arc issue 143

#143 Cover Story: Portland International Airport, USA Infrastructure Lighting Lights in Alingsås 25th Anniversary LiGHT 24 Review

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#143

Welcome Before I get into my usual ramblings about how busy I am (very) and all the incredible content we have lined up in this issue (lots), I wanted to say an enormous thank you to everyone that came in their droves to LiGHT 24 in London this November.

You will no doubt have seen across our various newsletters, social media posts, etc, but we saw record numbers of visitors come to the Business Design Centre, and it really felt like it. What little time I got to spend away from the [d]arc thoughts stage, I was blown away by how busy the show was.

If I managed to stop and have a chat with you, it was great to see you there; if you came and I didn’t see you, sorry I missed you!

We’ve got a full recap of the event later in this issue, where you can read more about our amazing talks programme, Frankie Boyle’s incredible Intra-spectrum installation, and of course, some of the wonderful exhibitors. We were even lucky enough to get Kevin Grant, Design Principal of Light Alliance, to put together a special, LiGHT edition of his famous CoolKitList, so big thanks to Kevin for putting this together for us!.

Elsewhere, you can read an amazing, deep dive article from our own Ellie Walton on her experiences at this year’s Lights in Alingsås event. This year, the popular light art festival was celebrating its 25th anniversary, so Ellie travelled to Sweden to soak up the festivities, and speak to everyone involved to find out why this event is held in such high regard by both the lighting industry and the local community. It’s a great read, so I hope you enjoy it as much as I did.

We’ve also got some amazing transport and infrastructure projects lined up in this issue, ranging from airports and rail stations, to luxury cruise ships (hey, it moves - it’s still transport!). This includes our beautiful cover story - PDX airport in Portland, USA, which saw lighting designers at Fisher Marantz Stone collaborate with ZGF Architects to create a space that marries natural and electric light perfectly.

Finally, as this is our last issue of 2024, all that is left for me to say, on behalf of the [d]arc media team, is thank you for all of your support this year, whether that’s reading the magazine, or coming to any of our events. We love and appreciate you all!

Happy Holidays, and we’ll see you in 2025!

Enjoy the issue!

Matt Waring Editor

Front cover: PDX Airport, USA (Image: Ema Peter Photography)

#143

Inside this issue Regulars 014

Event Diary

018

Drawing Board

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In Conversation Dr Shelley James tells us all about her new podcast.

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Snapshot ThinkL Studio

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Marcus Steffen Why marketing should be a primary focus in business growth.

112

Silhouette Awards We learn more about Silhouette Awards’ event at LiGHT 24.

118

David Morgan Review Organic Lighting FortaCast.

120

Manufacturer Case Studies

130

Bucket List Quynh Anh Nguyen

Eye Openers 016

Duo Melek Zeynep Bulut

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Porta del Regio Arsenale essequadro | p

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Orb SpY

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Whispering Gallery: St Paul’s Cathedral CBG Light Perceptions

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Intra-spectrum Frankie Boyle

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Bùnquers del Castell de la Trinitat Atelier Medina Querini

Features 026

Pockets of Light The SLL event, held in Abbots Langley, UK, had a theme of Remembrance.

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Lights in Alingsås arc’s Ellie Walton travelled to Sweden for the 25th anniversary of the light art festival.

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LiGHT 24 Review A look back at the highlights of LiGHT 24, from the talks programme, to the exhibitors.

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CoolKitList Kevin Grant tells us his product highlights from LiGHT 24.

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Editors Picks: Products of the Year arc Editor Matt Waring shares his favourite products from the past year.

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Projects 046

PDX Airport, USA Fisher Marantz Stone

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Sydney Central Station, Australia Steensen Varming

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Ilma, The Ritz-Carlton Yacht Collection dpa lighting consultants

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Penn Station 33rd Street Entry, USA HLB Lighting

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Kyra Lounge, Hong Kong Nulty

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Infrastructure Lighting Case Studies A selection of infrastructure projects from lighting manufacturers.

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Proudly Supporting

EDITORIAL Managing Editor Helen Ankers h.ankers@mondiale.co.uk Editor Matt Waring m.waring@mondiale.co.uk

Events Diary JANUARY

APRIL

Light + Intelligent Building Middle East

Prolight + Sound

14-16 January

8-11 April

Dubai, UAE

Frankfurt, Germany

www.lightme.net

www.pls.messefrankfurt.com

FEBRUARY

Euroluce 8-13 April Milan, Italy

Surface Design Show

www.salonemilano.it

4-6 February London, UK www.iseurope.org

[d]arc awards 24 April London, UK

Integrated Systems Europe

www.darcawards.com

4-7 February Barcelona, Spain www.iseurope.org

MAY

Workspace Design Show

Lightfair

26-27 February

4-8 May

London, UK

Las Vegas, USA

www.workspaceshow.co.uk

www.lightfair.us.messefrankfurt.com

MARCH

[d]arc sessions Europe 6-8 May Ibiza, Spain

LEDucation

www.darcsessions.com

18-19 March Clerkenwell Design Week 20-22 May London, UK Architect@Work

www.clerkenwelldesignweek.com

19-20 March London, UK www.architect-at-work.co.uk

Junior Journalist Ellie Walton e.walton@mondiale.co.uk

COMMERCIAL Managing Director Paul James p.james@mondiale.co.uk Head of Business Development Jason Pennington j.pennington@mondiale.co.uk International Account Manager Andrew Bousfield a.bousfield@mondiale.co.uk International Account Manager Ethan Holt e.holt@mondiale.co.uk Events & Marketing Manager Moses Naeem m.naeem@mondiale.co.uk

DESIGN Design Manager David Bell d.bell@mondiale.co.uk Design Jez Reid j.reid@mondiale.co.uk Production Mel Capper m.capper@mondiale.co.uk

CORPORATE

New York, USA www.leducation.org

Contributing Editor Sarah Cullen s.cullen@mondiale.co.uk

JUNE

Chairman Damian Walsh d.walsh@mondiale.co.uk Finance Director Amanda Giles a.giles@mondiale.co.uk Credit Control Lynette Levi l.levi@mondiale.co.uk

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

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eye opener

Duo London, UK This year’s London Design Festival was brought to a close with the unveiling of Duo, an immersive installation from Turkish designer and artist Melek Zeynep Bulut.

As an artist, Bulut is known for her distinctive approach that melds art, design and architecture, and Duo, located in the Painted Hall of Greenwich’s historic Old Royal Naval College, marked another bold exploration by the artist into the realms of perception, space, and sensory experience.

Bulut’s creative approach is also informed by her synaesthesia – a condition that causes sensory crossovers, such as tasting colours, or feeling sounds – allowing her to discern sensory fields that she translates into tangible works. This ability has propelled her to explore the interplay between mind and matter, creating pieces that invite audiences to become an active part of the experience.

Taking the form of a suspended, rectangular prism, Duo was evocative of ancient architectural thresholds. Set within the cavernous and richly adorned Painted Hall, a space originally designed by Sir James Thornhill in the 18th century, Duo responded to its historical context with an avant-garde interpretation of duality and oppositional forces – such as centre and periphery, inside and outside, night and day, time and space, or simply, two people in conversation. The installation employed an interdependent system of magnets, sensors, perception-altering surfaces, 016 / 017

and acoustic reflectors that responded dynamically to the presence of visitors.

As they moved through the installation, miniature microphones and reflectors amplify visitors’ physical responses, animating and completing the work, The piece was described by Bulut as a “game of perception”, where the intensity, balance, and oscillation of the structure are influenced by those who engage with it.

“Imagine it like our body – fundamentally not a solid mass, but a sensor. It perceives and responds to stimuli by producing sounds and has sensory receptors that allow us to feel textures, heat, and cold.

Similarly, Duo conceptually treats ‘space’ as a mechanical body,” she said.

The installation resonated deeply with the Painted Hall’s “charged atmosphere” – a vast space adorned with 3,700sqm of Baroque paintings depicting more than 200 kings, queens, and mythological figures. “Energetically, I believe it serves as a space for dimensional transition, with a very high aura,” adds Bulut.

Duo therefore acted as both an homage to the historical significance of the Painted Hall, and a challenge to the conventional interpretations of space and experience.

Bulut’s previous works, such as OpenWork, presented at last year’s London Design Biennale, have similarly transformed abstract concepts into sensory experiences. Duo continued this trajectory, broadening the scope of design to reveal its profound impact on society. www.melekzeynep.com

Drawing Board

Skøyen Station Oslo, Norway An underground station 45-metres below the surface, accessible only by lift, calls for every possible means to make both the descend and the general station experience as pleasant as possible.

As the engineered concrete surfaces are the predominant final finishes, light has become an essential tool for showcasing the qualities of the concrete, as well as the volumes and spaces themselves.

This is the background for the lighting design at the future Skøyen underground station on the Fornebubanen line in Oslo, Norway, designed by Gottlieb Paludan Architects and L2, and due to open in 2029.

The entrance halls and lift shafts are designed to be right-angled, with sharp edges. The lighting in these spaces is to create shadows and highlights, in line with the architectural style.

Upon reaching station level, however, the spaces adopt a rounded, soft and hollowed-out appearance. The angled structures of the shafts give way to an entirely different environment, creating the feeling of being deep inside a “mountain world”.

The lighting design complements this situation, bringing out the rounded shapes of the tunnels.

The use of different colour temperatures assists the experience, as colder light is employed to shape the concrete vaults above, while warmer light is used to bring out the colour and materiality of the terrazzo paving.

The station hall is the most important space, a large cylinder comprising concrete wall elements and a suspended acoustically absorbing ceiling that conceals the smoke ventilation ducts and whose surface is formed by aluminium pipes.

The gentle, cool light that flows down over the vault from the top of the station hall provides a sense of height to the space, creating the impression that natural light is coming through a skylight above.

Soft spotlights accentuate the relief of the concrete walls, while warm light highlights the materials used in the terrazzo. With light emanating from above, appealing surfaces to observe and traverse, and ample space, passengers are likely to appreciate the grandeur of the station hall and forget how far down into the mountain they have travelled. www.gottliebpaludan.com 018 / 019

Image: Gottlieb Paludan Architects / L2 / Fornebubanen

As she continues her goal to educate the lighting community on the impacts of light on the brain, Dr Shelley James has launched a new podcast - Thinking Differently About Lighting.

Here, she tells us how the opportunity came about, and what topics will be discussed in the series.

IN CONVERSATION DR SHELLEY JAMES

What is the podcast about?

It’s about what the latest scientific research means in practical terms for professionals involved in lighting design, specification, regulation and manufacturing – why we need to think differently about lighting. It’s about the real-world implications of new knowledge for everyday decisions.

How did the opportunity arise?

I am often asked about the latest scientific evidence for investing in ‘human-centric’ lighting and where people can go to find out more. It struck me that although there are plenty of fascinating technical webinars out there with researchers presenting slides, and there are some superaccessible podcasts, there was really nothing out there for lighting professionals, from designers and specifiers to installers, manufacturers and regulators. So many are motivated to get to grips with the evidence behind the marketing claims but really need something focused and relevant to their concerns to bridge the emerging science and practical applications. I also noticed that there’s quite a lot of information about circadian lighting and sleep but not much about other critical topics that affect practical decisions, such as what features make the biggest difference if you want to support visual comfort, mood, and attention.

Even the ones about circadian lighting tend to be a bit vague when it comes to the numbers and what they really mean. So I contacted one of my heroes, Professor Kevin Houser, who has written some of the most influential and thoughtful review papers in the past couple of years, to see if he agreed – and if he would be willing to work with me to curate a series of episodes to fill that gap. I also spoke to Henrik Clausen of Fagerhult about his work with the Get a Grip on Lighting team. Henrik had co-hosted a number of memorable episodes of the Get a Grip podcast with Mike Colligan during lockdown, and I wanted to understand whether he felt there was a real need for this kind of content.

Both offered their wholehearted support. So, with my dream team onside, I approached Mike to pitch the idea and ask for support with production and distribution, as well as seek sponsors to cover costs. He said ‘yes’ too. Just a few weeks later, NASA spin-off Bios had offered to sponsor the whole series and our first recording sessions were set.

Why did you decide to make a podcast?

There is currently a gap between the brilliant but super technical scientific research webinars and more accessible general podcasts. There’s also a lot of material out there about the science behind circadian effects but very little about other

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dimensions like visual comfort and mood, and the key features we should look out for when making critical decisions – whether that’s from a regulatory or a design specification standpoint. So, the sector reverts to the default ‘business as usual’ solutions.

There are plenty of open questions, but for the first time in nearly 20 years, there is now broad scientific consensus about the qualities of light we need to thrive in a world where we spend so little time outside. And the lighting technologies are now available to deliver them.

What topics will you discuss?

Each episode in the series tackles a specific topic with one of the leading experts in the field. For example, the episode with Professor Jamie Zeitzer from Stanford will talk about what we now know about which qualities of light during the day and at night make the most difference to our ability to sleep and what numbers and features to look out for when choosing a lighting system (is it all about the blue? what about dynamic? and can office lighting really help us sleep). PNNL’s Naomi Miller will explain why flicker matters even when you can’t see it, what that means for product selection and commissioning and what numbers and features to look out for (can a dimmable product ever really be ‘flicker-free’?). Professor Timo Partonen from deepest darkest Norway will unpack what we know about how bright light affects mood (does it help everyone? How should you choose and use a SAD lamp? Could standard ambient lighting do the trick?). We’ve planned 10 episodes to create a mini-library.

What is your main ambition for the series?

That our listeners will come away from each episode feeling confident they have a solid understanding of the basic mechanisms involved in the main responses to light, what that means in the real world, and the implications for lighting design and specification.

I hope they might go back to listen to an episode or share it with a colleague if a topic comes up to refresh their memory and find additional resources if they need them – like a set of reference books.

I hope they will feel excited and inspired, knowing that this is a remarkable time to be working in the sector with a broad scientific consensus on the critical parameters for health and wellbeing and reliable, sustainable solutions to deliver them.

Thinking Differently About Lighting is coming soon. www.getagriponlighting.com

POWER W I T H CO N T R O L

MOMO Power New deep louvre option now available for more light control

Snapshot ThinkL Studio Vancouver-based ThinkL Studio look to use light to enhance and elevate every space, bringing technical innovation in line with wellbeing-focused design. Here, the team showcases some examples from its portfolio.

AndCo Coworking Space Vancouver, Canada Located in the heart of Vancouver’s business district, AndCo’s luxurious independent coworking space combines high-end design with state-of-the-art technology, managing client budgets, timelines, and pandemicrelated challenges with precision. The lighting design was meticulously crafted to seamlessly integrate with the architecture across four levels,, emphasising flexibility, versatility, and harmony. Leveraging BIOS lighting technology, the design promotes productivity and occupant comfort, incorporating pre-set dimming scenes and daylight harvesting to enhance the daytime experience. Lighting plays a central role in the vibrant common areas and amenities, accessible to all members.

Custom-designed suspended cylinders in single, double, and triple arrangements highlight focal points, while innovative backlit artificial skylights illuminate interconnected stairs, creating a unique spatial experience.

Accent step lights, as well as illuminated planters and lockers, provide functional and aesthetic touches, all carefully aligned with local energy codes and budget considerations.

Meeting rooms, collaborative hubs, and break areas offer moments of tranquillity, featuring pendant luminaires, art lighting, and horticultural illumination to foster a relaxing ambience. This approach led AndCo to receive WELL Platinum Certification.

Photography: Ema Peter

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Nemesis Coffee Shop Vancouver, Canada 2 When ThinkL Studio was awarded the lighting design scope for Vancouver’s Nemesis Coffee Shop, the challenge was to transform a conceptual render into reality, amid the uncertainties of the global pandemic in April 2020. Collaborating closely with Perkins & Will, ThinkL embraced a local approach, selecting Canadian-made lighting products to sidestep supply chain issues, and ensure timely delivery. The team’s design focused on creating an immersive, layered lighting scheme that complements the fabric ceiling fins and architectural details. A combination of more than 700ft of flexible LED strips, accent lighting, and linear lighting at the oculus 022 / 023

provided depth and dimension, enhancing the café’s ambience from day to night.

ThinkL’s technical team performed rigorous photometric and energy analyses to meet ASHRAE 2010 standards. During installation, ThinkL conducted regular site visits to ensure precise alignment with the design intent. Once complete, the team set various lighting scenes to suit different times of the day and seasonal changes. By day, the café fills with natural light, while at night, the glowing ceiling fins and oculus create a cozy, inviting atmosphere – making the space as functional as it is visually captivating.

Amid uncertainties about the future of the food and beverage industry, the design team’s work on Nemesis Coffee brought renewed optimism, highlighting the potential of integrated biophilic lighting design in transforming spaces.

Photography: Ema Peter High Tech Office Vancouver, Canada 3 Expanding this high-tech office required lighting design that preserved the essence of the original concept while enhancing functionality and visual appeal.

To achieve this, ThinkL meticulously integrated luminaires within the architectural framework. The wellness room serves as a serene retreat, designed with simplicity and employee wellbeing in mind. Dominated by a large, circular, backlit ceiling panel, the room emits a soft, nature-inspired glow that creates a peaceful and calming atmosphere, transforming the space into an oasis of relaxation and enhancing overall wellness and mental clarity. Within the larger spaces of the office, lighting was seamlessly suspended between wooden structural elements. These fixtures, carefully shielded to prevent glare, provide soft, ambient illumination that subtly accentuates the ceiling’s triangular shapes, visually bridging the new and previous phases of the office through a transitional lighting strategy. Above work surfaces, luminaires were strategically placed to reduce fixture count and control glare, offering focused illumination where it is vital for productivity. By tailoring wattage and beam spreads in high-density desk areas,

ThinkL exceeded energy code standards and ensured effective lighting coverage.

This approach allowed additional spaces, such as scrum areas, to be lit optimally for team collaboration. Thoughtful integration of luminaires enhances productivity and creates an inviting, well-lit environment.

The result is a high-tech workspace that feels both energising and calming, designed to support every aspect of the workday.

Photography: Ema Peter Carlino Restaurant Vancouver, Canada 4 The Carlino Restaurant renovation in Vancouver’s Shangri-La Hotel posed complex challenges, met with an innovative lighting solution. Despite a condensed six-month timeline and pandemic-related setbacks, the team transitioned the restaurant from halogen to energy-efficient LED lighting, incorporating dim-to-warm technology to create a cozy, inviting atmosphere. The lighting design was tailored to support different dining experiences across four rooms, from breakfast through dinner. Integrated lighting within millwork and accent elements highlighted design features and artwork, enhancing ambience and aesthetic appeal. A wireless control system added flexibility, allowing operators to select among five unique lighting scenes via an iPad interface, adjusting the atmosphere for different times of day and special events. To ensure visual comfort, the design incorporated deeply recessed downlights with glare-minimising honeycomb filters, while dimmable decorative luminaires added warmth.

Cove lighting and millwork-integrated lighting were thoughtfully arranged to enhance user experience without direct exposure. Sustainability was prioritised by using energy-efficient LEDs, meeting ASHRAE 2016 standards, and optimising energy use through occupancy sensors and programmable scenes for off-hours. This project exemplifies ThinkL Studio’s commitment to blending functionality, aesthetics, and environmental responsibility, creating a dining environment that is both sophisticated and sustainable.

Photography: Conrad Brown

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ThinkL Studio, founded by Sebastien Panouille, is a Vancouver-based lighting design and consulting firm known for its dedication to artistry, precision, and sustainability in the craft of illumination. Its mission is to seamlessly blend creative vision with technical expertise to bring lighting solutions that not only enhance but elevate every space.

As lighting facilitators, committed to achieving outstanding results, ThinkL stands proudly alongside its clients to determine the best lighting solutions for their projects. Collaborating closely with architects, interior designers, engineers, and property owners, it transforms environments to captivate, inspire, and support wellbeing.

ThinkL, understands that light is the essence of colour, form, and texture; without it, spaces lose dimension and character. Through meticulous attention to detail and an expert grasp of light’s relationship to architecture, the team of lighting designers and consultants deliver lighting that transcends functional space, leaving a memorable impact on each space they collaborate with. www.thinkl.ca

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Growing Your Business: Marketing COMMENT MARCUS STEFFEN

Often one of the first things to be cut when budgets are tight, Marcus Steffen, Founder of Akarui, discusses how integral the role of marketing is to growing your business.

Marketing is one of those great mysteries. Trillions are spent every year on it, but understanding what it is and how to do it well is a challenge. I will start with the caveat that I am not an expert on marketing, but I have had to try and learn to grow my business, as all small business owners do. I hope that by sharing my experiences, it helps others as they try to plan their marketing strategies.

Marketing has evolved over the last few decades.

It used to be that a simple advert, either on TV or in a newspaper, would bring in work. As the media world has fragmented, this has become far more complex, and so more work needs to be put into how to reach those who could use your services.

In addition to this, clients now have access to endless information online, which they have become very good at analysing before you ever speak to them. Due to this, there is huge blurring of lines between marketing and sales. Many clients will do heavy independent research before they make contact. Once they have identified your company as someone they might want to use, they look at around 20 pieces of information before they reach out to you. These can be pages on a website, social media posts, print media and others. The content used within your marketing is also doing your sales work for you, which can be both a benefit and a curse.

To take control of this marketing, structure is needed to ensure the messaging is correct, and also building a customer journey to the point they want you to help with their projects. This is where a marketing plan becomes essential. Without this, everything else falls apart. When looking at bigger industries, even the most spontaneous, unedited social media posts are most likely part of a carefully orchestrated marketing campaign.

Having a marketing plan also helps relieve some of the pressure to constantly be trying to think of what to do next. You can dedicate focused time to building a marketing plan, with all the creative energy that goes into that, and then focus on delivery afterwards.

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Marketing Strategies

One of the key principles of marketing (and sales, because of the merging of the two) is having a range of marketing strategies. If you rely on one way of getting new business (e.g. referrals) then if something affects that, it means your new business goes to zero. Having a range of different marketing strategies builds in resilience to your plan, and ensures a more steady and flexible flow of work.

It also allows you to grow the business faster.

Improving five different strategies by 5% is far easier than improving one by 25%.

