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101 DEC/JAN 2017/18

WHERE THE LIGHT GETS IN Jean Nouvel, 8’18” and BuroHappold create a stunning scheme for Louvre Abu Dhabi



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062 The Paranormal Unicorn We find out more about the ‘audiovisual artist collective’ making a name for itself in the lighting design community.


DEC/JAN 2017/18 024 026 028 030 036 044 046 148 166 170

Editorial Comment Headlines Eye Opener Drawing Board Spotlight Snapshot Briefing IALD Column Event Diary Inspirations

072 Martin Klaasen Robert Such catches up with lighting designer Martin Klaasen to discuss his long and distinguished career, and his focus on education.

138 The Perfect Light At the start of this year, Light Collective began work on a documentary, capturing the thoughts of 22 leading lighting designers in their quest for ‘the perfect light’.

142 Lights in Alingsås The seventeenth edition of Lights in Alingsås took over the small Swedish town, illuminating the streets and allowing visitors to experience an array of emotions through light.

150 IALD Enlighten Americas This year’s IALD Enlighten Americas brought lighting designers, manufacturers and students to Denver for a celebration of light.

152 PLDC A look back at some of the antics and highlights from PLDC 2017, held in Paris.

158 Product Review David Morgan examines Soraa’s newest line of luminaires, the ARC accent range

160 Light Middle East A round up of the latest products on show at Light Middle East, along with a look back at the successful Light.ication 2.0.


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048 Louvre Abu Dhabi, UAE Designed by French architect Jean Nouvel with lighting design from 8’18” and daylighting by BuroHappold, the Louvre Abu Dhabi has created a buzz of excitement since opening in November, and for good reason.


DEC/JAN 2017/18

080 Workspace Lighting Benz Rooz, Senior Lighting Designer at Speirs + Major, discusses illumination in the workspace, including the firm’s own work at Rogers Stirk Harbour + Partners, which utilised Spectral Iris fixtures.

082 Havenhuis, Belgium Zaha Hadid Architects merge old and new in this juxtaposing creation, with lighting design by Ingenium and Inverse.

092 ING Bank, UK The new interior lighting design for the ING Bank UK London office, designed by Nulty, blends the old and the new, bringing a modern flair while delicately illuminating the fine art on display.

106 Plexal Technology Innovation Centre, UK Located at Here East in Queen Elizabeth Olympic Park, Plexal’s innovation centre has been given a dynamic new lighting scheme, courtesy of Cundall Light4.

114 Wiley Publishing, USA One Lux Studio has created a new lighting scheme for Wiley Publishing’s newly renovated headquarters, utilising both direct and indirect light to open up a formerly dark, enclosed space.

122 Workspace Lighting case studies A look at a number of impressive workspace lighting schemes, including arc magazine’s very own offices.


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Front cover: Louvre Abu Dhabi Photograph: Roland Halbe

Editorial Publisher / Editor Paul James Assistant Editor Matt Waring Editorial Assistant Sarah Cullen

Advertising International Advertising Manager Jason Pennington International Advertising Sales Andy White Steven Willcox

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Production David Bell Mel Robinson Zoe Willcox

Chairman Damian Walsh

Finance Director Amanda Giles

Credit Control Lynette Levi arc media Strawberry Studios, Watson Square Stockport SK1 3AZ, United Kingdom T: +44 (0)161 476 8350

Room for 101? Thank you for all your positive feedback regarding the 100th issue of arc magazine. We’re happy that you liked it… We’re delighted that the 101st issue of arc is the first lighting

publication to cover the latest international mega-project, Louvre Abu Dhabi.

Located on Saadiyat Island, Abu Dhabi’s planned cultural centre, the

museum was inaugurated on November 8th. We worked fast to speak to the main protagonists - Jean Nouvel, 8’18” and BuroHappold - to bring you an insight into this amazing project.

It is a lesson in how to design a project of this scale properly. All three design teams worked closely together from the very early

stages with the lighting design process from 8’18” starting in 2007. A

decade later and the results are incredible. Perhaps the most pleasing aspect from a lighting perspective is the way the artificial and natural lighting is integrated to produce a beautifully fluid piece of lighting

design. A difficult achievement when so many precious and delicate artworks are being lit.

Another important aspect of lighting design is the illumination of

our workspaces. With 35% of your total waking hours being spent in

your place of work, the lighting of this environment is crucial to your wellbeing and your productivity.

Benz Roos, Senior Lighting Designer at Speirs + Major, offers an

insight into the way he approaches illuminating a workspace arguing that we should be moving away from illuminating desks to creating interesting visual environments. That’s something we’ve tried to

achieve in our own office with a new lighting scheme (p.122) that we’re very much enjoying.

