fall behind you.” Walt Whitman


As little as possible. Peace, Stillness and Tranquility.


A quiet, empty beach with a light breeze and the gentle crashing of the tide.


Stroll mindfully across perfect soft sand, with the fresh scent of sea air and warm radiant sun.


A cool summer’s late afternoon.


It is all too easy to become over encumbered with the stresses and strains of daily life, and the worries of the wider world which often we cannot control. It’s important to take stock and find our own inner fortresses of solitude, our own private beaches of calm and contemplation. Whether it’s on a tropical island or the inner sanctum of our imagination.

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Lights in Alingsås 2022, Sweden

Winner of the 2022 Event award


All independent lighting designers, artists, interior designers, architects and product designers are eligible to vote and receive an exclusive ticket to [d]arc night the awards party at fabric London on 27 March 2024. Don’t miss the biggest party of the year as the lighting industry gets together to celebrate the best projects and products of the year

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