A general rule of thumb is a minimum of three marketing strategies. These can be anything, and does not need to be something you need to pay for. Here are some examples: • Referrals • Previous Clients • Social Media Posts (LinkedIn, TikTok, Instagram, etc) • Pay-Per-Click Advertising (GoogleAds, Instagram) • Magazine Adverts • SEO (Search Engine Optimisation) • Your Website • Published articles • Videos (YouTube, etc) • CPDs (Continual Professional Development sessions) • Networking There are lots of options available, and weaving these into your marketing strategies will provide more business. Many of these do not cost money if you are willing to put your own time in (remember to analyse the cost/benefit of spending your own time on this rather than hiring someone else). But how do you plan for these?

Making a Marketing Plan

Marketing plans are all about getting more business. As such, each strategy should have measurable targets that they need to achieve.

Some are easy to measure. Money spent on an advert should produce a certain number of leads, of which a percentage are converted into work.

You might have to try a strategy and spend some

“Having a range of different marketing strategies builds in resilience to your plan, and ensures a more steady and flexible flow of work. It also allows you to grow the business faster.”

money to understand what these figures are, but from then on, they should be measured. Others are more difficult to measure. For example, meeting new people from networking is not a target.

Attending four events a month, resulting in six new contacts, would be a target.

Next, you need to think about what you are going to use in your marketing strategies, the dreaded word: content. Building content is a massively complex task, and hundreds of books and online guides exist. I would rather make a few key points to guide you on what you might like to consider. This can be applied to typical content (an article or a post on social media) but also not so logical content (e.g. what you talk about when networking).

It’s not about lighting design

Harvard Professor Theodore Levitt said “people don’t want to buy a ¼” drill bit. They want a ¼” hole.”

Seth Godin (marketing guru) took this further in his book This Is Marketing, and said people don’t want a ¼” hole, they want to mount shelves. But they don’t want to mount shelves, they want to tidy up the last remaining boxes from the move they made six months ago, so they can relax in their new home. They want the space to feel clean and tidy.

They want the satisfaction of a job well done. They want the admiration of their partner.

People don’t want lighting design. They want something else, but a lighting design is a requirement to deliver that. Whether it is a safe street, an amazing experience in a restaurant, a cozy home to relax in or a productive space to work, clients have desires and fears. Understanding these is essential, since then you can show, through your content, how you can give them this.

Understand your client’s motivations

Who you are targeting with your marketing can have a large impact on the message you want to send. When you want to appeal to a client, you want to understand their motivations for using your service or product. The client might want

a beautiful building at the end, but an interior designer might value technical support and reassurance. A project manager might value efficiency and consistent delivery of work on time more than anything else.

Budget

Marketing needs a budget to work. There are many cost-effective methods of marketing that don’t require huge budgets, but there is always a cost. This could be your personal time (and you need to put a value on that time) or paying others to do the marketing. Then there is the investment in whatever marketing strategies you are using, whether it is Pay-per-click, adverts in a magazine or entertainment for clients. Often the first thing a company cuts when needing to make savings is the marketing budget, but this is extremely short sighted. Any investment in marketing should be giving a return on investment, and it is a numbers game. Tracking the spend on each strategy and how much business this is bringing in is essential. This is why having measurable targets for strategies is so important. It is also important to factor in the time the strategy will take to implement. PPC marketing is quick, and should be generating income in a short time. On the opposite, networking and hosting events can take over a year to bear fruit. In either case, regular assessments of the ROI is important, with a view to refine and improve those numbers over time.

As I said at the start, I am not a guru of marketing, but I do feel that without a marketing strategy, no business is going to survive. We are all amazing, creative designers, but attracting new clients requires more than that. Making a plan that is beyond relying on referral is essential for the unknown future.

Book Recommendation: This Is Marketing by Seth Godin www.akarui.co

Pockets of Light Held in her own hometown of Abbots Langley, UK, Kristina Allison, SLL President Elect, organised a Remembrance-themed edition of Pockets of Light, hoping to inspire a future generation of lighting designers.

This November, the Society of Light and Lighting (SLL) brought its popular Pockets of Light event to the small village of Abbots Langley, situated just outside Watford, UK. Pockets of Light, for those not in the know, is an event based around bringing lighting to the next generation through engagement with schools.

The pop-up event aims to provide pupils of varying ages the opportunity to engage with lighting equipment to test out their effects, before setting them a task to design a lighting scheme for a building façade, which is then brought to life by supporting lighting designers and manufacturers.

Pockets of Light, as an event, was made famous by the UK-wide Night of Heritage Light event in 2015, led by Liz Peck. It has since been delivered at a number of locations, by different people with different schools all around the UK. Rather than being fixed annual events, Pockets of Light are instead down to individuals or teams with a drive to undertake the event and go into schools to talk about light and lighting design. This year, Kristina Allison, Environmental, Sustainability and Net-Zero Lighting Capability Lead at WSP, and President-Elect of the SLL, felt that drive, and decided to bring the event to her own hometown of Abbots Langley.

Speaking with arc, Allison says: “Last year, after seeing all the wonderful photographs from Light Night Leeds, led by David Battersby (Gamma Illumination) and Dan Lister (Arup), I wanted to have a go at doing my own version of Pockets of Light in my local community, at St Lawrence Church in Abbots Langley, Hertfordshire.

Typically, although not always, Pockets of Light events have been hosted at churches or cathedrals – “the intricate nature of the architecture lends themselves nicely to being artistically lit,” Allison adds. So, with this in mind, and armed with an array of beautiful photos of 026 / 027

past PoL events, she set to work to get the local community on board with the event.

“Initially, I contacted the St. Lawrence Church, and they were very receptive to the idea. The next critical step was to have the involvement of the local schools; I reached out to Parmiters, St. Michael’s Catholic High School, and Future Academies Watford, who are all close to the village.

“I pitched the idea of the STEM lesson and the Pockets of Light event, and all were keen to be a part of it. It is a bit of a challenge to get through to the right people at the school and hope that they will be receptive to the idea. It was my aim to provide the STEM lessons in lighting design for secondary school-aged pupils. I think this is an important time in education, and a time when we start making decisions about what we might like to do after school life and for a career. I also feel that this is the time where school pupils will have had little to no exposure to lighting as a career option.

This is often confirmed when asking a lighting professional now ‘how did you get into lighting?’.

“There was an extra special part in making this all happen – very close to the village is the Warner Brothers Studio Tour in Leavesden. Again, I managed to get in contact with the right people and pitched the idea. Keen to support the local community, Warner Brothers offered to fund the event and to give tickets for the Harry Potter Experience tour to the design winners.

“All the wonderful people and companies who contributed to the STEM lessons and the event were so willing to support me in making this event happen. I think this is maybe for a few reasons – firstly, because people are nice generally and like to help in STEM community projects; and secondly, because the creative arts industry isn’t so well funded by government, the community (both at large, and the lighting community) step in to make things like this happen.”

Images: Dan Paton POCKETS OF LIGHT

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POCKETS OF LIGHT

As the event was held in early November, Allison and the involved parties settled on a theme of ‘Remembering Remembrance’. “I discussed theme ideas with the village church, and we thought, if there were to be a theme, what could it be? We all agreed that the event would be held the evening before Remembrance Sunday, so the timing of it would suit the theme of remembrance too,” explains Allison.

“And as St Lawrence Church is an 800-year-old Saxon church, with a lot of architectural interest and a rich history with a war memorial at the front, it seemed like the perfect theme for this Pockets of Light.”

With a theme in place, Allison prepared a STEM lesson presentation, covering the fundamentals of lighting, lighting techniques, materials and textures, and examples of how to apply them. The lessons were delivered to 76 GCSE year 10 and year 11 age pupils (14-16 year olds) who, Allison says, were “so curious and engaged with the lighting equipment laid out on the workshop benches”.

“Having the opportunity to explore the lighting products, what they did, and the lighting effects they created was new to them – it was exciting.”

The event was supported by lighting manufacturers Architainment, Architectural FX, iGuzzini, Martin Architectural, Tryka, Urbis, and Thorlux – all of which supplied equipment for the STEM lessons and event. Matthew Wright from Martin Architectural joined Allison on one of the lessons, bringing with him a moving gobo projector. “The pupils loved seeing the colourful patterns projected onto the otherwise plain wall,” Allison recalls.

“After the lighting design lesson, they then experimented with the lighting equipment I set up for them to play around with. I set them a task to sketch their design ideas onto line drawings of the church façades that I had pprepared on paper, and illustrate the lighting techniques they’d learnt during the lesson.

“This is another key part in STEM and Pockets of Light – having the unique opportunity to play with lighting, to understand how light behaves and explore the effects that can be made. Once the school STEM tour was finished, the designs were then reviewed based on creative, technical, theme, and buildability merit, with four winning façade lighting designs selected to realise as part of the event.”

Allison selected four winning designs alongside a team of lighting professionals that included Matthew Wright and Sean O’Callaghan, Martin Architectural; Juan Ferrari, Hoare Lea; Ryan Rolph, Tryka; Helen Loomes, SLL; Simon Fisher, FMark; and Scott Pengelly, Urbis Schréder.

It was with the support and coordination of this

team that the lighting equipment needed to realise the winning designs was pulled together on time.

After a day of setting up, the event itself was a big success, and Allison was overwhelmed with the support that it received from the local community.

“Light has that ability to bring people and communities together, this was clear on the night of the event, where more than 200 people from the local areas came out on a cold November evening to see the creativity on display,” she says.

“Following the event, I have received many positive comments too – the schoolteachers and the pupils came along to see their creations realised and were thrilled; the church commented on how it had ‘once again put the church at the heart of the community’. Another particularly poignant comment I overheard on the night was that it ‘nearly brought me to tears’ – the theme of remembrance combined with the wonderful designs from school pupils really hit a chord with the public on the night.”

Immediately following the event, Allison recalls that she felt “a bit taken aback”, left reeling from the organisation that went into the event, but also the overwhelming feedback that she received.

“So much thought and organisation had gone into pulling it all together, I was still taking it all in,” she says. “The photographs from the community were showing up on social media and on LinkedIn posts, it was beautiful how the lighting design community had supported me, and how the local community loved it. I’m still a bit in awe of all that were involved.

“I have been invited to go back to the schools, and the church is interested in hosting the event again, so from a community engagement perspective, all my hopes and goals for this Pockets of Light event have definitely been met. I hope someone else will see these photographs and, like I was, be inspired to take on the challenge and organise their own version of Pockets of Light.”

The chief aim for the event though, Allison feels, was to engage the next generation in the power and magic of lighting design – something that she feels was a big success.

“The ultimate goal was to pass on knowledge of light and lighting design to school age pupils, and to show them what a career in lighting might entail.

Lighting is such a fascinating subject, including product design, creative, and also in technical ways.

“Maybe the lessons gave a general appreciation of the lighting used within our built environment, or hopefully planted a seed in a pupil’s mind for a future career in lighting.” www.sll.org.uk

eye opener

Image: studioVetroblu - Stefano Ferrando (courtesy of Musei Nazionali di Cagliari)

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Porta del Regio Arsenale Cagliari, Italy The Porta del Regio Arsenale in Cagliari, Italy, is currently the gateway to the citadel of the Museums, a complex that was built in the 70s by the architects Gazzola and Cecchini on what was the area of the Regio Arsenale, where the National Museums of Cagliari are located.

The door overlooks Piazza Arsenale, which presents itself as a “closed” quadrilateral that welcomes the Castello district, and which communicates with four doors that open towards a different front from each other.

The widening, which allows access to the ancient, fortified village, was a true military fortress, while today it has become a scenic, original and highly evocative urban area, so much so that from the first steps, for those arriving from S’Avanzada or from Porta Cristina, it is clear that you are immersing yourself in a historical and architectural context of considerable interest.

Erected in 1825 by military architect Carlo Boyl, who in 1824 had drawn up the plan of the Regio Arsenale, from whose renovation, starting in 1950, the Citadel of the Museums arose. The portal, which is

inspired by the Porta del Popolo in Rome, built in neoclassical style, is composed of four ancient granite columns that support an arch, above which you can see the bronze weapons of the Kingdom of Sardinia and the commemorative inscription. The imposing bronze door is the work of the sculptors Salazzari and Cassini and dates back to 1979.

The monument has recently been restored and brought to its former glory, as has the magnificent bronze portal. The lighting design intervention from essequadro | p is part of a wider restoration intervention, to enhance the door during the night hours, making it stand out in the magnificent historical context. The new lighting system was designed to be as unobtrusive as possible. The lighting of the portal is almost theatrical, and allows you to read all the architectural parts of it, highlighting the details and the beautiful frieze with the lions above the writing “Regio Arsenale”.

Particular attention was given to the lighting of the bronze portal, as it is of particular artistic interest, and a prominent element of the monumental door. The portal, also

recently completely restored, stands out for its shine and its geometric shapes treated with a different finish than the rest. The light, designed with a dedicated shape on the portal, highlights the same, both in the main scene with the entire system turned on, and in the 2am scene, in which only the portal remains illuminated, precisely to highlight this work sculptural and monumental from the late 1970s. The monumental lighting also affects part of the context adjacent to the arsenal gate. The walls forming part of the San Pancrazio complex and the commemorative plaque above the door of Altamira were also illuminated.

The portal’s lighting changes during the night with two different scenarios at midnight and 2am. This allows for energy savings and at the same time to give different readings to the monument, highlighting certain parts and highlighting the architectural details and geometric shapes of the portal more clearly. www.essequadrop.com

talking with…

“For me, light is all about that sense of connection and collaboration. Light is one of the essential elements of our environment. It fits right in with everything else – music, smell, furniture, fashion – it’s all part of the same beautiful mix.”

Emma Cogswell Workshop Head, Lights in Alingsås

Lights in Alingsås returned for another spectacular year, marking the 25th edition of the show. arc’s Ellie Walton visited Sweden for the first time this year, to join in the landmark celebrations, uncovering why this festival is held so dearly to the lighting community.

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Images: Patrik Gunnar Helin

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he weather in Alingsås this October was blissful, the leaves were turning amber and brown, the sun lit up the canal with a twinkling glimmer, and there was a crispness to the air – it felt like the most autumnal town in Europe. While the town seemed peaceful and quiet on the surface, there was lots happening behind the scenes as Alingsås geared up for its annual light festival, and this year’s event was quite the extravaganza.

Lights in Alingsås returns every Autumn to the small Swedish town just outside of Gothenburg, where 40 students are selected from around the world to create a lighting trail consisting of six light art installations all designed around one chosen theme. Students work with workshop heads, who are already world-class established lighting designers, as well as both seasoned and training electricians, to build each installation from concept to construction. The teams have exactly one week to create the installation before the grand opening, as well as presenting their creations to each other and a number of invited guests from the lighting community. The event provides many opportunities for not only the students, but for the locals, attracting visitors to the town, allowing residents to get involved in the project and taking on trainee electricians to expand their knowledge.

This year’s event held special significance as it also marks 25 years since Lights in Alingsås’ inception. It began in 1998, when a group of students from Ljuscentrum at the University of Gothenburg arrived in Alingsås to experiment with architectural lighting in public spaces. The project was so well received that they returned the following year, this time joined by students from Jönköping University, with ambitions to turn the project into a large-scale event. The initiative became a celebrated success, benefiting both the local community and the students.

Recognising its potential, Alingsås formed a partnership with the Professional Lighting Designers Association (PLDA) in 2000 to further develop the project internationally. Since 2018, the project has been led and organised by Alingsås Energi, which collaborates with the International Association of Lighting Designers (IALD), connecting Alingsås to a global network of lighting design professionals.

Now Lights in Alingsås has evolved into a prestigious event, and a once in a lifetime opportunity to budding lighting designers that is sought out internationally. Notably the event isn’t just sought out by students, but established designers themselves have seized the opportunity to take mentor positions, guiding teams with rare hands-on experience – an opportunity that is hard to come by in the educational field of lighting. arc arrived in Alingsås a few days before the launch, while the teams were in the middle of constructing their designs. In an impressively short amount of time the students are thrown into a whirlwind of activity, engaging with lectures and presentations. Ideas have to transform quickly into sketches and prototypes, which are then rigorously tested, discussed and refined in detailed reports.

Idle hands were not to be seen when observing the

sites and workshops, as students have to work day and night to complete the project.

With this year marking its 25th birthday, the event expanded to get the whole town involved, from its locals, small businesses and volunteers.

Lights in Alingsås was always a programme with the students’ education in mind, however, in the last 25 years it has cemented itself as part of the community and something for everyone to look forward to.

Frida Almqvist is the Lighting Designer at Alingsås Energi and is responsible for Alingsås’ streetlights; and part of her job description is also Workshop Head of Lights in Alingsås. She has seen the magnitude of what Lights in Alingsås means to the community.

“For the students, it’s all about the learning experience, but the public’s expectations are a different story,” explains Almqvist. “They often expect something flashy, like video mapping displays that you’ll find at other light festivals, which isn’t what we aim for. Ironically, they are our biggest supporters and biggest critics, but we want

TALKING WITH... LIGHTS IN ALINGSÅS 25TH ANNIVERSARY

Site one lead by workshop head Joan Röklander

to appreciate their support for the show. This is why we are making it extra special by involving the community into creating their own installations, such as holding a competition for best shop window design, and this year we had our very first video mapping in the town, which could be seen projected onto the museum.”

On the night of the grand opening, locals turn out in their hundreds in the town square anticipating their town’s make over. After performances from the local children’s choir and proud speeches from the organisers the unveiling could finally begin.

This year’s theme was about the mythological and the magical. Emma Cogswell, lighting designer and one of six workshop heads, came up with the idea after being inspired by a gift she got for her daughter from an airport.

Cogswell recalls: “I was looking for a gift for my daughter when I came across one of those troll dolls from the 80s with the long colourful hair, and I thought mythologies could make a great theme.

Since this is an international programme there are students and workshop heads from all over the

“I think the festival is fantastic for the community. October is usually a quiet month, with a lull between summer and the holiday season. But during the festival, the cafés and restaurants in Alingsås are bustling – probably busier than any other time of year.”

Birgitta Krook, Lights in Alingsås Tour Guide

TALKING WITH... LIGHTS IN ALINGSÅS 25TH ANNIVERSARY

Electricians working in Alingsas town square

world and each country tends to have their own mythologies and tales that often teach people about their culture, along with its values or morals.

I thought it would be perfect for a lighting theme and for them to learn about each other.”

The trail begins in the town centre at the canal, visitors are greeted at the bridge in its rainbow colours and illuminated arch with the number “25”.

Here is site one’s installation, led by workshop head Johan Röklander, lighting designer and teacher at Jönköping University in Sweden. The site for this project offered a picturesque stretch of the river running through Alingsås nestled between two of the town’s bridges. The installation begins at one of the bridge’s arches to frame the design, with an illuminated “25” serving as a gateway to the enchanted realm ahead. The second bridge acts as a backdrop, complementing the vegetation that added a natural touch. The water is at the heart of the concept, to which the design team wanted to depict entities like Kinn and Bäckahästen from Norse folklore, which share traits with mermaids and sirens. These beings are captivating and 036 / 037

beautiful but also mysterious, even dangerous, known for luring people into the water, embodying both allure and peril. In their installation, luminaires are installed underneath the water to mimic footsteps as though something unseen is moving below the surface. Spotlights and gobos project intricate patterns onto the vegetation, weaving shadows and light into a serene yet otherworldly ambiance, while a moon attached to the second bridge reflects its figure onto the water, tying everything together in a dreamlike glow.

Site two is located further down the canal by the Pump House, where the site begins, and finishes at the lower bridge. Led by American designer, Valerie Insardi, her team created their concept around the Greek mythological tale of Orpheus and Eurydice, a tale of love and loss. The installation is split into six beats to tell the story. The lighting transitions through a range of tones, each representing an emotional state. The warm reds symbolise love when Orpheus and the nymph Eurydice fall in love and marry; the atmosphere gradually darkens along with the music until a sudden hiss of a snake, at that moment the snake bites and the lighting turn cold. The rest of the sequence follows Orpheus’ journey through the underworld and ultimately failing. The entire sequence runs in a two-to-three-minute loop, and its theatrical professionalism was evidently influenced by their workshop head’s expertise in theatre lighting.

Insardi comments: “I have a theatrical lighting background. So, I’ve been really excited to be here.

I know that a lot of students in architectural lighting don’t get as much hands-on experience and it’s hard for them to understand how the work in the classroom translates onsite, so it’s been really amazing to see those students get their hands on fixtures and understand how it works and what we can do with light.”

Following the river to site three, continues the themes of Greek mythology. Together recreating a symbolic passage through the River Acheron, guided by Charon, the ferryman who transports souls to the realm of Hades, and the three-headed guardian who ensures no soul escapes. The team incorporated layered lighting techniques, using a variety of colours and effects to evoke the mood and symbolism of the underworld. Unlike common interpretations that equate the underworld with hell, the Greek underworld is not a place of punishment, but a realm of quiet inevitability, therefore the team avoided typical red tones and instead focused on cool tones and subtle accents.

The site is designed to reflect three distinct zones from the visitor’s perspective: the living world, the river that separates realms, and the underworld itself. The first scene begins with the arrival of Charon, a warm beam of light illuminates his boat as he carries souls into the underworld, while a subtle white light glows from the boat, giving the impression of faintly breathing souls. This visual effect repeats in a continuous loop, reinforcing the idea that this journey is perpetual. Scene two marks the souls’ entrance into the underworld, layered lighting across the riverbank and into the depths of the site to create a soft fade-in, fade-out

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“I’ve been really excited to be here. I know that a lot of students in architectural lighting don’t get as much hands-on experience and it’s hard for them to understand how the work in the classroom translates onsite, so it’s been really amazing to see those students get their hands on fixtures and understands really how it works and what we can do with light.”

Valerie Insardi, Workshop Head

effect to add depth. Hades is subtly introduced by the surrounding lights, which begin to dim and flicker. A strong, focused beam of blue light emerges from behind a central tree, symbolising his power and presence.

In Greek mythology, Hades’ name means “the unseen,” and to reflect this, the team hung a subtle yellow lamp from a tree branch. In the darkness, only the glow of the lamp is visible, representing the intangible nature of Hades’ form – the students described it as something you sense but cannot fully perceive. The lantern has also been incorporated as a safety measure for boats passing through the river to enter the lake.