* With the new look magazine, it was time for a change to the Back

Page. Our resident curators, Light Collective, have decided to create a

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new series: A Bucket List for Lighting Designers. You can help them

Annual Subscription rates: United Kingdom £30.00 Europe £50.00 ROW £65.00

every lighting designer and lover of light should do before they die.

To subscribe visit or call +44 (0)161 476 5580

create an amazing selection of things, places, experiences etc., that If you have something you think should be included, get in touch:

arc, ISSN

17535875, is published bi-monthly by Mondiale Publishing, Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ. Subscription records are maintained at Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ. Spatial Ltd is acting as our mailing agent.


Paul James Editor

We are the UK’s foremost designer of lighting solutions. For over 30 years, our passion for developing and manufacturing energy efficient products has seen us deliver our portfolio of lighting and controls solutions to some of the UK’s most innovative businesses.

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Headlines Helvar in China distribution agreement with Media-Go (China) – Helvar has agreed an exclusive distribution deal with the Media-Go Group of Companies (MediaGo) for supplying and supporting its lighting intelligence products and solutions in the Mainland China.

Delta Light expands global network with new showroom in London (UK) – After opening a series of exclusive showrooms in New York, Moscow, Paris, Amsterdam, Milan, Bogota, Saint Petersburg, Bangkok, Miami and other design capitals, Delta Light presents a brand new showroom in the heart of London.

3F Filippi acquires Targetti (Italy) – Italian private equity firm Dea Capital sells Targetti to 3F Filippi making it one of the top five lighting companies in Italy. (Pictured: 3F Filippi CEO Giovanni Bonazzi) Read more on

Seoul Semiconductor receive low risk eye safety certification for SunLike LED (South Korea) – Seoul Semiconductor have become the first company in the world to receive the certification for its natural light LED – SunLike.

Philips launch new lighting impact app (Netherlands) – Philips Lighting and SAP launch app that will enable tourist boards and city authorities to measure the social and economic impact of illuminating city landmarks.

New Senior Vice President Global Sales & Marketing at Tridonic (Austria) – Jörg Kessler has taken up the position of Senior Vice President (SVP) Global Sales & Marketing from 1st November. He takes over from David Barnby, who will be taking retirement at the end of the year.

‘Twisted’ light could illuminate new path for wireless communications (UK) – Scientists have taken an important step towards using ‘twisted’ light as a form of wireless, highcapacity data transmission which could make fibre-optics obsolete.

IALD Enlighten 2018 Calls for Presentations

Light Bureau joins ÅF Lighting (UK) – Paul Traynor’s London and Oslo-based Light Bureau has joined ÅF Lighting, the specialist lighting design business area of the ÅF Group. Read more on


(USA) – IALD is accepting presentations for its 2018 Enlighten Americas and Enlighten Europe events.


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Waterlicht Castleton, UK Waterlicht, translated into English as ‘water light’, is a dream landscape created by visionary designer Daan Roosegaarde that explores the power and poetry of water. Intended to create a ‘virtual flood’, Waterlicht mimics past or possible water levels with wavy lines of light, created using the latest LED technology, software and lenses, simulating the feeling of being underwater. In doing so, it shows how vulnerable we are if we did not have human interventions to protect us. The result is a mesmerising experience, which makes you aware of a world that is changing. The installation, first created for the Dutch District Water Board Rijn & Ijssel in 2015, was brought to the UK for Abandon Normal Devices in September 2017. Set in the dramatic v-shaped valley of Winnats Pass, which acts as a gateway into Castleton and the Hope Valley, Waterlicht virtually floods the pass with light and smoke. Soundscapes accompany the installation, offering visitors a rich and layered sensory experience


of the environment that tells the story of water on this ancient site, connecting to its rich geological history of tropical seas and glacial melt waters, while relating to the present threats of flooding today. “Waterlicht is an inspiration for the future,” said Roosegaarde. “There’s a mountain that is literally perforated through the power of the water, hundreds of years have created this beautiful curvature so even though it seems that water is something liquid, it’s unstoppable. “A lot of people will have to move because of rising sea levels, a lot of places will disappear because of that. The world is changing and we have to design a way out of it, we have to engineer our way out of it, it’s not going away by itself.” Following its appearance at Abandon Normal Devices, Waterlicht travels to Madrid, and then on to Zeeland, in Roosegaarde’s home nation of the Netherlands.