“We were fortunate to have this forest as the perfect canvas to work with,” says George Fatseas, Greek lighting designer and workshop head for site three. “The big conversation among the studios was about restraint. With RGBW lights, robotic fixtures, and all the technology at our disposal, it’s tempting to go all out and do a million things. But what you really need to keep in mind is sticking to your core concept and supporting your story.

Otherwise, it turns into a chaotic circus of colours and movements, which ends up distracting from the narrative we’re trying to tell.”

The trail continues through the park across from site three. Here, an interactive installation for children is introduced by a red curtain. Through the curtain the world of story books and imagination resides in the form of a light installation where children can interact with moving lights and sound effects activated by movement. On the left-hand side of the park is an installation in which the tour guides created the concept, a special addition for the 25th anniversary that gets the whole team involved. This piece is rooted in Swedish mythology, weaving themes of life’s threads and perhaps even hinting at goblins peeking out from the bushes.

Birgitta Krook takes part in the event every year 038 / 039

as a tour guide for the installations, and also participated in creating the concept for the design.

“In Nordic mythology, the three Norns weave the threads of life, maintaining the balance of the world,” she says. “That’s the inspiration behind this story. We created the weave ourselves, but all the technical elements like the wiring and lighting were done by professionals.”

Krook also lives locally after settling here with her husband to raise her children. After seeing the impact the programme has on her community, Krook was eager to get involved in something important to her neighbours.

“I think the festival is fantastic for the community.

October is usually a quiet month, with a lull between summer and the holiday season. But during the festival, the cafés and restaurants in Alingsås are bustling – probably busier than any other time of year,” says Krook. “Residents living near the festival sites really embrace it. Some even decorate their own buildings to join in the spirit.

Once, a resident set up a car with a mannequin in overalls, making it look like someone was fixing the car for the whole month – it was so charming. The festival brings so much life and energy to the area, and people are genuinely happy to be part of it.

The residents truly love this event.”

After leaving the park and crossing to the cemetery, visitors entered site four, ran by workshop head Emma Cogswell. The team discovered their theme together by exploring themes around myths, legends, monsters, and their dualities, which resonate across cultures.

This sparked the idea to create an installation that not only highlights the monsters we face but also reflects the safe havens we rely on to cope with them – whether those monsters are real or metaphorical. The installation is divided into three main areas: the wall symbolises the duality, bright autumn colours are projected onto the wall that pulse in a gentle rhythm at the speed visitors are expected to move at and loosely alongside the music. The forest and river on the left displays the creepier side of the story, where googly eyes stare from the bushes and darkness by carefully placing lights on string. The students also made sculptures of creatures from foliage, chicken wire and sticks. The third layer was a reflector field using heart shaped reflectors into the ground to create an interactive light experience without using electricity, but the expectation of visitors using their own light sources while wayfinding the trail can discover the glimmering field of hearts, which

TALKING WITH... LIGHTS IN ALINGSÅS 25TH ANNIVERSARY

Site Six, lead by workshop heads Jasmina Memić and Srdja Hrisafovic (Image: Patrik Gunnar Helin)

Children’s park installation

TALKING WITH... LIGHTS IN ALINGSÅS 25TH ANNIVERSARY

Site Five installation of the Kannari’s wings, lead by workshop head Chayot Kiranantawat

ultimately created a dynamic and playful light display.

Cogswell adds: “Our first idea was to make something creepy and scary, given the location by the cemetery it was fitting however, as it developed, we just wanted to have fun with it and started to add new ideas such as the field of reflectors, which visitors can engage with.”

To enrich the cultural tapestry of mythologies of the trail, site five draws inspiration from an Asian legend of a mythical half-human, half-bird figure known as the Kinnari. This enchanting creature is trapped in the human world, marries a prince, but is later forced to flee due to rumours spread by the evil king. She returns to her realm, leaving clues for the prince to find her. Under the wing of workshop head and lighting designer, Chayot Kiranantawat, site five begins by telling the story through colours transitioning from warm and bright to darker hues in amber and red, reflecting the bird’s entrapment and the twists of fate throughout the story. Gobo projectors add intricate patterns and shadows, subtly symbolising her magical transformation.

At the heart of the installation, the Kannari’s illuminated wings stand as a striking visual focal point, merging storytelling with aesthetic allure.

Two rows of “mushroom ball” lights create a magical path – not to be followed but observed from the sidelines. The designers of the installation 040 / 041

encouraged visitors to walk around the installation rather than walk through it and act as observers, adding a reflective and participatory dimension to the tale.

The sixth, and final site, is located in what was the town square, which was burned down 275 years ago. The site was constructed under the guidance and help of lighting designers Jasmina Memic and Srdja Hrisafovic. The concept of the installation takes inspiration from a Bosnian folktale, taken from the workshop heads’ cultural heritage, who both originate from the region. In the tale, the village of Ku is terrorised by an evil dragon, spreading fear and destruction. In a heroic act of defiance, a woman from the village transforms herself into a dragon to confront the beast. The two dragons engage in an epic duel, circling around the sun in a climactic battle, until the woman-turned-dragon finally triumphs.

The installation captures the final act of this dramatic battle, set along a 100-metre stretch between two rows of majestic oak trees. Two dragon sculptures are suspended high in the branches, allowing visitors to observe from below.

When entering the installation, we are immersed in a natural soundscape of footsteps, wind, and rustling leaves. The tension builds as the atmosphere intensifies – dynamic lights illuminate the dragons and emphasise its shape, shifting

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TALKING WITH... LIGHTS IN ALINGSÅS 25TH ANNIVERSARY

Site Six, lead by workshop head Emma Cogswell

in vibrant, moving colours. The climax is marked by the dragons’ collision, as the sun sculpture blazes brilliantly, and the surrounding trees flicker rhythmically in unison with the dramatic moment.

Following the collision, the lights gradually soften, and the music transitions to a serene, harmonious tone. The two dragons retreat along their separation, leaving visitors in a state of calm and reflection. Site six concludes the trail with an awe-inspiring finale – a testament to the incredible collaboration of a team of seven nationalities, coming together in such a short amount of time to create this spectacle.

This year’s event was seminal not only in its quarter century landmark, but also in the display these budding designers and electricians have achieved in as little time as one week. However, despite the particularly special anniversary, every year the event is marked as something special and exciting for the lighting community as one of the most beloved programmes in the industry.

“I’ve been working with Lights in Alingsås and this programme for 10 years now,” says Cogswell. “And along the way, I’ve made some amazing friends.

I’m a huge supporter of all the efforts – whether it’s from the energy company, manufacturers donating fittings, or the students, both current and past.

Honestly, I always tell people, ‘If you’ve got a Lights 042 / 043

in Alingsås jacket, wear it to any lighting event!’

Someone’s bound to tap you on the shoulder and say, ‘I’ve been there – it’s incredible.’ It’s a community, and everyone loves it.”

Cogswell adds: “For me, Lights… is all about that sense of connection and collaboration. I truly believe light is one of the essential elements of our environment. It fits right in with everything else – music, smell, furniture, fashion – it’s all part of the same beautiful mix.”

The impact Lights… has is ever lasting and has seen many of its alumni now become established lighting designers themselves. Some of those successful alumni have even returned to work as workshop heads, including Nick Dankers, lighting designer at Living Projects, who participated for 20th anniversary event in 2019 as a student. Dankers is so passionate about the event he even postponed his wedding last year for the opportunity to work as a workshop head for Lights in Alingsås and has a dedicated tattoo of the Lights logo.

“Did taking part in the final showcase open doors for me as a lighting designer? Definitely. More than anything, it’s about the people you meet and the connections you make,” says Dankers.

“I come from a programming background, so the work itself wasn’t a challenge. It was more about the experience of working with people. It’s not just

Site Two, lead of workshop head Valerie Insardi

Grand opening Video mapping on Alingsås Museum

about technical skills but also about learning to collaborate, especially with such a diverse group.

We had students from India, Mexico, Argentina – a real mix of cultures and honestly, that was the hardest part, trying to bring everyone together as a team. Cultural differences can really show up in how people approach tasks. For example, some cultures are very task-oriented and focused on schedules, while others are more relaxed and gowith-the-flow. It’s fascinating to see how that affects the creative process, but it’s also challenging.”

Those bridges built between cultural difference, which Dankers mentions, also blossom into special friendships in a short period of time. It was evident when observing the groups that the students had formed a close bond with each other, in spite of the tremendous amount of pressure and little time they had together. The day before the opening, the students gathered in the canteen, in which I saw on my table a group of students surprise their peer with a cake and candle and sang ‘happy birthday’, ensuring their new friend felt celebrated and cherished on their special day despite only meeting a week ago. Considering that many of these young adults had travelled thousands of miles to be there, it was touching to see how quickly they found solace and connection in one another.

It’s also evident the importance to the whole community of Alingsås too. On the opening night, locals came out in their hundreds, with children, grandparents and furry companions joining for a first look at this year’s event. A total of 90,000 people were reported to have visited the trail over its 31-day duration, reaching a new visitor record.

For a small town like Alingsås, the winter periods can be tough to attract outsiders, Lights provides an extra boost both economically and in spirit.

Lights in Alingsås has transcended its origins from a student experiment to being the beating heart of its community’s spirit. Over its remarkable 25year journey, the festival has not only provided a platform for aspiring lighting designers but also deepened its roots in the cultural fabric of Alingsås.

As the lights dim on this year’s anniversary edition, what lingers is not just the incredible designs by these talented students and mentors but, also the connections forged between the community, designers and students. Lights in Alingsås is more than just a festival; it’s an example of how light can unite people across borders, generations and professions. www.lightsinalingsas.se

eye opener

Orb Montreal, Canada Created by SpY, Orb is a sculpture that combines formal simplicity with a deep, symbolic charge.

Initially conceived to be placed in front of the pyramids of Giza, this work presents the challenge of creating a harmonious dialogue with one of the most emblematic historical environments in the world.

Orb has since been recently relocated to Montreal’s Place des Arts – the choice of location reinforcing its universal character and establishing a meaningful link with a culturally rich and socially symbolic environment of the city.

At its core, Orb reinterprets an everyday object – the convex traffic mirror – by transforming it into an artistic element. Multiplied and arranged in a unique spherical pattern, this familiar and often overlooked urban component takes on a new life as part of a work that surprises and fascinates the viewer.

The sculpture’s mirrored surface reflects fragments of the environment, and those who observe it, evolving with the passage of day and night. This continuous interaction creates a dynamic experience that invites a profound reflection on the relationship between art, urban space, and its inhabitants. www.spy-urbanart.com 044 / 045

Image: Ruben P Bescos

Portland International Airport Portland, USA

Considered a source of pride for the local community, phase one of Portland International Airport’s renovation was revealed this summer. The newly designed space introduces biophilic elements that create a tangible connection to its Pacific Northwestern surroundings.

Fisher Marantz Stone collaborated with ZGF Architects in illuminating the new-look terminal.

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INFRASTRUCTURE LIGHTING

INFRASTRUCTURE LIGHTING PORTLAND INTERNATIONAL AIRPORT

eeing your local airport as a beloved

S source of pride may seem, to many of us

at least, an unusual viewpoint to have; but then, Portland is an unusual place.

The slogan “Keep Portland Weird” has come to typify the Oregon city in recent years, and this was one of the driving forces behind the lighting design for the recent renovation and expansion of Portland International Airport (PDX).

“While I’m sure ‘Keep Portland Weird’ means various things to different people, in the context of this project, it reminded us to keep our focus on creating a warm and inviting experience for the traveller that was decidedly in and of the great American Northwest,” said Charles Stone, Founder of Fisher Marantz Stone (FMS), the lead lighting designers on the project. “By that, we mean that our lighting would support a constant connection to nature, the forest in particular, in an environment that tells you that you are home when you arrive in Portland.”

The constant connection to nature, and to Oregon’s beautiful, verdant landscapes, was also a primary design focus for the architects, ZGF, who sought to “evoke the feeling one gets while walking in the forest”.

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Jacob Dunn, Principal at ZGF, adds: “The idea of a walk in the forest makes all the sense in the world given where we are in the Pacific Northwest.

This drove us down a lot of different pathways, everything from the use of wood, respecting and being good stewards of this important cultural and natural resource, to the way that we think about light in the space, looking at different lighting archetypes and how we experience light as we are taking a hike through the woods.”

Central to this woodland theme, the renovated airport is now characterised by a vast, undulating, nine-acre mass timber roof.

Designed to celebrate Oregon’s history of forest product innovation, the wood used here was all sustainably and locally sourced from landowners and mills within a 300-mile radius of the airport, including sustainably harvested wood from small family forests, community forests and tribal nations.

Expansive glazing, coupled with 49 skylights across the site, provide views of the airfield and the surrounding forested landscape, as well as allowing for ample natural light inside, all further highlighting the design decision to reference the state’s natural beauty and cultivate a strong sense of place within the airport.

Through collaborations with Terrapin Bright Green and landscape architect PLACE, ZGF applied the concept of biophilia holistically throughout the airport. As a result, almost every corner of the terminal features touches of Oregon’s greenery and ample access to natural light. Pathways are filled with trees and plants, with 72 large trees – some up to 25ft tall – located at the seam and throughout the terminal; cascading gardens; and more than 5,000 strategically placed plants.

The landscaping provides a sense of wandering through a forest, and acts as a wayfinding tool that guides passengers from security checkpoints to their ultimate destination.

The introduction of this lush greenery also helped to “break down the scale” of the airport and further enhance its position as a “beloved community architectural gem”.

Dunn continues: “We were expanding the footprint of the airport, but we didn’t want to feel like a faceless box, with a giant roof and a bunch of things happening on the ground. ZGF travelled with the PDX leadership to tour the latest and greatest airports, and this was one of the main criticisms – the airports were great, but they felt like people processing machines with one giant roof and a nebulous space below.

“So, the roof and the use of daylight was a big part in terms of defining the rooms within the terminal, and to make it feel like more of an episodic continuum from space to space, with clear thresholds defined by the geometry of the roof, and the experience from the light and skylights as you move through the different spaces.”

Such a clear focus and ambition from the architects meant that realising the lighting concept was relatively straightforward for FMS, as Stone explains: “Fortunately, the architect and landscape architects made it easy for us.

“When you stand in the terminal and look around, you are surrounded by a world of warm timber and oases of green. We provided a balanced illumination of the wonderful natural materials – mostly timber, and the abundant live greenery.”

Central to the lighting design was the introduction of 400 bespoke fixtures, that significantly contribute to the overall warmth of the terminal, highlighting the materiality of the timber roof, as well as providing general illumination to the space.

“The extraordinary custom, individually addressable, die cast aluminium pendant fittings evenly distribute 3000K, warm light onto the undulating roof, while downward light is a cooler 3500K,” Stone continues. “The shape of the fitting was derived from a classical form, but of course the visual texture created by the tines does take us back to one of the initial directives of ‘Keep Portland Weird’. These fixtures are more than a metre across at the top, but in the scale of the Terminal building, they don’t look large at all.”

These custom pendants work alongside a meticulously planned daylighting strategy, which consists of skylights of different shapes and sizes that filter daylight through the mass timber roof’s lattice and large-skylight openings, illuminating 60% of the terminal alongside the custom hanging fixtures.

“The various typologies of skylights were tuned to the ways in which we experience different types of light in the forest, but also in terms of their programmatic requirements for glare and

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functionality below,” Dunn continues. “We also looked at the way that light registers in a three dimensional field of objects; if you take a typical skylight, it’s just a plane – the roof and a hole – and the light comes through, it doesn’t catch anything other than maybe the skylight curve, but in a forest there are all the different trunks and branches and leaves in the canopy that catch and register that light in unique ways. Even the way that we articulated the lattice so that it would catch and refract and bounce around that light was something that was taken directly from these natural lighting archetypes that we had seen.”

Alongside this, depending on the space below, extra attention was taken to the type of glazing installed. In the ticket hall, for example, the skylights were frosted with frit to create more of a diffuse daylight effect, akin to the morning fog of a coastal forest. This, Dunn explained, served two purposes: it evoked another forest-like feeling, and also reduced the amount of glare for staff working in the ticket hall below.

Further to this, ZGF and FMS collaborated on some very sophisticated calculations and metrics surrounding the light levels and energy efficiency.

Dunn explains: “We had a couple of metrics and goals that were set forward, partially driven by our certification requirements, but also thinking about what the right metrics are to help drive us to create the right kind of space in terms of the way that it felt, and then also how much energy we saved.

We knew that the daylighting was one of the key energy efficiency saving measures that we were employing, so we really wanted to make sure that we had enough light that made a significant impact on the energy use of the building as well.

“Usually, what we would do is look at spatial daylight autonomy, daylight simulation metrics, and generally there’s a single point in time in metrics where we use computer simulation to say, ‘during 9.00am on the Equinox, how much of this floorplan gets above a certain threshold of footcandles?’

“Then at some point, our calculation processes got more sophisticated. We said, ‘we care about 9.00am on the Equinox, but we also care about every hour the space is occupied’. We looked at annual simulations, which just explodes the way that we have to think about it, because now it’s a temporal metric over space. Our threshold became that we wanted there to be a 50% spatial daylight autonomy, which means 50% of the space is adequately lit for more than 50% of the time, and that then becomes a good benchmark that says it is going to feel like it’s daylit for most of the time, and we’re going to achieve those daylight savings.

“However, Portland is a really interesting animal – we have predominantly cloudy winters, and almost completely sunny summers, and the annual metric hides a lot of the nuance around designing for these conditions. This was all conversations that we had with Charles and the FMS team about what we use to drive this; we ended up focussing on the cloudy condition, because we know that we want the place to feel daylit on a typical cloudy Portland day in the wintertime.

INFRASTRUCTURE LIGHTING PORTLAND INTERNATIONAL AIRPORT

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INFRASTRUCTURE LIGHTING PORTLAND INTERNATIONAL AIRPORT

“We also looked at very detailed tracking simulations and tools and methodologies to make sure that the sun was in the right place at the right time. Charles was a huge help with this, because when we were looking at what kind of visual contrast ratio is going to be acceptable versus painful in this situation, he could use his experience to say roughly what we should be shooting for.”

Speaking of the collaborative process between the architects and lighting designers, particularly on the daylighting strategy, Stone adds: “We spent a great deal of time together considering the roof apertures, the nature of the curves of the ceiling, dimensions and colour of the timber, treatment of the space above the timber slats, and other aspects of materiality, reflectivity, and aperture characteristics.

“We also carefully considered the character of the glazing, the overall light transmission, and the external shielding strategy; all around the compass of the curtain wall perimeter of the Terminal.

Consideration of contrast ratios and glare were of paramount concern in our studies. A 365-day, quantative daylight analysis was performed.

Physical models were built and studied. Yes, we spent a lot of time together on daylighting.”

On the sustainability targets, Stone added: “Of course PDX is a LEED (pursuing Gold) building and uses all LED sources – but so is every large project today. I think the magic of the sustainability of the lighting is in the daylighting design and its integration with electric light. ZGF produced exhaustive studies to ensure that the design maximises daylight utilisation. This is quite a challenge in the Portland climate where winters are grey and dark, and summers are replete with abundant sunshine and long days. The controls system designed by PAE is the other piece of the puzzle. As the system is commissioned and finetuned, PDX will substantially reduce electrical lighting costs.”

The abundant natural light in the space, coupled with over 70 fully mature trees and more than 5,000 plants throughout the interior landscape, strengthens the project’s biophilic ambitions, which also included more “indirect experiences of nature”, such as the non-uniform wood grain in the roof beams, the “biomorphic forms” of the domes and roof vaults, and even the “water ripple pattern” in the flooring, designed to evoke the flow and movement of the Columbia River, which runs through the Pacific Northwest.

The lighting further contributes to this feeling, particularly after dark, when the electric lighting can take centre stage. “If you walk about the terminal at night, you will see our dappled light concept in the areas of the trees and other greenery,” Stone adds. “We were able to introduce a higher contrast ratio to enhance visual interest than you would find in most airports. There is also crucial supplemental horticultural lighting.”

All of these design decisions help contribute to an environment that, in a marked contrast to typical airport settings, alleviates stress – something that was of primary concern for all parties involved.

“A big goal for the port was to destress the experience of travel, because often it is way too stressful,” says Dunn. “A good example of this is in one of my favourite spaces of the airport, right after you go through security and into the ‘recomposure area’, where you’re putting your belt and shoes back on. In most airports, you have to carry your tub to a crappy bench at the end of a security line or tucked away in the corner – it’s the least dignified experience after going through security. But for PDX, it’s a wonderful experience.

“You go through security, which has a higher ceiling with lower equipment, that creates a vista that pulls you through and makes it feel more open. There are then custom benches that are a series of planters either flush with the ground, or raised up to form seating, so when you’re around these full grown trees that are underneath this beautiful skylight, the sun’s coming in, it’s hitting those trees and creating a dappled light effect that connects you to nature as you go through this experience that could be really stressful. That is a perfect example of how, by being more biophilic, you create a better experience than the typical recomposure experience that you get from other airports.”

As a well-seasoned traveller, Stone agrees that the new design of the terminal has contributed greatly to an altogether more harmonious aesthetic.

He adds: “I truly believe that the variety of visual experiences we helped create at PDX is going to make it a traveller’s favourite. Every time I walk through the Terminal, I say ‘Oh, wow!’. I’m a rather jaded, ‘millions of miles’ traveller, and PDX still thrills me.”

Another feature Stone was particularly impressed by was ZGF’s decision to prefabricate the new roof right next to the existing building, meaning that the airport could remain fully operational while the renovation was taking place.

Dunn explains this process in more detail: “One of the goals for the project was that we could not impact flight schedules at all – all work had to be done while the airport was 100% operational.

This was a challenge, but it was achieved through the prefab onsite, next to the terminal building.

This meant that it could be getting erected, and demolition could be happening at the same time. We would then move the new roof across the airfield by crane between 12 and four in the morning when there were no aeroplanes. It then took around two days for them to get connected to the building, which made it possible to keep it operational throughout.”

“The architect’s solution of building the new terminal roof at the other end of the airport, then moving it over the existing Terminal, and demolishing the old is just brilliant,” Stone adds.