Pic: Studio Roosegaarde


Under Norway At the southernmost point of the Norwegian coastline by the village of Båly, Snøhetta has designed Europe’s very first underwater restaurant. With its immediate proximity with the forces of nature, the restaurant, which will also function as a research centre for marine life, is a tribute to the Norwegian coast and to Lindesnes – to the wild fauna of the sea and to the rocky coastline of Norway’s southern tip. Half sunken into the sea, the building’s monolithic form breaks the water surface to lie against the craggy shoreline. More than an aquarium, the structure will become a part of its marine environment, coming to rest directly on the seabed five metres below the water’s surface. With metre-thick concrete walls, the structure is built to withstand pressure and shock from the rugged sea conditions. Like a sunken periscope, the restaurant’s massive acrylic windows offer a view of the seabed as it changes throughout the seasons and varying weather conditions. Under has been designed with sensitive consideration for its geographic context and aquatic neighbours. The sleek, streamlined form of the building is encapsulated in a concrete shell with a coarse surface that invites mussels to cling on. Over time, as the mollusc community densifies, the submerged monolith will become an artificial mussel reef that functions both to rinse the sea and naturally


attract more marine life to its purified waters. Muted lighting from the inside of the restaurant and installed on the seabed, designed by ÅF Lighting, will help stage the wildlife flourishing on the sandbank outside the 11x4-metre panoramic acrylic window. The restaurant will also welcome interdisciplinary research teams studying marine biology and fish behaviour. Researchers from Norwegian research centres will seek to train wild fish with sound signals and will research whether fish behave differently throughout the shifting seasons. The researchers will also help create optimised conditions on the seabed so that fish and shellfish can thrive in proximity to the restaurant. Informational plaques will be mounted alongside the trail, leading guests to the restaurant entrance at the water’s edge. This informational path tells a story about marine biodiversity and the Norwegian coast, weaving the narrative of the site into the overall restaurant experience, and ends at a ramp up to the restaurant. Here, the entrance is clad in untreated, locally sourced oak that will eventually fade into greyish tones, harmonising with the raw concrete. The building comfortably accommodates 80-100 guests. As visitors begin their journey through the restaurant they descend through three levels. From the entrance, where the tidepool is swallowed by the sea, guests enter the wardrobe area. Visitors are


then ushered down one level to the champagne bar, which marks the transition between the shoreline and the ocean. This physical transformation is emphasised by a narrow acrylic window cutting vertically down through the restaurant levels. From the bar, guests can also look down at the seabed level of the restaurant, where two long dining tables and several smaller tables are placed in front of the large panoramic window. Here, guests will enjoy the Danish chef, Nicolai Ellitsgaard Pedersen’s high-quality cooking of locally sourced seafood, such as cod, lobster and mussels, including the specialty, locally sourced ‘truffle kelp’. The restaurant’s colour palette follows the logic of the different stories of the construction. While the champagne bar is characterised by colours inspired by the coastal zone, with its subdued colours evoking the sediment of shells, rocks and sand, the dining room is submerged in darker blue and green colours inspired by the seabed, seaweed and rough sea. The warm oak of the restaurant interior contrasts with the rough concrete shell, creating an intimate atmosphere. Materials are chosen not only for their aesthetic qualities, but also for their sustainable characteristics and ability to create a good indoor climate. Advanced heating pump technology that utilises the stable seabed temperature functions to heat and cool the building year-round. Through its architecture, menu and mission of informing the public about the biodiversity of the sea, Under will provide an underwater experience inspiring a sense of awe and delight, activating all the senses – both physical and intellectual.



WERK12 Germany MVRDV has unveiled the design of an adaptable building located at the centre of Munich’s Knödelplatz square. The building, known as WERK12, will feature 16-foot tall German slang words, in homage to the neighbourhood’s graffiti culture. Responding to the diverse industrial history of the current site, the challenge for WERK12 was to create an adaptable building that becomes a focal point for the emerging Werksviertel neighbourhood, located in close proximity to Munich’s Ostbahnhof railway station. The building will house flexible entertainment, restaurants, office space and a multi-storey fitness centre within a highly transparent façade, transforming the building into a vertical extension of the plaza. The building’s design draws inspiration from the Werksviertel’s heritage as a former industrial site, translating this character into the new building. An important factor in the design was ensuring maximum sunlight and ventilation throughout the building, along with adaptable spaces. All five floors boast sixteen-foot high ceilings, each broken up by a mezzanine level housing fitness rooms, classrooms and lounges. Following the idea of maximum dialogue with the plaza outside, the main staircase snakes its way around the


building, leading from the main square up to the top floor. The panoramic stairs are linked to eleven-footwide terraces surrounding each floor, blurring the borders between inside and outside and generating shading and circulation at the same time. Although the site is very close to the city centre, it shows a strong contrast to the Munich’s historical sites. The giant letters across the façade of WERK12 reflect this aspect. They are a tribute to the graffiti culture and extensive use of signage found on the old site of the Kunstpark Ost. Designed as an upscale urban art piece by local artists Engelmann and Engl, these letters allow the building to display emotions. Using German slang words found in various youth and subculture groups, they create emotions that are not only visually perceptive but also extended as an acoustic component. The ultimate contrast emerges when the building illuminates at night, flipping the simple industrial geometry into a lightshow of another scale.