“We basically designed most of our work for a ‘new’ building. Tremendous cost savings were achieved by the overlapping construction technique; and the freedom it gave the design team helped produce a stunning result.”

Indeed, the completed part of the project – phase one of two – showcases what can be achieved when both architects and lighting designers push

INFRASTRUCTURE LIGHTING PORTLAND INTERNATIONAL AIRPORT

Client: Port of Portland Lighting Design: Charles Stone, Zack Zanolli, Abby McDougal; Fisher Marantz Stone, USA Daylighting Design: ZGF Architects in collaboration with Fisher Marantz Stone, USA Architect: ZGF Architects, USA Interior Design: ZGF Architects, USA Landscape Architect: PLACE, USA Engineering, controls, and integration: PAE/LUMA, USA Lighting Specified: Acuity Brands, Amerlux, BK Denali, CALS, Coronet, CSL, Focal Point, Gotham, iGuzzini, Insight, Kevlix, Lumenwerx, Luminii, Meteor Lighting, MP Lighting, Nulite, OCL, Q-Tran, Tech Lighting, USAI, Zaniboni Photography: Ema Peter Photography

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towards the same, biophilic goal. The marriage between architecture and lighting across the renovated terminal creates an atmosphere rarely seen in airports – one of rejuvenation and warmth.

Dunn was effusive in his praise of the lighting design, and the way in which it enhances the materiality of the architecture: “It is an incredible design – it reminds me of some of the cathedrals that I visited in Europe when studying abroad, it’s so thoughtfully designed.

“I love the hanging pendant strategy to give additional space to the occupied zone, to mediate that space between us and the roof structure with the combination of down and up lighting. This also reflects a nuanced understanding of how we experience light in the space. The uplighting of the pendant to light the bottom part of the domes of the roof was a fantastic move to be able to celebrate the architecture, and to engage with the way we experience light through surface brightness – through luminance vs illuminance.

Overall, it animates the space in a way that is referential to the architecture, and also the way that we experience life.”

Stone adds: “The final product really looks like the renderings, and verifies the quantitative studies that were done. We built so many models and mock ups of the pendant light fitting and the ceiling that we knew exactly how it was going to look – except for the massive scale, I wasn’t prepared for that.

“We ran a many-stepped, reiterative design process. I am pleasantly surprised, but I had a lot of faith in the studies that we did. The effect of the warm, glowing roof, its visually interesting patterns, the curious and unique pendant, and the greater than average contrast ratios, are the secret sauce.

The response from the travelling public has been fantastic too – Portland has something new to be proud of.”

Speaking of pride, Dunn shares how he has seen, first hand, the positive response from the local community towards the new-look terminal. “I was dropping my son off at school, and one of the other parents in our group said ‘has anybody seen the new Portland airport? It’s incredible,’ and they said to me, not knowing that I had worked on it, that they were moved to tears. That was one of the most rewarding experiences of my life,” he says.

“We knew it was a high risk, high reward kind of project. There was a lot of pressure to do a good job, because we knew the stakes and how much the community loved this airport, but we couldn’t be happier with the way that it turned out.”

Such local pride in an airport may seem weird to some of us, but Portland is a weird place. Let’s keep it that way. www.fmsp.com www.zgf.com

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INFRASTRUCTURE LIGHTING

Sydney Central Station Sydney, Australia

Marrying old and new, recent renovations to Sydney’s Central Station celebrate its heritage status, while firmly bringing it into the modern age. Steensen Varming was tasked with illuminating the new-look station.

INFRASTRUCTURE LIGHTING SYDNEY CENTRAL STATION

tanding strong as Australia’s first major

S rail terminus, Sydney Central station

first reached operational status in 1906, with final touches completed in 1921. More than a century later, the heritage-listed station is the convergence point for 96% of Sydney’s train services, making it more than an interchange – it’s the lifeblood of the city’s commuter flow.

Serving more than 250,000 people per day, the station has recently undergone renovations, with a new, modern intervention bringing new life to one of Sydney’s most distinctive landmarks.

The renovations were led by architecture firm Woods Bagot, with the hope that the project would not only make commuting more efficient, but also act as a catalyst of cultural and economic activity.

“We wanted to capture the heart of Sydney, while creating something that would rival other iconic rail destinations across the globe,” says John Prentice, Woods Bagot Principal and Global Transport Lead.

Steensen Varming delivered the lighting design for the project, getting involved through collaboration with Woods Bagot and John McAslan + Partners as part of the broader team for the Sydney Central Station Main Works upgrade.

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“Our expertise in public and civic projects, heritagesensitive and sustainable lighting solutions, alongside our track record in technically complex and elegant lighting solutions aligned with this project’s goals revitalisation, innovation, and functionality,” says Dr. Emrah Baki Ulas, Technical Director at Steensen Varming.

As with the wider architectural approach, Ulas explains that the design brief for the lighting outlined a vision to transform and modernise Central Station, while still respecting its heritage elements.

“Key requirements included enhancing passenger comfort and navigation, achieving high performance lighting and supporting the architectural vision This shaped our approach to aim for a cohesive lighting scheme that balanced functional illumination with atmospheric enhancement and minimal energy consumption.”

The lighting concept therefore focused on balancing strict requirements for transport, operational requirements and creating an enjoyable passenger experience in an architecturally striking environment.

Ulas continues: “For the concourse, we emphasised natural daylight integration, complemented by artificial lighting that mimics daylight quality after dark. The lighting aimed to guide users intuitively, highlight key architectural elements, foster a sense of calm and openness in a bustling environment and enhance the user experience through the changing architectural volumes from deep underground to the daylit concourse above.

In the Metro-box, as passengers descend to, or ascend from, deeper underground spaces, the lighting served to fill the space in dialogue with the different materials and surfaces.”

The main concourse typifies the desire to fuse modernity with tradition, as the station’s clocktower, originally erected in 1924, now sits under a vast, sloping ceiling addition, whose geometric openings allow for natural light to filter through to the concourse below.

“Our design approach is deeply connected to Sydney, respecting its heritage while introducing bold interventions that complement it,” Prentice adds. “We also wanted to create an emotional connection to the place where so many people meet and travel. We achieved this through careful consideration from the macro planning down to the micro of every detail – down to the tactility and materiality of the site, to the way natural light interacts with the space, shifting and changing the experience throughout the days and seasons.

“Nods to the clock and timekeeping are represented throughout the station as a wayfinding device, to create texture and connection through materiality. We emphasise symmetry, the insertion of artefacts, and the iconic clock wall, creating a future piece of Australian history.”

To complement both the geometry of the architecture, and the abundant natural light along the concourse, Steensen Varming used a concealed uplighting technique – grouped in pairs at the base of each arc, the approach draws attention to the architectural form while diffusing

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INFRASTRUCTURE LIGHTING SYDNEY CENTRAL STATION

light evenly, creating a bright, airy atmosphere without harsh contrasts.

“The artificial lighting system also provides a seamless transition into nighttime conditions, using warm tones and gradual dimming as the natural light fades in the evening, and vice versa in the early hours of the morning, transitioning back to brighter, cooler light,” Ulas adds. “Higher level, targeted downlights aid in boosting the illuminance levels on the ground.”

On the fusion of new and old, Ulas adds: “There is an interplay of warm and cool and different lighting techniques that creates a dialogue and duality between old and new, functional with decorative, etc. Particular attention is given to the heritage central electric building with warm concealed window lighting contrasting with the diffused illumination of the new concourse ceiling. Concealed shelf lighting also highlights small objects on display in the concourse, celebrating the past.”

As travellers descend to the underground platforms, Steensen Varming looked to use lighting to ease the transition from the bright, naturally lit concourse.

Ulas continues: “We employed gradual light-level transitions and tonal shifts to ensure visual comfort and continuity. In the underground areas, higher vertical illuminance and well-lit wayfinding points maintain a sense of openness and security while reducing the starkness often associated with subterranean spaces.”

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ambience than what might typically be associated with such a busy transport hub. “Through controlled light levels, glare reduction, and warm colour temperatures, we aimed to reduce stress and foster a sense of calm. In some areas both light levels and colour temperatures vary throughout the day. Downlights are grouped in pairs and clusters to reduce visual fatigue and both vertical and ceiling surfaces are lit in key locations.”

Lighting has also been used as a visual aid for wayfinding, demarcating pathways, emphasising entry and exit points, and highlighting signage, while contrasting light levels also intuitively guide users through the space. This sits strategically alongside natural lighting, which filters through to the subterranean sections to aid in orientation and intuitive wayfinding.

In the subterranean areas in particular, lighting helps to highlight the materiality of the surfaces.

Tessellated, engineered sandstone facings for the Metro Box walls reference the station’s historic sandstone façades, laid in 1902, while below ground, the engineered and excavated materiality contrasts with the lighter, more reflective palette of porcelains and glazed surfaces above ground.

Another key intervention in the renovation of Central Station has been the introduction of several large-scale artworks, which have been integrated throughout the site to help relate the station to its historical and cultural context.

A substantial brick artwork by Bundjalung artist Dr Bronwyn Bancroft, called Time Travellers, adorns

Light on Yoga Digital Pixel Light Ceiling Project: Osmose Yoga, Vienna Products used: PROLED Flex Strip Digital 60 SEG RGBW, DiGidot C4 Extended 4, DiGidot PxLNet Transceiver Kit, programmed iPad as control panel Photography: Osmose Yoga / Dragan Dok Lighting design: Lichtprojekt Aigner & Wöber GmbH, FENSTERDREI

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INFRASTRUCTURE LIGHTING SYDNEY CENTRAL STATION

the face of two buildings on platform 14. The piece depicts serpent-like imagery, symbolic of one of the many creation stories handed down over time. The concept emerged from a “lifetime of investigating the layers of human existence, and the molecular component of the DNA of ancient Aboriginal Australia”.

“I see this complex, large body of creation, with architectural, engineering, and artistic components pumping with an understanding and respect for the beginning of time – a time when Aboriginal Australia and culture led the way over ancient tracks, when footsteps were laid on the earth for the purpose of travel. They were all living in that moment, and now that is in the past,” says Bancroft of the artwork.

At the metro concourse and throughout the northern entrance, Rose Nolan’s immersive artwork, All Alongside of Each Other – a large-scale red and white terrazzo floor drawing – begins with the formal typology of an athletics track; circles and arcs. This strong graphic form operates as a marker of time and place as commuters actively follow parallel paths to reach their destination.

Of her artwork, Melbourne-based Nolan says that the piece offers an “open and affirmative textbased proposition to celebrate the daily passage of people as they move together through the portal of Sydney’s iconic Central Station”, adding that it is a “playful and unifying refrain that draws on shared journeys and the experience of travel and movement, using the literal concept of transport connections to consider the more abstract idea of connections to people, place, culture, past, and present”.

Accessibility and inclusivity were at the heart of the new design for the station, with the architects hoping to create a space that would be “truly a place for everyone”. Prentice adds: “We’ve meticulously designed every aspect to ensure that regardless of ability or background, all users can navigate and enjoy the space with ease and dignity.

“While upgrades are necessary to ensure the continued use and enjoyment of the station, at the heart of our approach was the recognition that securing a viable and sustainable solution for this historic site was best achieved by keeping it in use – preferably the use for which it was originally intended.

“Railways changed the modern world and are once again at the heart of a renaissance in city growth around the world. The rebirth of Central

Station is a catalyst for regeneration and renewal, serving as a gateway for locals and visitors to Sydney for many years to come.”

Looking back on the project from a lighting perspective, while Ulas admits that there were some challenges along the way, he is pleased with the overall outcome – an outcome that has already seen the practice receive awards recognition.

He concludes: “Challenges included maintaining functionality in a live station environment and working within high aspirations and aesthetic ideas, that at times had to be adapted to accommodate practical and operational constraints.

“Could we be happier? Probably always. It has been a balancing act on many fronts, but we are pleased to see so many commuters use the station every day. The final lighting scheme aligns well with the original vision, it enhances the station’s usability, as well as its architectural beauty.” www.steensenvarming.com

Client: Laing O’Rourke, on behalf of Sydney Metro Lighting Design: Steensen Varming, Australia Architect: Woods Bagot, Australia Additional Design: McAslan + Partners, Australia Lighting Specified: 3S Lighting, Austube, Erco, Hess, Klik Systems, LED Linear, Litesource + Controls, Lumenpulse, Mlight, Simes Photography: Trevor Mein

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INFRASTRUCTURE LIGHTING

Ilma The Ritz-Carlton Yacht Collection

Embarking on its maiden voyage in September of 2024, Ilma is the latest addition to the RitzCarlton Yacht Collection. dpa lighting consultants helped bring the luxury associated with the RitzCarlton brand to the ship.

INFRASTRUCTURE LIGHTING ILMA

lma is the latest superyacht from the Ritz-

I Carlton Yacht Collection. Meaning “water”

in Maltese, Ilma pays homage to the sea, and with 224 suites across its 790ft span, Ilma takes the exceptional guest service and design excellence that the Ritz-Carlton brand is known for to the seas.

The yacht, which embarked on its maiden voyage in September 2024, includes multiple restaurants and bars, a marina terrace and mezzanine, a RitzCarlton Spa, fitness centre, retail boutiques, and an expanded bow.

Lighting for this luxurious vessel was designed by dpa lighting consultants, who sought to create an equally opulent ambience through lighting.

Shayne Grist-Holton, Senior Associate at dpa lighting consultants, explains: “The initial brief was to develop a design language that felt more residential and less like a traditional cruise ship environment, which evolved a little over the duration of the project due to practical

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constraints. This shaped our approach to the lighting, with more emphasis placed on decorative lighting being both aesthetically pleasing and functional, while reducing the use of directional downlighting where practical.”

Conceptually, dpa sought to maintain the level of elegance found in land-based Ritz-Carlton properties and bring it aboard Ilma. “Rather than accepting the typical lighting constraints of marine projects, we challenged these norms and pursued higher-quality lighting products and detailing,” continues Grist-Holton.

Central to realising this feeling of elegance, warm white lighting was used throughout the yacht to complement the warm material palette, with minimal use of coloured light to maintain a sophisticated atmosphere. dpa also wanted to create consistency of lighting from one space to another.

“There are individual elements and touches that bring specific areas to life, but the ethos was to allow the artwork, furniture, and decorative lighting to evoke the character of each space and create fluidity in the architectural lighting when moving between venues,” Grist-Holton adds.

One of the main challenges for the team was to provide innovative solutions at the design stage, knowing that the launch of the ship was years ahead, in a competitive market. Therefore, dpa, in close coordination with AD Associates, strived to provide original lighting ideas and detailing that helped to define the Ritz-Carlton Yacht Collection and establish its position in the luxury cruising sector.

As expected, there were a number of unique obstacles for the lighting designers to overcome, both in the design and specification stages, as Grist-Holton explains.

“There are some technical constraints when working on marine projects that prevent the exact implementation of lighting that we would typically strive for, but through close collaboration with the design team and shipyard, we worked to ensure that the quality of light was to a very high standard and detailing for integrated lighting was achieved in a refined way.

“The marine sector has a number of unique design and specification challenges that have to be considered for lighting design. Ceiling heights are typically lower than land-based projects, which compresses available recess depth for coffer or cove details and space in the void for any ceiling recessed equipment, which in turn affects light distribution.

“Vibration and movement also have to be considered, in terms of the robustness of components to deal with that long term, the rigidity of any adjustable elements, and how they are fixed to ensure there is no unwanted noise generated.

On the external decks, a high level of protection is required not only for wet weather, but also the corrosive sea air and cleaning via jet washing.

“There are many other considerations, such as specific light levels for areas with food and beverage preparation or display, the type of materials used, and how to fix luminaires to them, depth of projecting wall lights, level changes, etc.

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INFRASTRUCTURE LIGHTING ILMA

“It is helpful to remind ourselves that each new marine project is a blank canvas, and our previous perceptions of what is possible on these types of projects should be put to one side at concept stage, so that we do not restrain the design by past experiences.”

Because of these challenges, close collaboration between all design partners was of paramount importance. Luckily, as dpa has worked on several projects previously with AD Associates, there was already an intrinsic understanding and partnership in place. “Their approach to lighting is inspiring, and helps us push the boundaries of what is possible together,” Grist-Holton adds.

“As the design programme is very compressed, it is really important that there is excellent communication among all parties. There was a strong level of collaboration, with everyone aiming to achieve the same goal, which really helped when discussing more challenging aspects of the design implementation, as everyone worked to find solutions and achieve these within the construction constraints.”

Similarly, Grist-Holton explains that there was a trust and understanding from the Ritz-Carlton Yacht Collection as a client to allow dpa to develop the lighting philosophy for Ilma in line with their company aspirations. This can be seen across the various hospitality spaces throughout the yacht – although each has their own unique identity, the lighting helps to bring a consistent feel to the space.

“In terms of lighting, there is a consistency in general approach, and then individual elements are given their own distinct treatment. The lighting controls, in particular, help create individual character for each space, with the more unique elements in each venue giving definition through the scene setting. The decorative lighting is diverse from venue to venue, which is also key to crafting separate identities for each space.”

Alongside designing efficiency into the lighting scheme through the use of low-energy light sources, the lighting controls also help to minimise energy use and the impact on the environment.

The lighting scene setting has been programmed to ensure each of the spaces onboard Ilma appear at their most elegant, day and night.

Timeclock-controlled lighting adjustments linked to the ship’s clock provide imperceptible changes to the scenes throughout the day and into the evening, ensuring energy use is minimised autonomously.

Further to this, all 228 suites feature a preprogrammed lighting control system, linked with other room services, to deliver an intuitive and comfortable guest experience at all times of the day.

Such focus on the lighting controls is part of the goal for dpa that the majority of the architectural lighting on board be imperceptible to the guests, instead it should “seamlessly blend into the impression that the interiors induce”. Where appropriate though, the lighting designers have used touches of light to bring specific elements to life. An example of this can be found in the Retail Boutiques, where a standalone display case, framed by an arch, is precisely spotlit. This, GristHolton feels, draws the eye in, and encourages guests into that area.

It is one of several touches throughout the ship that create an overall feeling of class and luxury that can be expected on such a glamorous vessel.

As Ilma set sail on its maiden voyage earlier this year, Grist-Holton is satisfied that the lighting design adds to the overall aesthetic and ambience.

“The yacht has an inviting and sophisticated nature that aligns with the Ritz-Carlton Yacht Collection’s guest expectations. With the company’s third yacht, Luminara, currently under construction, we are in a fortunate position that we can apply all the lessons learned from Ilma and further refine the lighting.” www.dpalighting.com

Client: The Ritz-Carlton Yacht Collection Lighting Design: dpa lighting consultants, UK Interior Architect: AD Associates, UK Shipyard: Chantiers de L’Atlantique, France Lighting Specified: Bega, iGuzzini, Ivela, LightGraphix, Luxocea, Osram, XAL Photography: Courtesy of The Ritz-Carlton Yacht Collection

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INFRASTRUCTURE LIGHTING

Penn Station 33rd Street Entry New York, USA

As part of a renovation of New York’s iconic Penn Station HLB Lighting Design has introduced a dynamic new “luminous ceiling”, reinvigorating the space and adding a muchneeded dose of light.

ne of the busiest transportation facilities

O in the Western Hemisphere, New York

City’s Pennsylvania Station – known better as Penn Station – services more than 630,000 passengers per day. The mostly subterranean station sits beneath Madison Square Garden, at the intersection of Seventh Avenue and 33rd Street, within reach of several renowned Manhattan locations, such as the Empire State Building and Macy’s Department Store.

Despite the high number of visitors, the concourse was in need of renovation, with its underground passages feeling gloomy and unpleasant. As part of an ongoing station rejuvenation, HLB Lighting Design, alongside project partners AECOM, SOM, and Skansa worked together to design a new entry at 33rd Street and transform the LIRR Concourse into a “lofty, vibrant commuter train hall” that would feel bright and airy.

With the specific intent to deliver a bright and visually interesting environment, HLB sought to combine modern general and accent lighting with a striking, custom dynamic ceiling that would reveal content reflective of the seasons and significant holidays.

Elizabeth Johnson, Associate Director at HLB, tells arc more about the concept for the renovated space: “Our goal was to make a station that felt luminous and comfortable to move through. The lighting design celebrates the updated features of the concourse, such as the increased ceiling heights, and creates a visual landmark with the new luminous ceiling.”

The team closely coordinated with the architects and other trades to ensure that the concourse felt as open as possible. Visual comfort was a high priority, so direct view of the luminaires outside of the luminous ceiling was minimised to mitigate glare and high contrast.

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HLB looked to use a continuous perimeter grazer to keep one of the brightest lit surfaces up at the top of the walls, drawing the eye upward while looking down the concourse.

The luminous ceiling is one of the defining aspects of the reimagined space, adding a remarkable moment of discovery for passengers as they enter the station. The dynamic display depicts several scenes, representing seasons and other celebratory moments.

Johnson explains that the implementation of such a feature was always a key desire for both the client and the architectural design team. She continues: “We worked closely with the architects, who imagined the tilted square scales of light that reference the skylights in the neighbouring Moynihan Train Hall, which has a similar tilt and pattern. We used this to our advantage to ensure the luminous ceiling panels are modular and can withstand potential water leaking in from the street above.”

Because of the unusual dimensions and conditions of the historic space, plus the new entrance, which is elliptical in shape, HLB worked closely with Acuity to build the luminous ceiling panels and light fixtures. The design team recognised the importance of working with a single manufacturer.

A large-scale mockup was held during the design process so that both designers and the client could see a 16x16ft example, so the team was able to work through the team’s questions, make final decisions, and discuss what maintenance would look like before anything was manufactured or installed.

For the lighting scenes, HLB worked with a group of stakeholders to determine how they wanted to use the ceiling. It was important for all parties to have seasonal scenes, so the main scene changes as the seasons change throughout the year. There are also several scenes that observe holidays or special occasions, either with specific colours, or even celebratory confetti. One of the dynamic scenes is colour-changing, with the client able to choose the colour in use, without needing to bring in a programmer to do so.

Given the underground location, one of the core ambitions for the lighting designers was to use this luminous ceiling to create a more natural, daylit feeling in the space.