Friends of Harvey Milk Plaza USA The Friends of Harvey Milk Plaza (FHMP), in collaboration with the American Institute of Architects San Francisco (AIASF), has announced the design team led by Perkins Eastman and Lightswitch Lighting Design as the winners of a competition to reimagine San Francisco’s Harvey Milk Plaza. Harvey Milk Plaza is situated at the entrance of the Castro Street Muni Station, which was built in 1980. In 1985, the plaza area was named in honour of civil rights activist and elected official Harvey Milk, who lived and worked on Castro Street before he and then-Mayor George Moscone were both assassinated in 1978. Harvey led soapbox political rallies at the plaza, which has since been used as a gathering place for community protests and celebrations. The site serves hundreds of commuters daily, as well as thousands of tourists who come through the transit station on their way to visiting the famous neighbourhood. The announcement marks the end of the design competition phase for Harvey Milk Plaza. The competition was initiated after two community meetings held by the FHMP in January 2017, where public input about the potential future of the plaza generated a competition brief. The design brief was distributed in collaboration with AIASF when the competition officially opened in March of 2017. After receiving 33 entries from around the world, a design jury of city officials, nationally renowned architects and landscape architects selected three finalists. FHMP selected the winner with input from the design jury and technical staff from various government agencies. “While each of the three finalists delivered wonderful concepts for the future plaza, what set the submission from Perkins Eastman apart was their bold, immersive idea; passion for Harvey’s message; and willingness to iterate the design based on feedback during


the competition process. We are excited to continue the design process with them and incorporate all the learning and input from the community to create a space that reflects the community’s values, including its love for Harvey and all that he stood for,” said Andrea Aiello, president of Friends of Harvey Milk Plaza and Executive Director of Castro Community Benefits District (CBD). “We envision a plaza that honors the contributions of Harvey Milk, and also inspires people to continue his mission.” FHMP and Perkins Eastman will now process information gathered and learned during the competition, and to continue development of the design proposal. As with any project in its early stages, substantial changes to the design are expected based on more public feedback, technical, and engineering concerns. FHMP plans for future public meetings at various stages of design development. Once three finalists had been identified, FHMP reached out to online platform Neighborland to host the community input initiative, which generated an overwhelming response. The Harvey Milk Plaza project received more than 20,000 responses from 9,645 people who participated in the two-week long survey, ranking this project as the most heavily trafficked ever in Neighborland’s history. “Once the competition got underway and we heard from the community, our own ideas and vision for the plaza expanded, and we now have even higher hopes for creating something that captures Harvey’s spirit and honors his contributions to the struggle for civil rights,” said Aiello. As the project propels forward, FHMP is accepting applications from individuals who are interested in contributing professional services and support in generating fundraising for the project.


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Bank of America Corporate Center USA Focus Lighting recently redesigned the exterior lighting at the Bank of America Corporate Center in Charlotte, North Carolina. Bank of America Corporate Center is the tallest building in Charlotte and among the tallest on the east coast, rising 871-feet above the city. With Charlotte nicknamed the ‘Queen City’, Bank of America Corporate Center is often referred to by citizens as the ‘Queen’s crown’. With that in mind, Focus Lighting wanted to create a lighting design for the building that would be welcomed and appreciated by the residents of Charlotte. For the building’s first exterior lighting renovation since built in 1992, Focus Lighting produced a precise, multi-layered lighting design that creates a stunning display of ‘Light Paintings’ on the city’s skyline. “We started our work by analysing the views of the building, the crown’s intricate details, and its existing lighting (a single layer of metal-halide uplight). We knew we wanted to use modern LED technology to highlight Cesar Pelli’s iconic architecture, but we also recognised an opportunity for Bank of America to give


a gift to the citizens of Charlotte,” said Senior Designer Joshua Spitzig. “This was an opportunity to create a memorable design and really have a positive influence on how the city’s skyline is perceived at night”. “To achieve this, we developed a guiding concept of ‘Light Paintings’ for the crown of the building,” added Principal Designer Brett Andersen. “Instead of picking seemingly random colours of light, each ‘Light Painting’ would be an artistic composition inspired by a source of Charlotte pride – like a beautiful Carolina sunrise, or their beloved Panthers NFL team”. To find the perfect fixture to create their vision – an RGBW fixture with a tight, high-output beam and excellent colour mixing – the team vetted a set of fixtures at their studio, then tested those fixtures’ aiming and programming at various stages of the implementation, eventually finding one that met their performance and budget requirements. A total of 436 high-powered Acclaim Lighting RGBW LEDs were installed at the building’s top floors to light the crown’s multi-layered tiers of soaring masts. New controls enable each light painting to be