Johnson explains: “One of the original concepts developed with the architect was a blue-sky scene, which is used quite a bit, in addition to the seasonal scenes. No matter what scene is displayed on the luminous ceiling, the higher light levels help prepare visitors during the day to transition from the station to outdoor light levels. After sunset, the lights dim so that a similarly smooth transition occurs during the evening.

“We wanted to ensure that visitors are looking at the lit surface instead of the fixture. In contrast, we have the luminous ceiling, which is a dynamic feature with colour and motion, and asks for attention. So, we were deliberate in determining where to draw attention in order to let the architecture sing and be the star of the show in the space.

INFRASTRUCTURE LIGHTING PENN STATION 33RD STREET ENTRY

INFRASTRUCTURE LIGHTING PENN STATION 33RD STREET ENTRY

“Under the luminous ceiling, we wanted to ensure that whatever colour was displaying there has enough white light so that the people in the station do not change colour as they travel under the ceiling. There are white light luminaires tucked between the panels, so that there is a balance to the colour-changing feature. We also made sure that there are snoots, so that the lighting does not scallop on the sides of the panels.”

The lighting also aids in wayfinding for travelers – along the concourse, there are portals that are highlighted at a slightly higher light level to provide a visible focus for visitors throughout the station.

As a facility, Penn Station has been operational for more than 100 years, first opening in 1910.

The history of the site therefore presented some difficulties for the lighting designers – particularly in the irregularity of the spaces they were working in.

“Penn Station is a historic site that has been built on top of and redone many times, so understanding the current conditions before we started was an initial challenge,” Johnson explains. “Working around irregular shapes and columns with uneven spacing, for instance, was a challenge for the entire team. Since the station is underground, it has a history of leaking, so we planned ahead for the robustness of the lights.

All of the fixtures are modified to survive water 074 / 075

exposure, so if the facility leaks from above, the lights will continue to work.”

Because of the inconsistencies in the existing building, such as a slope to the ceiling and floors, and differences in spacing between columns, everything for the luminous ceiling had to be measured for custom design.

This also meant that the design team put a lot of thought into the maintenance of the lighting, with the number of light fixtures and manufacturers condensed to ease future maintenance because of fewer points to locate spare parts or coordinate updates with.

“The modifications we made to the fixtures results in a hardier product that can survive various conditions,” Johnson adds.

The attention to detail, particularly in commissioning the luminous ceiling, has seen the revitalised station garner a lot of positive feedback, with the new lighting contributing to a brighter, more harmonious, and more pleasant space.

“We spent a lot of time on site commissioning the ceiling, and I have never received so many compliments from various people in the public asking about the lighting and excited to see the progress of the project. The entire design team worked with us to make sure that the lighting was a really strong feature that truly celebrates the architecture.

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INFRASTRUCTURE LIGHTING PENN STATION 33RD STREET ENTRY

Lighting Design: Elizabeth Johnson, Ken Douglas, Luis Carrasquillo-Alicea; HLB Lighting Design, USA Architect: AECOM, USA Lighting Specified: Acuity, Bega, Erco, Gotham, Lumenwerx, Prudential Photography: Feinknopf Photography, Brad Feinknopf and Lauren K. Davis

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“We hope the feedback that the client will see in surveys is that the new concourse provides a bright, well-illuminated environment,” Johnson continues. “The walls, stairs, and portals are highlighted in a way that makes it easier to navigate the station. Plus, the new entry provides an additional source of natural light, which we balanced with the electric lighting to give a general positive feel to the entire station. The team’s hope is that the space feels comfortable and elevated.”

She adds that, since the new look station has been unveiled, she has seen a ground swell of positivity towards the renovation. “We’ve heard feedback that the new space is surprising and astonishing! About a year after opening, during a walkthrough of the space, I showed a picture of the station before renovations, and a few people noted that they forgot how it used to look, and that it’s wonderful how this beautiful space has become a positive part of people’s commutes and everyday lives. It

seems appreciated by everyone who utilises the station.”

Finally, Johnson concludes that, for all the positive feedback the revamped station has received, one of the main things that stands out was the collaboration between all parties involved.

She says: “We worked on this project for a long time with the design team and contractor, and it was amazing to see everyone’s dedication to making this an extraordinary project, even in spite of the challenges and special conditions.

“There was a collaborative spirit between all of the different trades, which was vital because the limited space required that everyone work very tightly together and know what was going on throughout each stage of the project. It was an exceptional team.” www.hlblighting.com

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INFRASTRUCTURE LIGHTING

Kyra Lounge Hong Kong, China

In Hong Kong International Airport, Nulty has used lighting to contribute to a relaxing and “otherworldly” ambience in the Kyra Lounge.

INFRASRTUCTURE LIGHTING KYRA LOUNGE

n the hectic and often stressful

I environment of a large, international

airport, finding a moment of respite and calm can be very difficult. At Hong Kong International Airport, however, this is something that Nulty has strived to create.

The Kyra Lounge, situated off the main concourse in Terminal One, was envisaged by Hong Kong-based practice Studio 5 International, who looked to embed elemental forces of nature into the design of the space to create a “transportive experience”.

The lighting design for the project, delivered by Nulty, is an intrinsic part of this narrative, helping to reveal the creativity and storytelling that runs throughout the scheme. Inspired by the “rhythms of daylight”, Jinisa Rodon, Senior Desinger at Nulty, explains further how the studio sought to complement the interior design with light.

“Studio 5 set out to elevate the airport lounge experience, and went down an original design path to achieve this. The experience is multi-sensory from start to finish, so the immersion process is remarkable, and guests instantly feel removed from the everyday drumbeat of travel. Luckily for us, light is an integral part of this journey.

“The interior design team took inspirations from the rhythms of nature, specifically how varying intensities of sunlight can trigger a response and change the way that we respond to our surroundings. They designed an environment that reflects how sunlight progresses from energising to radiant throughout the day. The emotional power of light is celebrated, and this meant that we were able to be quite thoughtful with our design response.”

As part of the interior design concept, Studio 5 080 / 081

took three elemental forces – wave, crepuscular ray, and firelight – and used them to create zonal identities for the various spaces in the lounge.

The lighting scheme was designed to add colour to each design narrative through depth, drama, and ambience. Rodon continues: “Guests can hibernate in the firelight-inspired relaxation room after a long journey, enveloped in soft, low-level lighting. Or they can catch up on emails before a flight in an invigorating space, featuring animating waves of light. We used different techniques and intensities of light to reinforce these mood transitions. The lighting design is attuned to how energy levels flow throughout the lounge, and helps to humanise the experience.”

On entering the lounge, guests are greeted by a bespoke installation above the reception desk that depicts the shape and movement of a wave.

Designed to invite a sense of discovery, the piece flows over the welcome desk to merge with a twin feature in the bar. Cove lighting was used to accent the unique form of each piece, and highlight the fluctuating layers and angles of the design. The rest of the lighting in the reception is purposely enhancing; light was washed onto the reception desk and walls to add warmth to the earthy stone surfaces, while a backlit sign forms an ethereal wayfinding point for those entering the lounge.

The recurring wave motif continues in the casual seating area, where curved architectural lines reference the fluidity of the ocean. Here, light was concealed along the arc of each wave to provide a layer of ambient light that emphasises both the contours of the architecture and the watery hues of the tonal palette.

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INFRASRTUCTURE LIGHTING KYRA LOUNGE

As the main area of the lounge includes space to work, discreet downlights were positioned in the ceiling to provide functional illumination above the productive work zones. The space also features an office pod, elevated to a distinctive focal point due to its backlit, perforated surface.

“We integrated a lot of the lighting elements to make the hero lighting moments stand out,” Rodon adds. “You can see this in the reception, where we concealed light in the architecture to emphasise the bespoke light installation, inspired by the movement of a wave. It’s an arresting focal point, designed to make a strong visual impression, so soft cove lighting was used to highlight the multilayered design of the wave. The same emphasis on seamless integration can be seen in the main lounge, where the wave feature is repeated.

We produced a gentle glow around each wave, creating curvaceous contours of light across the ceiling. They look incredibly elegant, and bring a sense of movement and energy to the space.”

The soothing colourways of the work zone give way to a bold injection of yellow in the dining area, where another bespoke light installation recreates the energising moment when sunlight breaks through the clouds. Floating above the food station, the piece is illuminated by linear profiles, positioned in the ceiling to radiate light onto the yellow fabric and capture the vitality of crepuscular rays. The scene is further enhanced by a trio of decorative stone windows along the wall, each framed with a soft halo of light.

Rodon explains further the design decisions surrounding the dining area: “With the bespoke piece in the food service area, our role was to use light to make the colourful material pop, as the aim was to capture that joyful moment when sunlight bursts through a cloud.

“The installation was envisaged by Studio 5, and we worked closely with their team to enhance the visual language of the piece and make it more vibrant. It’s a beacon of light that you naturally gravitate towards. The artistry of the piece is all down to Studio 5’s creative vision, but the power of the piece derives from the interplay of colour, texture, and light.”

Elsewhere, in the relaxation area, the design language emulates the warm glow of a fireplace, with every aspect of the lighting crafted to echo the emotional comfort associated with a flickering flame. Downlights and diffused cove lighting bounce light onto the vivid green and blue surfaces, creating a soft, cocooning atmosphere.

At a lower level, decorative luminaires evoke a feeling of intimacy, and a showpiece planting wall, illuminated from above by a concealed line of light, adds an unexpected touch of theatre.

With several standout moments throughout the lounge, Nulty had to work closely with the interior designers to ensure that the architectural lighting would contribute to, and enhance, the “transportive experience” desired for the space.

“We analysed the user journey and how the lighting should evolve as guests encounter the various ‘wow’ moments,” Rodon adds.

“In the reception area, the desensitising process begins immediately, so you are drawn in by warm, welcoming layers of light, but your eye is drawn to the decorative wave feature.

“As guests enter the other areas of the lounge, that beautiful quality of light doesn’t drop, but the tone and intensity of light changes, quite literally from the sunshine yellow of the lighting installation above the food area, to the dreamlike quality of the illuminated plant display. The user journey is continually shifting, like the changing patterns of sunlight.”

The desire to create moments of theatre and intrigue throughout the various spaces of the lounge ended up being one of the main challenges for the lighting designers, particularly when trying to achieve this in fully daylit areas. Rodon explains: “One of the most challenging aspects of the scheme was that, aside from the relaxation room, we were trying to create ambience and a sense of theatre in a space full of natural daylight.

“The lounge features expansive glass windows that overlook the runway, so we were working with an abundance of daylight. In the main lounge area, our use of ambient light was important, because it helps to bring warmth and dynamism to the space.

We also incorporated high-quality lighting controls that allow the artificial lighting to be carefully balanced with the daylight levels at certain points during the day.”

Creating such a theatrical, hospitality-like space within an airport was also not without its challenges due to the various requirements of the users of the space. However, by taking a more hospitality-focused approach, Nulty was able to cater to all uses.

“The quality of light had to exude comfort and luxury, but the scheme still needed to be functional at its core,” Rodon says. “An airport lounge is a place to relax for some, but a stop gap on a work trip for others – we were especially conscious of this in the main working area, where we strategically placed duos of downlights above the desk areas.

“Another good example of this is the private pod at the centre. It could have been quite distracting, and yet, it adds an unexpected dimension due to its intricate backlit finish. When it isn’t in use, the pod still adds something decorative to the overall scheme.”

With a fast turnaround time for the project, the lighting team had to establish a solid benchmark for high-quality light fittings in its specification, while sourcing products locally for ease and efficiency; and while the team faced some restrictions and limitations from the lower ceiling height – resolved through the introduction of layered ceiling coves – Rodon is ultimately satisfied with the overall scheme.

They conclude: “The lighting is very expressive, and helps to pull you into the Kyra Lounge experience.

The highlight for me is the relaxation area, where the lighting is soft, cocooning, and almost otherworldly – words you don’t naturally associate with an airport environment.” www.nultylighting.co.uk

Client: Airport Dimensions, SSP and Travel Food Services Lighting Design: Mehrdad Eizadfar, Jinisa Rodon; Nulty, UK Interior Design: Studio 5 International, China Lighting Specified: Aero Photography: Courtesy of Kyra Lounge

INFRASTRUCTURE LIGHTING

case study

Image: ADO Lights

Porsche Charging Station Bingen am Rhein, Germany Cologne-based a g Licht has delivered the lighting design for Porche’s first electric charging station, with fixtures from ADO Lights blending functionality and aesthetic excellence.

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Porsche has embarked on an ambitious project to develop exclusive electric charging stations for its electric vehicle owners. The lighting design for the inaugural station in Bingen am Rhein, Germany was conceptualised by Cologne’s a g Licht. As a manufacturer of bespoke luminaires, ADO Lights played a key role in bringing this vision to life, ensuring a blend of functionality and aesthetic excellence.

The station is equipped with a combination of high-speed DC chargers (300-400kW) and 22kW AC chargers, designed to meet the diverse needs of Porsche’s clientele, all set within a sleek and innovative architectural framework.

A standout feature of the new charging station is the slender, seemingly floating roof, which elegantly connects the loading bays to the main building. This architectural element is beautifully illuminated by ADO Lights’ custom LED Lightlines, guiding customers from the chargers to the building and enhancing the seamless transition between exterior and interior spaces.

Inside the lounge, floor-to-ceiling glazing, combined with pleasant 4000K light tones and light wood finishes, creates a welcoming and comfortable environment.

The Lightlines are carefully aligned with the wooden ceiling above the charging station, ensuring a cohesive visual flow that complements the overall architectural theme.

One of the most challenging aspects of the project was the precise integration of the Lightlines around the curved edges of the ceiling. ADO Lights met this challenge by delivering continuous, dark zone-free transitions from straight to curved sections, preserving the uninterrupted, flowing light aesthetic.

This attention to detail not only highlights the technical expertise of ADO Lights but also enhances the user experience by providing consistent and visually appealing illumination throughout the station. The result is a space that is both functional and inviting, embodying Porsche’s commitment to luxury and innovation. www.ado-lights.com

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INFRASTRUCTURE LIGHTING

case study

Crescent City Connection New Orleans, USA GVA Lighting has added dynamic colour to New Orleans’ iconic twin cantilever bridge.

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The Crescent City Connection (CCC) is an iconic twin cantilever bridge spanning the Mississippi River in New Orleans, Louisiana. Initially constructed as a single span, the first bridge opened in 1958 under the design direction of Modjeski and Masters, a renowned bridge engineering firm.

The bridge gained its current name in 1989, following the completion of a second parallel span in 1988, which added much-needed capacity to support New Orleans’ growing transportation needs. Today, both spans are operated and maintained by the Louisiana Department of Transportation and Development (LaDOTD).

At 1,575ft long, the Crescent City Connection is among the longest cantilever bridges in the world.

Its design is a remarkable example of mid-20thcentury American cantilever bridge engineering, characterised by its bold steel framework and graceful lines that have become a defining feature of the New Orleans skyline. Each span supports four lanes of traffic, and the newer bridge also includes High Occupancy Vehicle (HOV) lanes to ease congestion during peak hours. As one of Louisiana’s busiest traffic corridors, the bridge sees an annual traffic volume exceeding 63 million vehicles, serving as a vital transportation link and an integral landmark for the region’s economy.

The bridge originally featured decorative lighting, but it suffered extensive damage during Hurricane Ida in 2021, which severely impacted infrastructure across Louisiana. Reliability and durability were therefore crucial factors in the selection of new products, ensuring the lighting could withstand

New Orleans’ challenging conditions while enhancing the bridge’s visual appeal.

GVA Lighting has contributed to the CCC’s nighttime restoration by supplying 664 FL ColorChanging and 1,016 highly customised STR9 ColorChanging luminaires. To power the new lights, a 78 kW INFINITY Power Supply System was installed as part of the project.

These luminaires were thoughtfully positioned to highlight the bridge’s geometrical beauty: FL fixtures graze the piers, towers, and outwardfacing structures, while custom STR9 fixtures act as beacons across the top of the bridge. The design transforms the bridge’s white-greyish industrial tones during the day into a dynamic canvas capable of displaying virtually any colour combination imaginable, offering a captivating presence after dark.

With the completion of this lighting project, the Crescent City Connection has been restored to its rightful place in the New Orleans skyline. It now shines as a testament to Louisiana’s enduring spirit and innovation. www.gvalighting.com

INFRASTRUCTURE LIGHTING

case study

Riverbank Pedestrian Bridge Adelaide, Australia Light Project’s lighting design transforms the Riverbank Pedestrian Bridge into an immersive journey.

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Designed by Tonkin Zulaikha Greer, Aurecon, Karl Telfer and constructed by McConnell Dowell, the Riverbank Pedestrian Bridge is more than a functional crossing – it’s an experience, an elegant arc that links Adelaide’s arts precinct to its surrounding green spaces.

Commissioned by the South Australian Department of Planning, Transport & Infrastructure, the bridge is a striking interplay of form and purpose.

Curved, sloping, and asymmetrical, its structure of post-tensioned concrete, wrapped in smooth white glass, represents the connection and transformation inherent in the city’s evolution.

When darkness descends, the light brings the bridge to life. With FlexGlo F22 lighting from Clear Lighting, the bridge glows like a thread of light spun across the River Torrens.

This lighting design is not mere illumination; it is an understated guide. The 3000K warmth traces the gentle contours of the bridge, emphasising its presence without excess. Light flows along its edges, complementing the architectural elegance and offering a subtle interplay of shadow and light.

The bridge pulses with an ambient glow, extending a welcoming gesture without overwhelming the natural setting. This warmth integrates seamlessly,

creating a quiet harmony between the structural and natural elements.

The Riverbank Pedestrian Bridge exists with quiet conviction. It integrates effortlessly into the river and the parklands, becoming a timeless aspect of the cityscape – a bond that connects and enriches, without ostentation. The lighting, understated yet deliberate, not only illuminates but also transforms the experience of crossing, making it an event of reflection and contemplation. The glow is like a quiet pulse, a heartbeat for the city, giving warmth and depth without overpowering its surroundings.

This fusion of design and light ensures that the bridge is more than infrastructure; it becomes an emotional touchpoint, a place where movement and stillness coexist. The Riverbank Pedestrian Bridge invites pedestrians not just to cross, but to pause, absorb, and connect – a golden seam within the urban fabric that celebrates both the vitality of the city and the tranquility of nature. www.lightproject.com.au www.clearlighting.com

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eye opener

Whispering Gallery, St Paul’s Cathedral London, UK As part of works to install new safety railings to the famed Whispering Gallery at St Paul’s Cathedral, CBG Light Perceptions was appointed to devise a new lighting scheme to align with the new design.

St Paul’s is recognised across the globe, it is an Anglican cathedral and the seat of the Bishop of London and the mother church of the Diocese of London. Found on Ludgate Hill – the highest point of the City of London – the architecturally beautiful cathedral was built by Sir Christopher Wren. It serves as a protected example of the unequivocal English Baroque Style.

The Whispering Gallery sits 30-metres above the crossing of the nave. It is a circular walkway along the base of the cathedral’s dome structure, with views to the floor below and along the entire length of the Cathedral.

The original lighting design was the work of Speirs Major Light Architecture. Dating back 25 years, the scheme was a combination of cold cathode tubes, dimmed halogen lighting and metal halide fixtures, which were common technologies of their time.

The re-engineering of the design by CBG is part of a larger programme to upgrade the interior lighting of St Paul’s to more energy efficient light sources.

To fulfil the requirements of the project and refresh the outdated lighting in the gallery, CBG specified iGuzzini’s Linealuce linear fixtures. This contemporary, high090 / 091

performance miniaturised luminaire has replaced 64-metres of cold cathode fittings, to provide uplight to the beautifully gilded, heritage Tijou railings. A warm white colour temperature has been specified.

To offer improved illumination to the Thornhill frescoes, which adorn the dome above the gallery, CBG Light Perceptions specified iGuzzini Palco luminaires with a variety of carefully selected optics. These are controlled in a series of zones to highlight the most important elements of the painting and replace the older metal halide and halogen spotlights.

An additional safety feature added to the gallery is a series of miniature, hidden emergency lights that can be used to provide low-level lighting to the floor of the gallery and also highlight the exit doors in the event of an emergency.

Bruce Kirk, Founder of Light Perceptions, and a Director of CBG said: “St Paul’s Cathedral is an iconic building and one that receives hundreds of thousands of visitors each year. As such, it is vital that the lighting creates both an inviting atmosphere and a safe environment.

“Being trusted to work on this historic building is a huge credit to CBG Light Perceptions’ reputation. We are delighted with the results and confident that the new lighting is just the start of a brighter future for the cathedral.” www.jackwates.com

Image: James Newton

LiGHT 24 REVIEW

Event Photography: Natalie Martinez Photography & Olivia Ross

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A record-breaking 5,500 visitors flocked to London’s Business Design Centre this year for LiGHT 24.

Now in its third year, LiGHT 24, the UK’s only dedicated high-end lighting exhibition, welcomed thousands of visitors to London’s Business Design Centre this November.

Held on 20-21 November, the show attracted a broad mix of visitors from right across the design and build industry, including lighting design, architecture, interior design, and engineers.

A record number of 5,500 attendees passed through the doors of the BDC to see the latest offerings from more than 160 high-end international lighting brands.

Visitors also attended inspiring talks and presentations from more than 50 speakers, all while making new industry connections through creatively curated networking opportunities.

New for this year, a stand-out feature of the show was the light art installation - Intra-Spectrum - created by artist Frankie Boyle, powered by formalighting with Casambi control. The piece, taking the form of an immersive tunnel of reflected light, led visitors on a sensory journey into the [d] arc thoughts talks space. The installation was a big hit with attendees, providing an ideal Instagrammoment, and a rare slice of calm from the busy show floor.

As with previous years, the show offered many networking opportunities, including a complimentary late-night drinks event during the first evening. Exhibitors took full advantage of the late-night opening, with many hosting stand drinks receptions. SGM’s purpose-built bar on the gallery level was a popular draw once again, while the show floor was a buzz of activity right up until closing time.

Following proceedings on Day One, several brands took the initiative to host “unofficial” after parties, to keep the festivities going until the early hours.