recalled either through an astronomical timeclock, programmed event dates, or manually through a custom web interface. Focus Lighting also replaced metal halide fixtures with 140 white-light Acclaim Dyna Drum LED fixtures on the tower’s lower balconies, giving the exterior architecture its brightest, most prominent appearance ever. One big challenge was the tower’s prominent appearance on the Charlotte skyline. The building’s owners required that the tower be illuminated as usual every night during the installation. This meant that for every existing metal halide fixture the installation team removed, a new LED fixture had to be installed, wired, and connected to a temporary lighting control solution that would adjust that fixture’s colour and intensity to perfectly match the metal halide fixtures around it, thus minimising the visual disruption. Spitzig continued: “I’m used to working on high profile projects, but here our inprogress work was visible to thousands. “It was a lot of pressure because programming is often an experimental process, but here you didn’t want to put anything up that didn’t look great right away. If there was anything we were unsure about we’d wait until the wee hours to look at it so fewer people could see,” added lighting designer Erin Ryan. With the help of WB Moore, the project’s electrical contractor, Focus Lighting devised a mounting system to install the fixtures on the balconies in strategic locations to project light onto the building at precise angles. This mounting strategy added to the speed of the installation. The upgrade from metal halide to LED technology has made the building much more efficient and dynamic, and without any additional electrical operating costs. Now, with crisper, brighter lighting on the lower architecture, combined with light paintings on the building’s crown, Charlotte’s Bank of America Corporate Center is more vibrant and dramatic than ever before. “I’m very proud of the lighting at the building,” said Spitzig. “It’s one of my favourite buildings on the city’s skyline, so it was a real honour to be part of its re-lighting. As you drive around Charlotte at night you can see it from just about everywhere, and it really stands out beautifully on the skyline as an icon of the city.”

Pic: Andreas J. Focke

The Tower of Sparkle Germany The Long Night of Architecture is an annual event in Munich, organised by the Munich Trade Fair Centre, in which architect practices visit, new buildings open for the public, and conferences and other events related to architecture are held. Now in its fourth year, Long Night of Architecture 2017 saw a number of interesting buildings and projects participating. The HighRise One project is a tower with seventeen floors for office use, and prior to the completion, designers at Pfarré Lighting Design were approached by architects Steidle Architekten and building owners Reiss & Co. Real Estate to create a lighting idea for the Long Night of Architecture on January 19, 2017. Already cladded with a façade, but empty and raw inside, the tower offered an ideal spatial basis to implement something special, both for the Long Night and for PR-related activities to market the building. The idea was to fill the tower with light, so that the entire structure sparkles and appears like it is filled with mineral water. 48 synchronised, rotating disco balls turn the building into an urban lighting sculpture. Mounted with simple hooks, four of them float above each floor in order to see their shimmering reflections on the ceiling slabs, which characterise the sensation from the main street level perspectives. The dynamic interaction of various levels, one above the other, transforms the empty shell of the HighRise One into a magical, temporary lighting experience for both passers-by and Long Night visitors.



Pics: Getty Images

Zhuhai Opera House China The striking Zhuhai Opera House, conceived by the Urban Design Centre of China, Peking University and delivered by the Beijing Institute of Architectural Design, has recently been completed on an island just off the mainland. The new opera house, with its two giant shells at heights of 60 and 90-metres, has become the new landmark of the southern Chinese city of Zhuhai. The building consists of a concert hall with 1,550 seats and a theatre with 500 seats and offers citizens and tourists to the city an unforgettable, dynamic experience with light from afar. The lighting approach to the façades was designed by Speirs + Major and implemented by local designers, Beijing United Artists. The brief was to respond to the unique twin scallop shell structure, the maritime location, and the cultural heritage of the site as a former pearl fishing town – the name Zhuhai literally translates as ‘Pearl Sea’. The designers at Speirs + Major took inspiration from the colours and textures associated with this heritage: the lustre of mother-of-pearl, the graduated translucency of a shell, and the way light appears when viewed through rippling water. Translating these ideas to the Opera, they proposed that the full surface of each of the four faces should glow; enlivened by animated lighting content that would create a remarkable iridescent effect. The ability to adapt the animated content offers the city a means to connect culturally with the local people and visitors. Light becomes a means to communicate and engage, with the option to create light and sound experiences that share with


the public something of the performances being undertaken within. In developing their design concept Speirs + Major also gave a great deal of consideration to the nighttime image of the structure, which is highly visible from a variety of viewpoints. The façade lighting is realised by means of strings of Osram LEDs mounted to the inner façade system, facing outwards to shine through the perforated outer façade. This is combined with grazing light and floodlighting to the exterior of each of the shells, emphasising the pearl-like form and adding a sense of depth by contrasting solidity with transparency. Coloured, individually controllable Traxon Dot-XL LEDs, with a total of 51,000 pixels, were installed behind the aluminium façade, enabling spectacular animations with video and light on the outer surfaces of the shells. During nocturnal hours, these lights take advantage of the semi-transparent, perforated façade, transforming the scallop forms into selfilluminating icons and creating a fascinating play of light. Animated content on the façade is based on scenes taken from the ocean, referencing Zhuhai’s heritage as a major fishing port in the Pearl River Delta. Lighting Design Integrator, Philip Rose, commented: “Often the best expression of a building at night is achieved by lighting from within. In the case of the Zhuhai Opera, the glistening, shell-like forms are revealed as a spectacular and dynamic landmark in the context of the city, while up close, the movements of people enjoying the site are seen in silhouette.”