Among those partying were exhibitors Pharos, Lucent, and Phos, whose very own James Cadisch kept the party going with a stellar DJ set.

Showing no sign of slowing down after the first night’s antics Day Two was once again alive with activity, and saw the return of the popular LiGHT Lunch in the Associations Lounge.

This year’s LiGHT Lunch was centred around a Women in Industry networking event, hosted by representatives from associations Women in

Lighitng, Women Lighting Professionals, Women in Office Design, Women in Architecture, and the Women in Furniture Network. The event was designed to offer an in-person opportunity to find out more about these empowering initiatives, and how everyone in the industry can show their support and work towards change.

On the show floor, visitors could experience first-hand some excellent collaborations between lighting designers and manufacturers, who worked together to create some unique and awe-inspiring stand designs. Artin Light collaborated with mawa design on an amazing, immersive light and sound experience (a collaboration spawned from meeting at [d]arc sessions). Elsewhere, Archifos collaborated with ADO Lights on its stand design, while Foundry worked with Lodes to create an exciting new way to experience its products.

For those visitors who still had work commitments, they could also take advantage of the on-site cafe and dedicated LiGHT Workspace, illuminated with Platek’s Eretrea collection of portable lamps.

Following the event, [d]arc media Managing Director, Paul James said: “We are thrilled once again with the positive response to the show – every year LiGHT grows in terms of both exhibitors and visitors, and it keeps getting bigger and better.

With an increase in attendee numbers again this year, it’s been proven that the lighting, design and architectural communities are keen to come together and collaborate, raising the quality and sustainability of future projects.”

Helen Ankers, Head of Content for LiGHT, added: “We are so pleased with the success of this year’s show as we expanded even further throughout the Business Design Centre. With even more exhibitors, the inclusion of a second talks programme in the Associations Lounge, exclusive light art installation by Frankie Boyle, and the Unibox [d]arc awards installation, which was given a second life as a pop-up photo booth, it was wonderful to see visitors from all corners of the design industry engaging with the new elements and I’m already excited to start planning 2025’s features and programme.”

LiGHT 25 will be held on 19-20 November 2025. www.lightexpo.london

[d]arc thoughts Back for another year, the ever-popular [d]arc thoughts talks programme, presented in association with Lutron, covered some of the biggest topics in the industry across its two-day schedule of presentations and talks.

Always a popular fixture in the [d]arc media portfolio of events, the [d]arc thoughts talks programme once again returned to LiGHT 24, delivering visitors a packed line-up of informative and insightful presentations and panel discussions.

Once again presented in partnership with Lutron, the programme included 35 speakers across 22 sessions that covered the full gamut of the lighting and design profession, ranging from in-depth panel discussions, to quick-fire, 15-minute presentations.

To add some structure to the programme, this year the talks were divided into five core themes - the Business of Design; Light + Interiors; Wellness; Sustainability; and the Environment.

Proceedings opened on Day One with a fascinating panel discussion, led by STIR World Curatorial Director Samta Nadeem 094 / 095

that explored the Next Generation of Design.

The panel, which included Tiziana Regalado and Isabelle Lane of Akarui, Sacha Abizadeh of WSP, and James Poore of JPLD, examined topics such as routes into the industry, eductation and mentorship.

The first track of quick-fire presentations included talks from Anna Sbokou, Founder of ASlight, on the newly formed Business of Light programme; Marcus Steffen, Founder of Akarui, on the role of a lighting designer in the wider design sphere; Luke Artingstall, Founder of Artin Light discussed the journey that led to him starting his own practice and developing his unique style; while Juan Ferrari, Project Director at Hoare Lea, attempted to quantify the “value” of light. As the industry’s go-to “AI guy”, his talk also included references to ChatGPT, with some very creative, AIgenerated images used throughout.

The afternoon proceedings on Day One, dedicated to Light + Interiors, opened with an Interior Design-centric panel discussion on how lighting design can enhance accessibility in interiors. Moderated by May Fawzy of the British Institute of Interior Design (BIID), the panel included Carmelina Dalton of KEMSI, Lindi Reynolds of Lindi Reynolds Interiors, and Manuela Hamilford of Hamilford Design.

The panel discussed how a well designed space ‒ including both interior and lighting design ‒ can allow those with accessibility concerns to flourish, with some beautiful case studies shared by the panel.

The relationship between interior design and lighting design continued into the quick-fire sessions. First, Jo Calver, Creative Director of Isla James Interiors, led an in-depth explanation of how lighting is the “secret to a successful interior”.

LiGHT 24 REVIEW [D]ARC THOUGHTS

In a conversation with [d]arc media’s Helen Ankers, Sarah Dodsworth, Founding Director of Ekho Studio, talked about her work on the AstraZeneca and Alexion offices in London’s St Pancras Square.

Wing Shum, Senior Interior Designer at AB Concept discussed the importance of decorative lighting in an F&B environment, declaring it the “soul of a space”. Finally, Neil Knowles of Elektra Lighting gave a whistlestop tour of the studio’s work on the renovated Hilton Park Lane hotel, focusing on the hotel’s reception and lounge, as well as the entirely new cocktail bar.

Day One closed with a conversation between Helen Ankers and Frankie Boyle, who delved deeper into the inspirations and products powering her Intra-Spectrum installation, created exclusively for LiGHT 24.

Day Two was focused around themes of wellness, both for people and planet. Kicking things off was a panel discussion led by Dr. Shelley James that focused on lighting controls, and the barriers and solutions faced when developing integrated control strategies. On her panel were Paul Nulty, Founder of Nulty, Ravi Lakhani, Head of Smart Solutions at Cordless Consultants, and Miguel Aguado, Product Management at Lutron.

Following this, Xander Cadisch of Phos talked about the “90% Challenge” and the need to redefine the indoor space, citing his recently published book, The Light Within Us, before Hugo Lyndsay-Fynn of Palladian Architects talked about how to maximise wellbeing in residential environments, and particularly the dichotomy that can exist between advancing technology and connection to the environment.

Martina Frattura, Founder of the Beauty Movement, explored the relationship between beauty and light, while addressing the contemporary relevance of aesthetics in the built environment; before Seraphina Gogate of GDM Building Consultants explored how light and lighting parameters can affect neurodiverse populations, including how inappropriate lighting can increase anxiety, stress, and discomfort.

The Sustainability theme kicked off with a non-lighting related panel that looked at the change of pace when it comes to sustainability. Moderated by Chloe Petersen-Snell of MIX Interiors and featuring Adam Strudwick of Perkins & Will, Rachel Hoolahan of Orms, and Thomas Lommee of Open Structures, called for radical action and revolutionary design ideas to push sustainability forward.

On the subject of sustainaiblity, Irene Mazzei of Stoane Lighting then gave an overview of the environmental assessment landscape in the lighting industry (a tough task in just 15 minutes), before Jonathan Rush of Hoare Lea, in collaboration with Recolight, offered some creative alternatives to Cat A fitouts.

Closing out the [d]arc thoughts programme, the topic turned to the envrionment. First up, Jordi Rocasalbas of Leds C4 explained the Starlight Certification for night sky preservation and how best to achieve it.

Up next, Chiara Carucci, Founder of Noctua opened up on her ongoing collaboration with marine biologists as part of the EU Life21 Turtlenest initiative, in which she is designing lighting with loggerhead turtle protection in mind. The talk examined the importance of interdisciplinary collaboration for wildlife conservation, and the role of informed design to achieve overall sustainability.

Closing the programme, Kerem Asfuroglu of Dark Source explored the trends in tackling light pollution, sharing examples of several [d]arc award-winning projects in the process.

All talks were recorded by Streeem, and are available to view on the [d]arc media Vimeo page. www. vimeo.com/showcase/11485671

LiGHT 24 REVIEW THE ASSOCIATIONS LOUNGE

The Associations Lounge Alongside the popular [d]arc thoughts talks programme, LiGHT 24’s educational offering expanded into the Associations Lounge, with two tracks of talks running concurrently.

The Associations Lounge on the Gallery level of the BDC acts as a space for lighting industry associations - the LIA, ILP, SLL, and IALD, to share their ongoing work and information about membership.

This year, a presence was also given to smaller groups the VLDC, DALI Alliance, Silhouette Awards, as well as women’s groups, WIL, WLP, WIA, WOD, and WIFN. In the Associations Lounge, visitors could enjoy a comfortable, lounge-style environment while taking advantage of complementary refreshments, networking events, and, new for this year, a dedicated talks programme.

The programme, curated by the [d]arc media editorial team, featured presentations and panels run by industry associations the LIA, IALD, ILP, and SLL, as well as panel discussions and events from the likes of Women in Lighting, the DALI Alliance, and the Silhouette Awards.

Opening the Associations Lounge programme, Dan Griffiths, Technical Operations Manager of the LIA, shared insights on the key principles of photometry, as well as the potential pitfalls of relying on assumptions or estimations.

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Up next, Jeff Shaw of Arup offered an introduction to the upcoming SLL Lighting Guide 23, which will cover the lighting design process in detail - the guide is aimed not just at professional lighting designers, but anyone who bears responsibility for the design of lighting on a project.

Following this, the IALD led a session covering its latest developments, including a new online learning platform and expanded volunteering opportunities. The session, led

by IALD CEO Christopher Knowlton, alongside UK Coordinators Beatrice Bertolini and Kevin Rosenstand, also covered how changes to memebership accessibility are creating a more inclusive and connected global community.

On the subject of global communities, Katia Kolovea gave an introduction to the Virtual Lighting Design Community (VLDC), an online platform that aims to connect lighting professionals worldwide.

Day One closed with an entertaining Silhouette Awards experience, aimed at promoting the mentorship programme with success stories from previous years, and fun. interactive sessions (read more later in this issue).

Day Two began with an emotional ILP How to be Brilliant session, led by Peter Fordham of DHA Designs, who paid tribute to his late colleague, Jonathan Howard in a moving, celebratory presentation of his award-winning works.

After the LiGHT Lunch session, Sharon Stammers and Martin Lupton of Light Collective partnered with James Simpson of Copper Candle for the return of Guerrilla Lighting, reenvisioning the event as an interactive metaverse-based e-sport built around Fortnite that, they hope, will help to spread the word about professional lighting design in a fun and engaging way.

Closing out the Associations Lounge programme, Emma Cogswell and Tad Trylski, co-Founders of TandEm, alongside Steward Langsdown, Director of Business Development at Zen Control Group, led a no holds barred help session on DALI protocol and how it has been adopted in architectural lighting projects. www.lightexpo.london

Highlight Heritage Northport is modern traditional lighting that illuminates the spirit of place.

Designed by Robert A.M. Stern Architects Landscape Forms | A Modern Craft Manufacturer

eye opener

Intra-Spectrum London, UK

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During LiGHT 24, visual artist Frankie Boyle created Intra-spectrum, a bespoke light art installation, powered by formalighting.

Boyle is a renowned experiential creative director and artist, specialising in immersive and experiential design, with a profound focus on light and colour theory. Through her work, she is recognised for crafting innovative installations and experiences that guide audiences through transformative emotional journeys.

Intra-spectrum marked the first time Boyle created an installation for a trade show.

Speaking at LiGHT 24, she shared the learning curves that came with the project: “Intra-spectrum was the most challenging installation I have ever created. It was a journey to develop, with lots of ideas discussed back and forth with the LiGHT 24 and formalighting teams.

“Lighting is like painting – as an artist, there are beautiful but unexpected points that come up as you work. Clients will often want to know what the final result will be before an installation begins, but light interacts differently as you play around with the setting and the direction, and often a piece can change. One of the main things that I

have learnt from this experience is to design with light, rather than the material.”

Boyle’s work revolves around human behaviours, and Intra-spectrum aimed to ignite and resurface memories and emotions as visitors moved through the space. Boyle continues: “Our goal was to highlight the light itself and how it makes people feel, creating something for people to experience and enjoy, rather than focusing on the products themselves in contrast to the rest of the trade show. Understanding how people interact with light in a space is a language that everyone subconsciously speaks, and I get the most enjoyment from seeing the effects my installations have on people in person.

“It was an exciting challenge to bring together both architectural and entertainment light to provide a moment in time where people could stop and pause and feel peace and tranquillity within an overstimulating space. The installation reflects your inner light, with the installation tunnel taking people on both a physical and emotional journey.”

To create the kaleidoscope of vibrant colours and reflections in this artwork, Boyle used dichroic film, a material that exhibits

different colours when viewed from different angles, creating a colour-shifting effect. The lighting products provided by formalighting were the brand’s Moto Zero and Cobra luminaires, which provided incredible CRI to bring out the rich colour palette at work. The lighting was Casambi-controlled to create panning spots and soft movement that emulated the natural flow of water.

Sustainability was also at the forefront of this project, with the art installation designed to be reusable. Since the exhibition, the material has been disassembled and transported to Barts Health NHS Trust, a group of hospitals that provide vital services to more than 2.5 million people in east London and beyond, to create bespoke artwork for the hospital to promote patient healing.

Boyle adds: “As a neurodivergent individual, sensory spaces were integral to my development, and I am proud that Intraspectrum can be reused and rebuilt to provide sensory experiences to patients in hospital to support their wellbeing. It is an amazing continuation of the story of the installation to help people in the community while being sympathetic to the planet.” www.frankieboylestudio.com

Image: Natalie Martinez Photography

CoolKitList COMMENT KEVIN GRANT

After attending LiGHT 24, Kevin Grant, Design Principal of Light Alliance, shares his favourite finds from the fair with the latest edition of his CoolKitList.

I’m still not sure what the correlation is – why lighting events seem to attract a rich mixture of creativity and chaos, but there does seem to be one. However, it takes more than a few cancelled trains to keep us away from a lighting show, and I’m certainly glad that we made the effort. LiGHT is the UK’s only dedicated exhibition for lighting specification, and LiGHT 24 was bigger and better than ever, with more than 5,500 attendees and many international designers, specifiers and suppliers in attendance, from as far afield as Dubai, Riyadh, and Singapore. There is definitely a positive buzz around this show, and I was surprised at the volume of brands that were launching new products and features, especially given the proximity to the Light + Building show in Frankfurt earlier this year.

There were some notable trends with several brands showcasing modular fixtures and systems based on miniaturisation of components, providing more flexible opportunities to integrate and conceal light. Fixtures made from recycled or recyclable materials, with fewer parts, or multifunctional components. Motorised elements that can provide dynamic variation, making products more adaptable to change. Many brands now focussing on improved sustainability, considering future serviceability and ways to prolong the useful life of their products and minimise waste. Some clever use of optics, enabling us to light with fewer luminaires, provide improved visual comfort, and less unwanted lightspill. We also noted an increased focus on options for light quality (more diverse options for colour mixing, with options for improved rendering) and also more focus on the physical appearance – the materiality, forms and finishes of the products and systems on display.

We always discover some unique features, innovations, and problem-solvers when our industry comes together like this – so with this in mind, here are some of our highlights…

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Aeros presented its Myth Digital Beam Control, which is a digitally controlled, surface-mounted track spot with fully integral driver and controls.

Digital beam uses a liquid crystal lens to deliver a variable beam from 10-50° in 0.1° increments using Casambi wireless or DALI control. The colour options include single colour, Tuneable White, and RGBW. Currently available in two sizes, delivering 1000 or 2000 lumens respectively at around 100 lumens per Watt and with 90CRI or more throughout all whites.

The Chromatic RGBW by AlphaLED is a range of compact downlights that can provide a full spectrum of colours, and the ability to seamlessly blend vibrant RGB with high CRI warm or cool white tones. They were also teasing a low glare downlight with compact height of only 40mm, designed for installation in 50mm ceiling void.

The Bega Glare-Suppressed Downlights on display provide enhanced glare control via a 3D printed conical mesh structure and use the Bega NeoGlass Polymer lens at the source – delivering high output low-glare light, with temperature stability and UV resistant (no yellowing) and all100% recyclable. They were also highlighting a 20-year availability guarantee for any replacement parts and LED modules. Not on display as a product but in brochure and material samples form was the FANOOS Collection which Bega is pitching as a fusion of technology with tradition. It conveys an arabesque quality, with options for customisation of the surface finishes and decorative patterns across the range of bollards, pendants and wall lights, which are all sealed to IP65.

DGA was showcasing its innovative and patented Plug&Play System technology which has been developed for the interchangeability of LED light sources, lenses, optics, filters and accessories.

Offering the possibility to repair and replace the LED module at any stage of its lifecycle, minimising the waste of resources and materials. The twist

LiGHT 24 REVIEW

AlphaLED

EWO

Aeros

and lock connection ensures a secure and stable fit, making it easy to install and remove components without the risk of accidental disconnection.

Ecosense has expanded its dynamic colour range with the TROV L45 & L60, quoting “No More Protocols” as its KAST/AURORA technology auto-senses and self-configures to DALI, DMX, 01-10V + ELV (white light) + DALI, DMX-RMD (for RGBW Coloured Light). This is the smallest linear projector with built-in driver (integrated power supply and control modules) aiming to reduce complexity and cost for installers. With improved optics including a very uniform asymmetric, beam and 5°x5° for unparalleled punch. To deliver optimised consistency, its algorithmic binning optimises the LED output for colour, voltage and flux. In addition, the “VividSync” ensures that every 12-inch section is indistinguishable from the next, for unmatched consistency. The standard accessories include snap-on lenses, louvres, masking plates, knife edge cove, mounting tracks and clips, wall-mounted brackets.

Smaller luminaires require smaller drivers, and eldoLED has solutions to meet that demand with the ECODRIVE 12W NANO designed with nano form factor to fit through apertures and cylinders of 35mm diameter or more.

Providing excellent dimming performance, down to 1% and with flicker-safe performance, which meets international flicker standards.

DGA

Thye are capable of powering LED loads from 5 to 45VDC, 150-500mA, supporting DALI-2 DT6, Pulse dimming, Phase dimming, and wireless control via Casambi. Special connector options are also available (including Wieland mains connectors and custom pre-wired connectors to LEDs) for easy and fast installation.

EWO is doing what it does best with clever optics, as seen in the FA170 BOLLARD with the new RP11 Optic, aiming for extraordinary spacings between luminaires. The new optic was developed to maximise spacings, allowing designers to space one-metre bollards 16-metres apart, while achieving category P4 (Eav 5lx, Emin 1lx), with 0% upward light ratio.

The design is based around clean lines with minimalist appearance, no visible screws, and is available with Extra Corrosion Protection for harsh coastal locations.

Also employing clever optics was Exenia with its Superlinea system based around a 24mm aperture with ‘Fly-Eye’ optical compartment designed to deliver targeted task and narrow beam lighting options, while also producing complimentary beam widths of up to 82°.

The system is quoting super efficiency with 140lm/W delivered efficacy. It’s available with an integral driver, L/T/X connectors and Direct + Indirect lighting options. Also on display was the MUSEO REVO - IP67/IK08 technical spotlight with crossbeam low glare optics. This range provides museum-quality luminaires

with exceptional exterior resistance. Available with four mounting options (box with driver on-board, driverless mounting, stake mounting and for use with a pole system).

Offering six symmetrical beam widths (from 6-51°), two elliptical beams and a wall-washing option, and with up to 38500cd from a 100mm diameter product. They are available in a range of finishes including White / Corten Effect / Mud Brown / Sand / Carbon Grey and Musk as standard.

Art Fluted by Folio belongs to the Folio Materials family and features an ultrahigh-resolution printed diffuser, with a transparent protective layer and glossy effect. Customisable graphics can be used to reproduce real images or materials. Folio Art Fluted makes it possible to recreate three-dimensional motifs, by processing the transparent protective sheet, which can enhance the printed image by taking on the appearance of a cannulated glass with concave or convex effect.

The Linear Lens Light System by Formula Luci is a modular linear system featuring five different lens optics (Diffused, Medium, Wide, Oval, Wall Washer) and also louvre accessories with efficiency up to 165lm/w delivered output. Designed for integration and suitable for use in close proximity to the surfaces being illuminated. Tokio Micro is a 45° angled linear profile that can be curved on demand

Intra Lighting

LED Linear

Folio

formalighting

Fluxwerx

Formula Luci

Precision by luminii

The Light Lab

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Fluxwerx Profile uses its novel ‘anidolic’ optical approach of extracting and distributing light without perceiving the light source. A minimalist hollow profile with a lens-free design provides good visual comfort, enabling low UGR values and with a wide choice of optical distributions including batwing and asymmetric wall wash. The distribution of light means that wide spacings can be possible between rows (>3-metres), meaning fewer fittings may be required, while still maintaining good light levels and uniformity.

Impressive efficacies are also possible, up to 130lm/W delivered, depending on the output and configuration, with high CRI and R9 options where improved colour fidelity is required.

The motorised Moto range was being displayed to good effect by formalighting with its Zero Framing Projectors – advanced miniature multi-functional LED projectors (with track, recessed and surface mount options and compact sizes ranging from 25 to 68mm Ø). It’s tiltable from 0°- 90° and rotatable by 350° with a built-in bidirectional zooming lens, with sharpness adjustability and lens rotation.

Adjustable shutters allow us to re-frame the beam to the desired size/shape (for circle, square/ rectangle, or irregular four-sided shapes) and it’s also compatible with gobos. High-precision optics for sharp outlines and high degree uniformity with wireless control via Casambi.

Goboservice presented its “most powerful dynamic and wide beam projector of this size” with the DIVUM 50K – A compact high-power led DMX image projector. A 600W Citi-LED COB source, with 25mm Gobo. 8880K CCT Native, 31,800 Luminous Flux Source. This unit has a Zoom lens (8° - 52°).

Accessories include animation discs, profiler, and four-position image change. The IP65 internal power supply forms a barrier to the elements, and IP54 housing can be suitable for even permanent outdoor projects, by eliminating the condensation problem that can be typical of gobo projectors rated IP65 or higher.

Continuing with the themes of adjustable beams was GVA with the FL VB, Variable Beam, providing an adjustable beam range from an ultra-narrow 6° to an ultra-wide 90° in a technical RGBW floodlight.