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Leake Street UK Nulty has recently completed work on the regeneration of Leake Street Arches in London’s Waterloo, including lighting 300-metres of dramatic street art. Originally brought to fame by notorious street artist Banksy, Leake Street, also known as ‘graffiti tunnel’, links Lower Marsh to the South Bank and is one of London’s most popular urban street art locations. As one of the few legal walls in the UK where artists can express their creativity in public, the atmospheric tunnel is a haven for graffiti artists around the world to leave their mark. Working closely with the developers LCR, Nulty’s main objective was to highlight and celebrate the artwork, whilst improving the quality of the light throughout this urban and individual space. Based in offices just beside Waterloo Station, Nulty Director Ellie Coombs said: “It’s not often you get a project right on your doorstep. It was fantastic to have the opportunity to collaborate with our local community and be part of the development of an urban space that our team know, love and use on a daily basis.” The Nulty concept brings the tunnel to life through the innovative use of light. Light serves as a canvas for the artwork to be displayed clearly as well as creating visual stimulation for both artists and visitors. When designing the lighting scheme three main elements were taken into consideration: The space


had to be flexible for future events, the light fittings had to be robust and the scheme had to showcase the unique and ever-changing artwork on the tunnel’s walls. The lighting design within the tunnel features a theatrical truss suspended down the underpass. Mounted on the truss are a series of spotlights, courtesy of Meyer, that provide gallery-quality lighting to pick up on the colourful artwork. During the design process Nulty worked closely with Secure by Design (SBD) to ensure that any light fixtures used within the tunnel could withstand wear and tear. Bespoke spotlights were designed to have an anti-glare cowl, for a more theatrical appearance, along with a secondary glass lens that can be easily removed and cleaned, should fittings be spray painted over. Linear RGBW uplights from Kemps Architectural Lighting were mounted on top of the truss to illuminate the arched ceiling with a wash of white light and highlight the architecture of the space. The uplights have colour-changing capabilities that can be tailored to create various moods for different events within the tunnel. Accent lighting is provided by Linea Light fixtures that have been carefully mounted at the base of the arches, above the nearby retail units, to celebrate the curved architecture of the space.

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Wind Reflections Australia

Pic: David McConaghy

Pic: Richard Lewisohn

Pic: David McConaghy

Restaurant & Bar Design Awards UK Now in its ninth year, the Restaurant & Bar Design Awards has become a globally recognised competition, dedicated to the design of food and beverage spaces, covering anything from ships to airports, museums to burger vans, even Michelin-starred restaurants to pop-up eateries. Each year, the awards attract top designers from around the world, with recent names including Zaha Hadid, Foster & Partners and Kengo Kuma. The 2017 awards ceremony was held at London’s Granary Square in King’s Cross on 5th October. As a company with a long association with the Restaurant & Bar Design Awards, Firefly Lighting Design was asked to design the lighting scheme for this year’s awards event. Three architectural practices were nominated to design soundscape boxes: SHH Architecture & Interior Design, Haptic Architects and Design Command. These soundscape boxes were intended to provide both visual and sonic links to the Kings Cross district which, with its new redevelopment, now represents an areas rich in history and transition. Working with the design teams, Firefly developed lighting schemes for the three boxes, which were ‘revealed’ to the guest as the evening progressed. The SHH-designed soundscape provided four different soundtracks, all related to the history of the King’s Cross district. Concealed downlights from Lucent Lighting accented each of these ‘sound cones’. In a soundscape called Absence, Haptic Architects evoke a forest, in which Firefly Lighting Design used artificial sunlight fittings, created by Coelux, to create a very real sunlight effect. Finally, Design Commands celebrated the chimes of King’s Cross in their soundscape, with accented numerals on the floor and clock components suspended from the ceiling. Lighting for this concept was provided by Light Projects.