Compatible with Art-Net 4, sACN, DMX-512A,DALI / DALI 2 or 0~10V through their Power-Data Converter PDC5 - suggesting 16X smoother than DMX (with up to 4,096 micro-steps of brightness resolution). 40 kHz dimming frequency – flicker free lighting for human eye and high-speed video cameras and a 100% to 0.2% flicker-free dimming range with no audible noise throughout the full dimming range and up to 200Hz (Frames per Second) refresh rate. Options for 100+ metre-long

leader and jumper cables, and with new Extended Single Lighting Circuit Lengths of up to 684-metres of Mono fixtures, or up to 600-metres of RGBW and DWT fixtures – (or the equivalent of 15 DMX universes in Artnet).

Intra combined light with acoustics in an interesting way with the Pyrymyd with LFO or Deco Optic. It’s a modular acoustic ceiling system with integrated lighting where the source of light is either visible as pattern with Deco, or concealed from view with LFO. The LFO version uses a Bartenbach optic to conceal the light source, creating a low-glare, uniform illumination. Those panels appear dark from the side, so you can add more panels where you need more light. They are quoting UGR<13 is possible in a standard arrangement for LFO and UGR<16 possible for Deco. The acoustic panels are also 100% recyclable at the end of life.

LEDLuks has developed MIDI to be “small in size, yet big in performance”. Launching in 2025, the MIDI series introduces three new minimalistic and compact additions: MIDI.P, MIDI.I, and MIDI.O. which are equipped with modular nano technology lens optics for precise lighting distributions. The family of direct/indirect pendant profiles has been designed for areas with VDU workstations, and able to meet EN 12464-1 standards with low glare (UGR<16). Available in various modular sizes, the profiles feature a fine-textured powder-coated finish in black, white, or anodised aluminium housing as standard, and custom RAL colours are also available.

LED Linear presented an evolution of the Venus range with Venus True Colour TV Optics IP67.

Designed to provide continuous and uniform light distribution from tailored linear elliptical optics, which prevent unwanted scallop effects on the surface adjacent. The Thermoplastic polyurethane and polyurethane materials used have exceptional UV resistance, won’t falter under chemical stress from salt mist/exhaust fumes. They were also demonstrating the ULTIMA-S - Chip Scale Packages based on miniscule 1x1mm LEDs - tiny LEDs without a “frame” that optimise heat removal from the LED chip, enabling smaller form factors, for high W/m with less lumen degradation, improved colour point stability and reliability. The Nanoray Optics accurately guide each light beam and ensure a proper mixing of all wavelengths for sharp light distributions and homogeneous colour over surfaces being illuminated. The smaller sizes of these components mean less weight / materials, but can offer the same optical options as much larger systems without compromising on light quality, with low glare (UGR <13 possible) and a high colour consistency over angle.

The LightGraphix LD234 Surface Mounted Reveal Light was developed to try and eliminate some of the current frustrations identified by architects/ lighting designers with reveal lighting products. It provides specifiable beam angles, three constant

LiGHT 24 REVIEW COOLKITLIST

(within parameter of the minimum bending radius) and providing delivered output up to 100lm/w from a footprint that is just 9.6x9.6mm. Integrated miniaturised magnet fixings can be used with various fixtures throughout their range, enabling quick and easy installation and maintenance.

LiGHT 24 REVIEW COOLKITLIST

LEDLuks

Luxam

LightGraphix

current levels and a 24V option, with multiple fixing options (suited to flat or sloped surfaces), contractor friendly wiring options and the compact dimensions and discreet form factor make it easier to conceal by day/night. It’s available in Black/ White/Silver anodises/Antique Bronze/Antique Brass/Satin Brass/Anthracite Grey/Textured <Mars Bronze/Texture Frit Green and can also be RAL matched to suit surroundings. The flat surface on top allows for level adjustment during install and it’s all sealed to IP65 / IK08.

Oculus is the latest downlight offering from Lucent with trim + trimless versions. For installation in various ceiling conditions, including existing ceilings, new partial skims, wood, and stone surfaces. Quoting 1809 lumens delivered using the new Quantum HO module, with quick and easy screw-in toolless installation. It’s adjustable to 30° tilt and even when fully adjusted, the eyeball optic does not break the ceiling line. Rated IP54 as standard and optionally it can be provided as IP65. This product achieves a TM66 rating of 2.5 for ‘excellent circularity’ and is designed and assembled in the UK using 89% recycled materials.

Lumenpulse brought some of its colour mixing expertise and technologies to a family of downlights with the Lumencore Recessed Opticolor+ Downlight range. This versatile three-inone fixture offers Dynamic RGBW colours with the Optidrive colour-boosting technology for maximum colour saturation in any colour, Dynamic White (can choose anywhere from 2200K to 6500K). The CRI stays above 95 between 3000–3800K, and above 90 between 2700–5000K, with Dim-to-Warm, and 104 / 105

Premium Static White options also. There are 12 beam angles from very narrow to asymmetric, fixed, adjustable, and wall wash models, and a range of bezels, trims, finishes, and accessories.

Smooth dimming down to 0.1%. Plus, optics and accessories can be swapped out, for any lastminute tweaks on-site.

Luxam’s LED philosophy and collection was created with the same vision as its Fiber Optic system – “Delivering full functionality, optimal quality, and putting the objects first” – the latest evolutions are the Wide Range Zoomable Spot and Miniature Framing Projectors. The MICROLED System has been developed for highlighting collections while respecting artwork conservation standards. The small size of the tracks, fixtures, and accessories enables designers to effectively integrate lighting into showcases or exhibition structures with 1W-6W zoomable spotlights, wall washers, Quadri-framing shutters, Quadri Zoom and framing spotlights and light bars.

One by O/M is a premium downlight for general and accent lighting aiming to provide outstanding visual comfort and glare control, by using highdefinition Lightcore optic micro-reflectors at extremely precise beam angles. Its newest evolution features a larger family, more versatile than before with a wider range of body, bezel and reflector finishes and tuneable white variants. The Lightcore Micro-Reflector concentrates 90% of the maximum luminous intensity within the beam angle. The result is a defined beam with no light spill. Nub isone of the smallest possible downlights.

Its advanced optics provide the perfect balance

of almost-invisible integration and visual comfort.

Its diameter is slightly larger than a coin (approx.

26mm) whereas Nub Flush has the diameter of a pencil (approx. 8mm). It is also sealed to IP65, so suitable for outdoors and wet areas.

Orluna introduced a new compact downlight with the Infinity Midi Adjustable Zero downlight, which is designed to be super low glare by employing crossover beam technology. The deep recess design helps to reduce both primary and secondary glare. Available with 12/18/25/37/45° beam angles and high CRI 93 R9=62) with 2 Step SCDM colour point stability. The 8.9W version delivers ~900lm at 250mA. 130lm/W Source, with delivered lumens ranging up to 100lm/W depending on the beam/output selected. This product is available as a fixed or adjustable unit and trim or timeless (or with micro bezel which appears almost trimless). The standard driver can be located up to 20-metres away from fixture.

The Ocular Axis from Phos is a versatile downlight/ spotlight with trimless design. It features 360° rotation, 18° internal tilt, and modular compatibility.

The product is designed to be installation-friendly with compact drivers and easy fit connectors that fit through ceiling cut-outs. Eclipse Recessed trimless downlight with sculpted anti-glare baffle provides 360° rotation, 26° tilt, and modular, interchangeable optics for precise light control.

Phos also presented an expanded range of finishes, including oxidised brass, customisable brush strokes, and specialist sandstone, limestone and rust textures, which are designed to be suitable for use outdoors, including in coastal areas.

The EGAD step light by Platek has a specialist optic designed for the illumination of adjacent steps from a single point source, without visible flashing/scallops on the riser. Provided with 24V DC dimmable PWM as standard and delivering 40lm at 2700K / 40lm at 3000K CCT. High colour rendition as standard (CRI >90). It is supplied with GORE valve to prevent moisture ingress or condensation.

All sealed to IP65 and with IK07 impact rating.

Precision by luminii showcased both installed and hands on sample versions of its Solo 20 gallery-grade architectural spotlight, designed with high lumen output and ultra-high CRI options.

It has a lockable pan and constant torque tilt.

Available as surface mount and track mount, including the 48V multisystem track. It can be provided with a selection of light engines, including Precision Plus (with ultra-high CRI 98 R9 95, high lumen output, Precision Dynamic White (with two tuning ranges of 1800-3000K and 27005000K, controllable with DALI), Precision Warm Dim (mimicking Incandescent warming from 3000K-1800K). The range is available with canted spring push-fit accessories. The Hero Adjustable linear luminaire with Lightshift technology allows for beam adjustment with a joystick-actuate internal mechanism that does not move or reorient the luminaire body. Available with a wide range of beam characteristics, shapes, colours, and 106 / 107

mounting configurations, precision optics, adaptive glare baffle, and advanced anti-reflective materials.

The Slider Recessed Straight system from Prolicht is an effective and cost-effective lightweight modular linear profile system, with super easy and quick assembly method designed for reduced installation times. Developed with minimal components, for less material/less cost, a bespoke customised board allows for a shallow depth <65mm overall, with <100mm installation depth. The profile can be mounted horizontally or vertically with modular fixings and connectors, enabling continuous lines of light. Layered optics can be used to provide more comfort or efficiency - (with 72° - 112° beams, wall wash, double asymmetric, opal, microprism, glare control, grid).

A range of CCT and tuneable white available as standard all with high CRI >90. The onboard driver design with inbuilt connectors allows for an easy tool free installation.

Simes presented an evolution of its IP System, the IP65 diffuse and directional lighting modular system, suitable for use on ceilings/soffits, walls and suspended, is now available with Tuneable White Technology - IP System TW. With adjustable colour temperature (2200K–5000K), it has a dual-power system with the plug-in accessories all sealed to IP65 (when attached) and IP54 (once penetrated if accessories are later removed).

High CRI ≥95 ensures excellent colour fidelity.

PWM dimming for smooth light adjustments, compatibility with DALI DT8 and DT6 interfaces, for controlling colour temperature, brightness, and individual luminaires. It is provided with a durable coating based on a multi-layer painting process with marine-grade corrosion resistance, for longevity in aggressive environments.

The industry pioneers of circularity and sustainability, Stoane Lighting displayed its LI.BPX, a modular system that can be used as a tabletop light or downlight. The housing is manufactured from casting waste aluminium material, and the decorative acrylic diffuser is 70% recycled acrylic waste with an opal or clear binder. The products are completely re-buildable and come with 25-year duty of care service. Also Mushoom, an exterior landscape accent light designed for both soft and hard landscaping applications. Available in either static or tuneable white from 1800K-4000K, with special SPD LED’s such as Red Orange available on request. The smaller form factor Amanita product has an adjustable (tiltable and lockable) head and is available in different stem lengths Glowrail by The Light Lab is an innovative LED handrail system that can be fully tailored in curved, straight, angular and helical sections. The Glowrail is available with a variety of bespoke finishes, including stainless steel, timber, leather, polyester powdercoat and soft touch matte. Glowrail can be configured and installed to meet all specifications (including emergency lighting) and with versions suitable for use internally, or externally. This year,

LiGHT 24 REVIEW COOLKITLIST

Phos

Stoane Lighting

Lucent Lighting

Platek

The Light Lab has launched a new custom brass finish for Glowrail, determining the best metallic paint options for achieving a realistic brass effect, and also a custom bronze finish.

Traxon’s Allegro Media Tube is a slim, direct view luminaire designed to integrate into any wall, facade or media lighting application with tight installation requirements. Available with a Direct View or Diffused View lens.

Featuring auto addressing and simple quicklock connections. Media Tube Plus RGBW. It is sealed to IP66, suitable for use in coastal environments, IK09 rated and 3G vibration resistant. Configurable pixel pitch to suit lower resolution needs and suitable for -40 to +70 operating temperature.

Oscillaire by Unibox is a sculptural lighting collection comprising of laser etched LED light guide plates in optical grade acrylic panel. A carefully calculated matrix of dots captures and redirects the light emitted by the LED modules, so that it shines through the front face of the plate homogeneously. The system is suitable for suspension, ceiling mounting or wall mounting.

E-Framer is a compact technical floodlight by Vice, which has been designed for vertical façade lighting applications from close offset.

Vice

Providing homogeneous colour mixing within one reflector, it is available with high distribution, square distribution, or wide distribution. With very compact dimensions, it is sealed to IP66 for use in operating temperatures from -10 to +50° C. Available as standard with 1-10V / DALI dimmable or switched control gear.

You can see our full breakdown of the latest and greatest from LiGHT 24 in the COOLKITLIST on our website. www.lightalliance.com

LiGHT 24 REVIEW EXHIBITOR HIGHLIGHTS

Show Highlights

With so many fantastic exhibitors at this year’s event, we take a look at some of the highlights from the LiGHT 24 show floor.

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LUI Solvetro IP67 DGA LUI is the Solovetro step light featuring a square front and three distinct screen-printed frames: open, medium, and narrow. The wall recess can be installed with or without a flange. In the latter configuration, the special trimless aesthetic design is perfectly flush with the surface, maximising the light output.

Available power options include 1W and 2W, both with a 45° emission angle and four colour temperatures: 2200K, 2700K, 3000K, and 4000K. LUI Solovetro represents the natural evolution of the vertical step light, and due to its compact dimensions (35x35 mm), it is nearly invisible. www.dga.it

Expert Pharos Pharos Expert is a lighting control range designed specifically for the architectural lighting market. Expert fulfils the growing need for a practical, straightforward, and cost-effective lighting controller for DMX and DALI fixtures. With Pharos Expert, lighting projects can benefit from 20 years of Pharos expertise in dynamic lighting. Expert is an easy to specify, commission and programme lighting control solution centred around a single, reliable, set-and-forget controller with simple configuration and guided programming. www.pharoscontrols.com

LED Luc 40 ADO Lights The LED Luc 40 Spot boasts a magnetic, fully adjustable base and beam angles of 15°, 25°, 40°, or 60°.

Its colour temperatures range from 2200K to 4000K, ensuring versatility and efficiency.

Sustainability is key: both the lens and LED are replaceable.

With just a screwdriver and pliers, you can maintain and extend the product’s life, reducing waste while keeping performance high. www.ado-lights.de

Euclid 40 IP20 WE Radiant Architectural Lighting The Euclid 40 IP20 WE is the smallest luminaire in the popular range of Radiant water effect luminaires.

Only 43mm wide, the system has been developed for use in a variety of interior architectural and hospitality cove and indirect lighting applications that require customisable, decorative, dynamic lit-effects.. www.radiantlights.co.uk

Lene Tube LedLuks The Lene Tube luminaire provides smooth, ambient lighting with a gentle ceiling glow, thanks to its fully illuminated opal body. Its sleek, all-white version adds minimalistic elegance, while colourful end caps and cables in red, yellow, white, or black transform it into a playful, creative design. Available in ceiling and pendantmounted options, with an integrated driver, the Lene Tube delivers 260º light distribution, ensuring wide and even illumination. Its milky surface makes it a striking piece, even unlit. It can be upgraded with custom-made patterns. www.ledluks.com

Mars Eve LED Linear Featuring advanced glare control technology, this wall washer sets new standards in the field, providing comfortable, glare-free illumination.

Its intelligent design includes customisable features and optional smart lighting controls that optimise energy consumption, offering sustainable lighting solutions. The luminaire delivers uniform and shadow-free wall washing, enhancing spaces and highlighting architectural details with precision, while avoiding unwanted lighting effects through optimal light control. www.led-linear.com

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Event Photography: Natalie Martinez Photography & Olivia Ross

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DecoBlade Phos The DecoBlade range is a comprehensive façade lighting solution engineered for uncompromising performance. From the ultra-compact 26mm Micro to the powerful 50mm Maxi, each precision-crafted variant delivers IP66/IP67 protection and full RGBW capability. With specialised options including Flexi, Inground and Inground Trimless, plus bespoke mounting solutions, DecoBlade offers limitless possibilities for architectural illumination. Available in both mains and low voltage configurations across multiple CCT options and lengths. www.phos.co.uk

Phantom Mesh Vivalyte Elevate your architectural projects with Vivalyte’s Phantom Mesh to deliver engaging displays, immersive branding, and interactive messaging.

This transparent, lightweight LED display offers over 70% transparency without sacrificing brightness, making it ideal for glass façades, window displays, or free-standing installations. Its flexible design adapts to any surface, providing stunning visual impact while maintaining visibility behind the display. With customisable pixel pitch and energy efficiency, Phantom Mesh is a versatile, low-maintenance solution for dynamic displays that seamlessly integrate into any space. www.vivalyte.com

Exterior Wash Pro Family Martin Professional Engineered for harsh conditions and creativity, the Exterior Wash Pro family provides a logical, user-friendly and versatile lighting solution with two colour variants (QUAD and CTC), four compact sizes, easy installation, and standalone programming capabilities. Designed for permanent outdoor installations, and backed by a five-year warranty, these fixtures meet rigorous environmental standards. The Exterior Wash Pro family redefines outdoor lighting for fixed installations and is the ideal choice for lighting specifiers supporting fixed outdoor installations. www.martin.com

Topaz Series CLS The CLS Topaz Series is a stunning collection of fixtures and its most comprehensive range to date, with the Topaz Expo, Zoom, ColourFlow, and Profile versions. With a slightly curved back, interchangeable optics, innovative dimming options and stackable accessories it ensures precision lighting and ultimate customisation options. With its sleek design it’s an aesthetic lighting solution for every space, whether a museum, leisure location, lounge, theatre, or experience centre. www.cls-led.com

Lianna LEDiL Lianna stands as a beacon of innovation in the domain of linear lighting. With its unparalleled flexibility, efficiency, and adaptability, Lianna not only addresses the core challenges of traditional linear lighting but also sets new standards for performance and versatility. Lianna features a versatile two-row lens design that can be tailored to any desired length in 1ft increments, ensuring a seamless aesthetic solution with no gaps. www.ledil.com

Ritus Mob Bright Special Lighting Introducing the new range of recessed adjustable downlights, perfect for any space.

These modern fixtures feature innovative LED technology, delivering an impressive 130lm/W. With a sleek design and various size options, they blend seamlessly into any environment, providing high performance and energy efficiency. www.bright.gr

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LiGHT 24 REVIEW EXHIBITOR HIGHLIGHTS

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Shining a Light on Mentorship At LiGHT 24, the Silhouette Awards hosted an evening of entertaining discussions and networking opportunities, showcasing the benefits of the programme, and the importance of mentorship.

SILHOUETTE AWARDS

The Silhouette Awards team hosted an engaging experience at this year’s LiGHT 24 exhibition, which boasted more than 5,500 visitors across two days.

The in-person celebration inspired keen attendees through an interactive event that celebrated the power of mentorship and the impact of the growing Silhouette Awards community.

The ‘Shining a Light on Mentorship’ Silhouette Awards experience’ kicked off with an introduction to the key elements of the Silhouette Awards, hosted by representatives from the co-founding companies – Katia Kolovea of Archifos and Nikki Westwood of Parrot PR and Marketing. The introduction showcased how the awards programme empowers the next generation of lighting talent while also fostering growth and mentorship.

A highlight of the experience was a mentor-mentee ‘quick-fire’ conversation showcasing the real-world benefits of this transformative global programme, from previous mentor-mentee pairing Panos Ferentinos and Tiziana Regalado, from year three of the awards.

An exciting live pitch from rising stars in the programme followed, demonstrating their growth and development over the six-month mentorship journey - Frankie Boyle, winning mentee from year one, Jessica Keates and Alperen Ekici from year two, and Andra Munro from year three.

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the four presentations, saw Andra Munro who was mentored by Tejas Doshi in year three, win the best presentation award. Andra will now be receiving an additional press release interview with the Silhouette Awards team to talk about her work and future goals.

The event continued with an insightful panel discussion featuring mentors from this year’s programme, who shared wisdom on leadership, how best to cultivate creativity, and how to provide meaningful career growth opportunities, moderated by Nikki Westwood. The panel included Daniel Blaker of Nulty, Eugenia Cheng, Founder & Principal at Lightorigin studio, Fabiana Nery Pardhanani of Glare, and Sacha Abizadeh of WSP. Following the talk, a curated networking session gave all LiGHT 24 attendees the chance to connect, collaborate, and celebrate with mentors, mentees, sponsors, and supporters. This successful Silhouette Awards talk was part of the new addition to this year’s LiGHT 24 event, a splinter programme to the main [d]arc thoughts talks programme in The Associations Lounge.

The Silhouette Awards was also able to showcase the success of the mentorship programme as first-year winning mentee Frankie Boyle showcased her never-before-seen, exclusively created art installation ‘Intra-spectrum’ at LiGHT 24.

Katia Kolovea of Archifos said: “We are so thankful to our amazing supporter, LiGHT Expo London and the

LiGHT 24 REVIEW SILHOUETTE AWARDS

Images: Natalie Martinez Photography (except top right: Silhouette Awards)

[d]arc media team, for giving us the opportunity to host this inspiring event. LiGHT 24 was the perfect platform to unite the Silhouette Awards community, a dynamic group of mentors, mentees, and industry leaders all working towards a brighter future for lighting. It was incredible for us to see so many individuals and brands supporting the journeys of our past and present participants and experience this energy and passion in the room! Exciting plans ahead and we want everyone on board!”

Eve Gaut of Parrot PR and Marketing added: “Thank you to everyone who attended the Silhouette Awards event at LiGHT 24. It was such a success and we were thrilled to see so many eager faces learning about the advantages of the programme.

Seeing Frankie Boyle’s unique artwork come to life was such a touching testament to the power of mentorship and investing in people’s talent. We are also incredibly grateful to our very first sponsors of Year Four, who are committed to supporting the next young generation of lighting designers.”

Silhouette Awards mentee applications closed on 1 December 2024. The 20 successful Mentees will be individually supported by one of the programme’s renowned Mentors for a six-month mentorship journey starting 1 March 2025. With the support of the Silhouette Awards’ impressive array of sponsors and supporters, the winners will be granted the opportunity to enhance their skillset, pursue their career ambitions and add real value to the

creativity of the industry, raising the bar for talent around the world.

It was a pleasure to host an ‘in-person’ event at LiGHT 24 and of course, this gathering of Silhouette Awards mentors, mentees and supporters from the past, present and future had to be marked by giving out Silhouette Award community badges and with a group photo opportunity. A special thanks to the sponsors for providing a very fitting luminous element to light up the stage.

The Core Sponsor for Season Four is ADO Lights.

Further Light Sponsors are: Vivalyte, Intra Lighting and Signify. www.silhouetteawards.com

eye opener

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Bùnquers del Castell de la Trinitat Girona, Spain The Bùnquers del Castell de la Trinitat is where history and landscape come together. A 16th Century military fort in the shape of a five pointed star, it crowns the promontory that protects the town of Roses in the Costa Brava, Girona.

The Castell de la Trinitat was built in 1544 under the reign of Emperor Charles I, the first monarch of the House of Austria. It was an artillery fortress, shaped like a five-pointed star to defend against enemy projectiles. Destroyed in 1808 during the Napoleonic Wars, the castle remained in ruins for almost two centuries. It was restored over eight years from 2002 to 2010, allowing it to come to life as a tourist attraction with an important historical legacy, receiving recognition as a Cultural Asset of National Interest in 1988.

The Bùnquers of Castell de la Trinitat is a defence space that holds an important history of the Girona region. Recognised as an Asset of National Interest, as part of the Castle’s landscape rehabilitation project, a lighting intervention was carried out in the bunkers by Atelier Medina Querini, with the intention of reactivating the space and its memory. The lighting concept is inspired by a journey through time, the history of its past and its memory, bringing inside the light that travels through its cracks, generating a path illuminated with accent lighting, highlighting the marks on the walls and floor that its past has left along its100metre-long path.

The space, with its concave roof, has a height of two metres, and a two metre width. It was decided to place the luminaires at the top of the roof with different orientation angles between them to generate a layout in the space that invites visitors to explore its past and discover how they protected the coast of Roses in past times. The lighting, realised with iGuzzini’s Trick fixtures, creates a sensory, exciting, and safe space for visitors throughout their journey. The location and orientation of the luminaires were studied to create continuous lighting, extending the distance between each luminaire, which allowed the designers to work to a lower budget.

The project was recognised in the 2024 [d]arc awards, winning the SPACES Low category. www.ateliermedinaquerini.es

Editor’s Picks: Product of the Year 2024 As we look back on another big year for the lighting industry, Editor Matt Waring picks some of his favourite new products that have been making waves in the industry over the past 12 months.

With the end of the year fast approaching, it‘s always a fun exercise to look back at some of our highlights from the past 12 months. Typically, I use this time to pore over my Spotify Wrapped stats and think about my favourite new music releases (shout out to Fontaines D.C. for dropping an absolute banger with Romance...), but with the lighting industry continuing to innovate in new and exciting ways, I also wanted to look back at some of the coolest products that I‘ve seen in 2024.

As a publication, we‘ve been lucky enough to travel to a lot of shows this year, from

Zero Framing Projector formalighting Always reliable for developing exciting new products, formalighting’s Zero Framing Projector series turned a lot of heads over the year.

With Gobo compatibility, the multifunctional LED projector with built-in bidirectional zooming lens and high-precision optics provides lighting sharpness and uniformity.

Adjustable without tools, these luminaires are easily adapted as display spaces change.

While their compact footprint means focus is on the displays, not the light source. www.formalighting.com

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Light + Intelligent Building Middle East in January, and Light + Building in March (some of us lucky to escape Frankfurt amid the travel chaos too!), to the likes of New York‘s LEDucation and Hong Kong International Lighting Fair. At each of these events, we‘re always amazed to see so much innovation and creativity on display, so picking a few select highlights was no easy feat.

But, in no particular order, listed here are 10 of my favourite new products from 2024.

Cube Direct Mountable Chip Nichia It’s not just luminaires that impressed this year, as Nichia unveiled its Cube Direct Mountable Chip (DMC) in Frankfurt this March. The Cube DMC projects light diagonally upward and sideways for comprehensive ultra-wide light distribution and high luminous flux density, unlike traditional LEDs that simply distribute light vertically. Compact and versatile, the chip solution offers unrivalled flexibility and performance for high-quality, dynamic lighting applications, and allows for the creation of smaller, more efficient luminaires that boost flexibility and reduce material use. www.nichia.com

Filorail iGuzzini One of the hits of Light+Building, Filorail made waves thanks to its miniscule opening of just 3.6mm, that iGuzzini feels “achieves a utopian concept that transports us into a future where technology merges with architecture”.

Filorail can be installed in recessed, minimal, and frame configurations, as surface or pendant, and can run on horizontal or vertical surfaces, outlining straight or curved lines.

Ideal for the likes of hospitality, residential, retail and workspace applications, Filorail allows designers to build the system they want, concealed in a seamless thin line. www.iguzzini.com

LTwo APL I first saw this product at Light + Intelligent Building Middle East, and was very impressed by its ingenuity. With the diameter of a cent piece, LTwo is both discreet and simple. 13 optics from one form factor, and an innovative, magnetic luminaire holder system make LTwo flexible to use, and LED technology interchangeable. It can be transformed from a lamp into a luminaire using simple accessories, and can be integrated into almost all materials and building structures. www.apl.ag

Kumux Platform Kumux As a relatively new startup, 2024 was a breakout year for Kumux, which sprang from nowhere to take over the lighting sector with its Kumux Platform. Using machine learning algorithms, the platform integrates scientific principles into lighting control settings and customises them based on geolocation, application, luminaire spectrum, and overall lighting design. KUMUX automates these settings throughout the day, fostering adaptive lighting environments that enhance well-being, performance, and sustainability in any dynamic lighting project. www.kumux.io

Mini G-Cat Stoane Lighting In 2024, Stoane Lighting won its third [d]arc award for product innovation. This time, the Mini G-Cat took home the Exterior KIT award. The Mini G-Cat is a minature, IP66-rated catenary lighting product first designed with Lighting Design International for Studio Frantzén at Harrods, London. With a body of only Ø66mm, this technical product provides a subtle opulence with a generous output in a variety of colour temperatures, from 2400-4000K. It is available with a polished acrylic globe, with an internally frosted diffuser and fixed focus for directional light, or a shallow, lower glare acrylic front. www.stoanelighting.com

IQ Lux XAL Group As sustainability continues to be of primary focus for the lighting industry, IQ Lux, a new brand in XAL Group, has emerged this year, embracing the challenge of achieving “net zero lighting”.

With a dedication to CO2-neutral production, its luminaires are 3D-printed, using filaments made from bio-based or recycled sources. The brand aims to produce a CO2-negative filament in the future. Pictured is the adjustable luminaire from its Polar family of recessed spotlights. Designed with energy efficiency in mind, with a rating of 150lm/W, they are sleek and elegant, offering maximum design freedom in terms of colour. www.iqlux.com

ProFile Fibr8 Every now and then, you see a piece of lighting innovation that stops you in your tracks. That was the case when I first saw Fibr8’s unique, laserpowered light. Through its ProFile laser powered line light, Fibr8 has created a direct, visible light line without any electronics in the line. Incredibly slim, starting from a >1mm light line source, it can handle a bend radius of 1cm, and create 100-metre-plus lines of seamless light. Fibr8 also partnered with Into Lighting at this year’s [d]arc awards, creating a stunning installation that further showcased its capabilities. www.fibr8.com

FLAME Hydrel It says a lot about the quality of a product when our resident product expert, David Morgan, specifically requests to review it. This was the case with Hydrel’s FLAME. Based on the brand’s SAF range of DMX controlled RGBW projectors, the FLAME range adds to sets of RGBW light engines to produce novel dual colour lit effects.

The range consists of three different sizes of projector, each with three distributions: Narrow, Wide, and Lotus Flame. Each distribution creates an accent gradient effect with distinct depth and emphasis for specific applications. www.hydrel.acuitybrands.com

EasyConnect DiGiDot As lighting designers’ requirements become more complex, they need a controls system that can handle them. One company that is pushing the boundaries of what is possible in control is DiGiDot, which develops control products for a wide range of dynamic lighting applications, empowering clients to unleash their creativity in the realm of dynamic lighting. The Easy Connect is the most efficicent connector for dynamic lighting control on the market, replacing complex installation boxes and makes installation and assembly up to five times faster and more safe. www.formulaluci.com

Concrete Progress DAVID MORGAN

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

Email: david@dmadesign.co.uk www.dmadesign.co.uk

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FortaCast, the latest in-ground linear lighting system from Organic Lighting, incorporates several innovative and patented design features. Keen to find out more, David Morgan takes a closer look.

There are many points of entry for people working in the lighting industry, from the purely artistic to the highly scientific. In the case of Laurence St. Ives, the founder of both Organic Lighting and Orgatech Lighting, his way into the market was as an importer of German and Italian office furniture designed for use with desktop PCs in the 1970s.

As the use of PCs became widespread, minimising glare on computer screens from overhead fluorescent lighting was a major concern. To address this issue Laurence developed the first freestanding high lumen output office up-lights, helped by some lighting design and optical development from Stanley Lyons at Thorn Lighting, whose company manufactured the metal halide lamps.

Orgatech in the UK was founded in 1976 to sell these up-lights, quickly followed in 1979 by the launch of a USA company, which is still running today. Laurence moved to the US in the 1980s, first to New York and then to California.

Organic Lighting was created in 2002 as a sister company to Orgatech Lighting to focus on colour changing LED lighting and, in 2009, with the advent of white LEDs, it is claimed that Orgatech became the first in the USA to introduce professionalquality flexible lighting strips.

The latest luminaire development from Organic Lighting is the FortaCast in-ground linear lighting system, which incorporates several innovative and patented design features.

In-ground linear lighting systems have become a popular tool for creating lines of light for exterior and interior lighting applications, but they have proved problematic for electrical contractors to install and to maintain.

To overcome these issues, the FortaCast bodies are made from glass reinforced concrete (GRC) and are designed to be installed by paving, general contractors, and landscaping contractors rather than electrical contractors.

The IP68-rated flexible Aqueon LED light engines used in the FortaCast system are a separate element from the GRP housing and are installed and removed via the last section in the run, with the help of miniature nylon rollers built into the housing.

FortaCast GRC bodies can support a drive overload of up to 4,500kg and are available in a variety of colours and surface textures to coordinate with other paving and landscape materials. It is understood that the GRC materials used have a lower carbon footprint than cast concrete due to the higher percentage of glass and aggregate in the mix.

The FortaCast system includes four standard profile sizes, offering various lengths in each size, standard radiused sections, corner sections, angled-joint sections and end sections, which act as the insertion point for the LED light engines. In addition to the standard shapes and sizes, Organic Lighting can develop custom-shaped housings

to meet project requirements – for example to accommodate road cambers or irregular surfaces.

The smallest section profile in the range is 51mm wide x 70mm deep with a 29mm wide window. The largest section profile is 102mm x 102mm with a 51mm window.

The standard circular sections are based on the mid-size 76mm x 76mm profile with nominal diameters of 1.2-metres, 0.9-metres and 0.6-metres.

The Aqueon LED light engines incorporated in the FortaCast system are available in fixed white colour temperatures from 2700K to 5700K, in amber, tuneable white, RGB and RGBW versions. Power consumption of up to 6W/m for the white light engines and 9 W/m for the RGBW type. Dimming and streaming pixel DMX control are both available.

The light engines are factory sealed and submersible with a rated life of 60,000 hours.

The maximum light engine length is 15-metres and at the end of life the old light engine can be removed and a new one inserted without having to remove the top covers or disturb the housings along the FortaCast run.

The installation instructions for the system are detailed and a little daunting, including a requirement for the contractor to have at least five years’ experience and preferably certification from the Interlocking Concrete Pavement Institute.

The GRC body sections are aligned together with a joiner piece, which includes drainage channels.

The mating surfaces are then bonded together on site with a special adhesive. Once all the housing sections are in place and protected with a removable cover tape, then the paving or concrete floor can be installed.

Once the floor is complete, the final assembly can be made. At this point the rollers are installed with some silicone grease to aid the insertion of the flexible light engine, and the two-part windows are bonded in place. A lower laminated glass window is bonded to the primed concrete surface first with a high shock absorbing performance tape. Then the top diffusing PTFE window, which is provided with an adhesive lower surface, is bonded directly on top of the glass. Joints between the windows are then sealed with silicone.

The FortaCast system has been developed to make long-term maintenance and replacement of the light engines as simple as possible in order to give a potential life expectancy of up to 30 years. It is refreshing to see such a fully developed lighting system that offers maximum creative opportunity to the lighting designer while also being highly functional and maintainable. www.organiclighting.com

case study

Image: Gavriil Papadiotis

Unit London, UK Luminaires from Erco bring an added flexibility to Mayfair’s Unit art space.

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Since its establishment in 2013, Unit has dedicated itself to elevating contemporary artistic voices, ensuring their significant contributions to creativity inspire, challenge and enrich the global community.

Unit, located in Mayfair, London, has a mission to discover and expand the reach of talented artists by engaging new audiences and making their work more accessible, and has played a crucial role in developing the careers of numerous prominent international contemporary artists.

Sebastian Humphrys, the Exhibitions & Operations Manager at Unit, orchestrates the fusion of art and illumination in his role. Humphrys’ expertise was honed during his 12-year tenure at Pace Gallery - a previous Erco project.

At Unit, Humphrys’ role encompasses managing art operations, coordinating exhibitions, and optimising logistics from conception to execution.

Lighting is at the core of his day-to-day operations.

His enthusiasm peaks when challenged by the layout and lighting possibilities of each installation.

Humphrys says: ‘‘Two things are always present and invaluable with the Erco luminaires as a tool.

First, the dimming aspect, whether that is with full Casambi control or direct individual unit dimming.

Second, the option to exchange lenses on units to create different light distributions; from narrow spot to wide or oval flood there is always a lens to help meet requirements. ‘‘At Unit we install shows every month, so keeping lighting fresh is always a concern and highlight for me. With two distinct spaces - one with daylight and tall ceilings, the other with low ceilings and no natural light - we adapt our lighting accordingly.

“The ground floor has an even, neutral white LED lighting, ideal for contemporary exhibitions, while the lower ground floor offers a warmer, more intimate ambience suited to modern art. Though challenging, this diversity allows us to curate exhibitions to each space’s strengths, as seen in Jess Allen’s recent exhibition in the lower gallery.

“Her paintings, designed for warm lighting, come alive in our light arrangement. It is moments like this where you realise the importance gallery lighting plays in the exhibition experience.’’

Erco lighting’s role in Unit includes Pantrac and Parscan spotlights, a versatile and precise solution that has been integrated to reduce maintenance needs. The Casambi integrated Erco system at Unit enables nuanced control and flexibility, allowing Humphrys to tailor the lighting to each exhibition’s unique requirements. Humphrys’ enduring partnership with Erco spans over a decade, characterised by consistent support and collaboration.

Looking ahead, Humphrys and his team at Unit, are exploring the integration of Casambi Bluetooth Technology, aiming to enhance the gallery experience further. Together with ongoing support and expertise from Erco. www.erco.com

®

Chartered Accountants’ Hall, One Moorgate Place, London. Lighting design

by Nulty. Project image © provided by One Moorgate Place. 3D LED Flex 25 luminaires, mounted on the balcony, project a narrow ring of warm white light onto the golden frieze and mural running around the interior of the dome.

Please contact Radiant for product information, to see demo samples, or for a presentation.

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www.radiantlights.co.uk | +44 ( 0 ) 208 348 9003 | david@radiantlights.co.uk | London, N6 5JW | All products designed by

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09/12/2024 15:30:38

case study

Image: Arnaud Rinuccini

Abreuvoir de Marly Versailles, France The drinking pool at the former residence of Louis XIV has been restored, with lighting from L&L Luce&Light bringing it to life.

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Just a few kilometres from Versailles, the remains of the Château de Marly, a former French royal residence, are located in what is now Marly-le-Roi. This was a favourite retreat of Louis XIV, where he could escape the formal rigours of the palace.

Small rooms meant less company, and simplified protocol. Work began on the Château in spring 1679, in response to the king’s request for an isolated residence to be built on his property, in the woods between the palace of Versailles and the Château de Saint-Germain-en-Laye. Marly was the perfect choice.

The project, a collaboration between the architect Jules Hardouin Mansart and the painter Charles Le Brun, was officially opened in 1686, and the “Abreuvoir de Marly”, or “Marly horse trough”, was added in 1698. This huge horse-watering pool was one of the most impressive architectural and hydraulic structures of the 17th century. It was conceived as a picturesque pond where the king’s horses could stop to rest and water after hunting sessions in the nearby forest.

The Abreuvoir de Marly originally functioned as both a watering station and a decorative element.

The king wanted the construction to represent his power and artistic taste, and it incorporated sculptural elements such as the famous Chevaux de Marly horse statues by Guillaume Coustou.

While the original statues are now housed in the Louvre in Paris, replicas still grace the site. The large, semi-rectangular basin has a central ramp leading down to the water; the stone walls, with their strong, sturdy construction, lend solidity

to this monumental drinking pool. The basin is shallow and built with a gentle slope to make it easier for horses to access the water. The abreuvoir was part of a complex water system that allowed the basin to be filled with water from the Seine, channelled towards Marly via a system of pumps known as the Machine de Marly, a contemporary masterpiece of hydraulic engineering.

The setting is famed for its serene beauty and historical importance, reflecting the grandeur and sophistication of the Sun King’s reign.

No trace remains of the original castle, but the drinking pool has been beautifully preserved and has recently undergone a lighting upgrade. The lighting design from the Amocosy design studio has used L&L Luce&Light fixtures to restore the elegant and imposing appearance of former times, with TREVI 1.2, 32W 24Vdc 3000K, underwater linear profiles for pools and fountains, specially designed with a 90° rotation and 60cm telescopic bracket.

The drinking pool’s massive, solid structure is typical of 17th century architecture, designed to withstand time and weathering. Now, it is emphasised by a soft, warm, diffuse light that envelops the stone and creates magnificent reflections in the water below. The entire structure is illuminated in a way that is in keeping both with the grandiose aesthetics of the other buildings associated with Versailles and the reign of Louis XIV, and with the natural ambience of its surroundings. www.lucelight.it

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15.04.24 15:34

case study

Bregenz Performing Arts Festival Bregenz, Austria Acclaim Lighting’s underwater spotlights bring to life breathtaking stage sets on world’s largest lake stage.

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Located in the Austrian province of Vorarlberg, Bregenz Festival has been attracting an international audience since it first opened in 1946. To be ready in time for the tight deadline of opening day that year, the first festival was performed on two floating barges. Today, the performances are done on the world’s largest lake stage, which measures 71-metres at its widest point and 14-metres at its highest point, and can be viewed from shore by up to 7,000 spectators at one time. Held every July and August, the festival has attracted as many as 400,000 viewers during a single five-week season.

The floating stage, with larger-than-life stage sets has become a destination point for tourists from around the globe. It has been featured in the James Bond film “Quantum of Solace” and used at the 2008 European Football Championship as the European Championship Studio for daily reporting. Legendary operas, as well as orchestral concerts, ballets, poetry readings, and children’s programmes, are regularly performed against the beautiful natural backdrop of Lake Constance and accompanied by the timeless music of the Vienna Symphony Orchestra.

In addition to the stunning backdrop, the large stage sets are responsible for sweeping audiences into the magic of storytelling, along with a crisp sound made possible by leading-edge directional sound technology. To enhance the spectacle further, festival management added underwater lighting for the lake stage, envisioning it as a dramatic new element beyond the existing LED spotlights, wash lights, and moving lights.

Markus Holdermann, technical supervisor at Bregenzer Festspiele, explains: “We wanted underwater lighting that would provide audiences with a unique perspective of the performers. Our challenge was finding an RGB spotlight with at least 3000lm, low voltage (maximum 24V), and fully waterproof.”

Acclaim’s Aqua Drum fixtures are high-output, submersible, and suitable for depths of up to 6-metres, featuring various emitter types and lens options, and are fully certified for pool and spa use, making them ideal for underwater and landscape lighting. Optional in-grade housings are also available for each Aqua Drum size to enable fully sealed walk-over installations.

In total, 30 Aqua Drum HO RGBW and eight Aqua Drum EO RGBW spotlights were installed at 40° in the lagoon area of the water basin where the water ballet scenes take place, delivering precise and dramatic lighting that sets the mood and highlights the performance of the actors. The festival used seven Aqua Driver 400 fixtures to control the fixtures and a constant current dimming driver for 24VDC-based fixtures. Smooth dimming is provided for up to eight RGBW/A, Dynamic White, or Fixed White fixtures under DMX control. Static colours and adjustable chases can also be configured when independent operation is required. The internal auto-switching power supply can operate from main inputs ranging from 100-277VAC to 50/60Hz, and a total of 400W of output can be supplied across its eight ports. www.acclaimlighting.com

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bucket list #43

Quynh Anh Nguyen Nulty What

This describes the unique light-dark contrast experienced when entering a traditional Vietnamese house. As each door is gently opened, patterns of light spill into the interior, gradually fading into the dark wooden surroundings. The heat of the tropical climate gives way to a cool, quiet atmosphere.

Where & When

This architectural style is common in the Central and Southern regions of Vietnam, and holds a special place in my childhood memories. At that time in the countryside, electric was a luxury and only turned on after sunset. Without artificial lighting, we relied on natural sunlight streaming through windows, allowing our eyes to slowly adjust to the dimness, as the interior slowly unveiled itself. Alongside the sunlight, kitchen fires flickered, filling the air with the unforgettable scent of burning wood and straw.

How

The door, acting as a bridge between light and dark, outside and inside, plays a crucial role in this experience. The “Thượng song hạ bản” door design consists of two parts: the upper half, made of wooden bars, and the lower half, closed with wooden planks, often adorned with carvings or mother-of-pearl inlay. From outside, one cannot see the interior, but from inside, people can observe the bright world outside. Each time the door is opened, light gradually expands into the room, revealing the interior in a delicate, rhythmic balance of light and shadow. www.nultylighting.co.uk

“We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates.”

Jun’ichirō Tanizaki

Image: Architecture Excursions

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curated by

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Recolight go beyond recycling, by offering circular economy services, facilitating the reuse of lighting equipment, and helping to avoid unnecessary recycling of surplus new lighting.

Working with the lighting industry, Recolight offer support and services to help their Producer Members transition to a Circular Economy.

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