Lighting designer Rhiannon West has created a new wind and light installation for this year’s Sculpture by the Sea, in Bondi, Australia. This piece, entitled Wind Reflections, is inspired by the essence of light and the importance of natural energy in modern day society. Spiralling down the sculpture in a double helix structure, 128 dichroic glass lenses are positioned to reflect and refract the light from sunrise to sunset. The wind generated is stored and at dusk a series of 3W, 3000K LED uplights illuminate the stainless steel and glass sculpture. The piece signifies the importance of renewable energy and the effortlessness of powering and illuminating the work. Sculpture by the Sea runs from Bondi Beach to Tamarama Beach and is the world’s largest free to the public sculpture exhibition. The spectacular coastal walk is transformed into a 2km long sculpture park over three weeks, featuring 100 sculptures by artists from Australia and across the world. This October marked 21 years of Sculpture by the Sea and each year more than 500,000 people attend the exhibition. Wind Reflections was a collaboration with Nocturnal Lighting (Fabrication and illumination Twiggy Spike Lights), TILT Industrial design (Engineering) and iGuzzini (Sponsorship). West is a Lighting Designer for Point Of View, Sydney studio. She moved to Australia in 2015 to continue her passion for lighting “down under”. Channelling a British edge to her design she enjoys creating and producing work, using light as her paintbrush. This is her first solo piece and in the past, she has teamed up with several members of the lighting industry to produce temporary art; such as the SLL in 2015 for the first of the ‘Night of Heritage Light’ events where the team lit nine UNESCO world heritage events in one night. She was also the lighting designer for the UK Pavilion 2015, a collaboration with Wolfgang Buttress, during her time with the BDP Manchester team. West has been successful in winning a place in Sculpture by the Sea 2018, Cottesloe, which is staged on the beautiful Cottesloe Beach (Western Australia) where Dichroic Glass Lenses will form the centrepiece for her work again.

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BRAINWAVE With a team experienced in architectural lighting, interior design, engineering and construction, Indian architectural lighting design practice BRAINWAVE creates a dialogue between architecture and its surroundings through a combination of daylight and artificial illumination. Fluid Bar Exchange Chandigarh Located 100-feet in the air, the Fluid Bar offers striking views of the city below, its design and lighting scheme reflective of its title. Studio Ardete, the architect for this project, was responsible for studding the ceiling with an array of faceted structures that integrate the lighting system into the installation itself. FRP modules gradually change the colour of the light from vibrant pinks and purples to dusky greens and cerulean blues, appearing to be almost ‘fluid’ in its transition. Keeping with the name of the bar, the designers attempted to emulate the ‘slow convergence into water molecules, generating a dynamic spatial dimension to the interior’. The Onyx bar lit from within follows suit, with changing colours complementing the general theme and ambience of the hip and popular eatery.

Pic: Purnesh Devnikhanj

SOURCES UNLIMITED Furniture Studio Mumbai, Maharashtra Given the dwarfed proportions of the space designed by Hiral Jobalia, the client was certain to avoid all ceiling suspended luminaires in the studio. It was essential to maintain a key focus on the high-end furniture pieces. In order to inject luxury and maintain a sophisticated ambience, the lighting scheme called for visual comfort, flexibility in application and minimal intrusion of luminaires. The light was kept diffused, achieved through ceiling recessed profiles marking peripheries of spaces, coves concealed behind panels, vertical surfaces such as walls and fins grazed gently, and linear strips employed under cabinets. The levels of illumination were kept low, and accents were created with meticulously selected adjustable spotlights embedded in the ceiling.


Pic: Photographix


Bhavesh Nagda Residence Mumbai, Maharashtra The 3,000sqft residence located in central Mumbai was designed by Anita Nagda, centred on the fundamental requirement of it being a comfortable family dwelling. The lighting scheme was therefore layered in a manner that there was ample uniform ambient illumination complemented by accents and points of focus. This is achieved in areas such as the living room by providing concealed coves around the periphery from where the drapes descend, along with ceiling recessed profiles that follow the path of the track emanating a soft glow, highlighting important elements such as the artwork with adjustable spotlights mounted on the track. Automating the system helped in creating a variety of scenarios that correspond to different situations and moods.

Pic: Mahesh Shah

Parshwanath Business Park Ahmedabad, Gujarat Designed by Apical Reforms, the building is volumetrically divided into two parts, the base being a framed podium with a glass box. Protruding fins create an undulating skin in a rippling effect based on preset parameters using computational software. Installed to shade the glass façade behind and reduce heat gain, the fins are governed by local climate and environment. Wanting to create an animated frontage, which does not interfere directly with the glass fins, Brain Wave Designs played with the strong vertical design language by illuminating the building from afar. Luminaires

Pics: J.J. Films - Jignesh Solanki

fitted with gobos and moving heads, mounted on tall poles placed 8-metres away from the front edges were directed diagonally across the façade. This ensured uniform light distribution while avoiding a direct glare to the inhabitants. Changing colour and temperature of light, and multiple zooming options allowed for a dynamic scheme. The podium, on the other hand, employed indirect lighting – vertical surfaces being illuminated to generate indirect illumination, the green wall fitted with customised light installations and the entrance canopy highlighted with up-lights.

Brainwave Founded in 2013, Brainwave is an independent architectural lighting design practice based in Mumbai. Its team of architects and interior designers strive to create beautiful lighting environments and ambiences by providing complete lighting design consultancy from the conceptual stage to the commissioning of the project. Brainwave’s philosophy is to create a dialogue between architecture and its surroundings through the most subtle medium of both artificial light and daylight. The company sees light as a material to be applied to architecture through a process of layering, adding creative value to its projects.



Paul Traynor arc talks to lighting designer Paul Traynor, principal of London-based Light Bureau which has just merged with Scandinavian lighting design consultancy, ÅF Lighting. How did you get into lighting design? During an apprenticeship in the project design office for Pfizer in Kent I was working at a drawing board draughting record plans of a project I helped to install. It was the first environment I’d been exposed to where people were trained and educated professionals and I saw there was another future open to me. It made me realise I could pursue formal education if I wanted and I applied to Medway College of Design to do a photography diploma. The course was full and I was told to apply next year, so I moved to London and traded on my draughtsman’s skills, working for good money in construction firms. I developed design skills and it was a really interesting time, so I didn’t re-apply to Medway. I was then recruited above my skill level in a consulting engineering practice and then I got to experiment in lighting and I was hooked. I went to work in an architect-led multidisciplinary office to focus on and develop my specialism and decided to get a decent qualification, so I studied for a four year part-time degree at South Bank University. When and how did you start Light Bureau? In 1998 I was due to get married and as I worked in the same firm as my fiancée, I chose to leave and to see how I could cut it in a dedicated lighting firm instead of being a specialist in a generalist office. I had some good options but only one company talked to me about career development and I went there, but it was design and supply so I had new barriers to working with some clients and architects and that frustrated me. I couldn’t see any point warming up contacts at the firms I had spoken to ten months previously, they still wouldn’t be talking to me about long term opportunities, so I decided to chance it myself. All of the projects I was working on were clients I had brought myself and I was promised more if I took the big step of self-employment. My first day in February 1999 I started work on Accenture’s new headquarters in London - not bad for a fledgling one man band! Name some of your memorable projects. Why do they resonate? Apple Computer, Stockley Park because that’s where I negotiated out of a bad design solution that the architect was insisting on to a better one I could foresee. It was difficult and stressful but the result was better than I had imagined and the architect and client were very happy. Until they told me I had been right it never occurred to me what the implications would have been if I had been wrong! Boots the Chemist at Bluewater on the other hand was a disaster - I was not so experienced in retail and I underestimated how much ambient and nuisance light would reduce the visual impact of a feature wall I designed. A more recent notable project would be the Yellow Pavilion, which was ephemeral but which embodies key principles that Light Bureau upholds - it’s simple, visually strong, uses very few products and they are discrete, and throughout the whole process we validated and curated. As we say, Light as Craft. How did the ÅF Lighting deal come about? My good friend Kai Piippo and I started our companies about the same time and we met in Prague on an early ELDA AGM and bonded on an intensive ‘cultural’ weekend. Since then we’ve compared stresses and


problems, which is common with people who start a design firm with no aptitude (or desire) in running a business. I was shocked when Kai sold to ÅF but every time I saw him after that he was looking increasingly relaxed and fulfilled - he was working on great projects and getting them done because he had the support and structure that our businesses tend to lack, led as they are by designers, not by business people. When ÅF decided to step outside Scandinavia and go international, they put the pin in London and Kai made an intro. Nineteen years after starting Light Bureau I was ready to become part of something significant and all of my colleagues saw even more benefits than I did, so it’s been a unanimous and inclusive process. How do you think being part of ÅF will benefit both companies? ÅF wanted to become truly international, although they had a lot of that happening already. Light Bureau has always done a significant amount of overseas projects so that was a good fit. With ÅF, Light Bureau gets access to some incredible specialisms and some substantial resources; we’ve missed opportunities in the past by lacking some areas of expertise or reference projects and now we have access to more than 100 designers and a massive and impressive portfolio. ÅF really value the quality of Light Bureau projects and how we work, there are some really good synergies and from signing the contract in October it’s been positive and very big-picture. The enthusiasm and drive are very infectious qualities. Will your role be changing? I will continue to run Light Bureau and we will carry on trading under this name, as it seems to have significant meaning and value. We’ve spent a long time building our brand and reputation. I make no secret of the fact I am under contract for three years during which time I’ll earn-out, but after that I fully expect to stay on and negotiate a new contract and continue. But as part of ÅF the remit expands and I am part of the advisory board as it’s called and will work on strategies for developing the profile and business for the whole of ÅF Lighting, not just Light Bureau, also on training and education for our designers - we are developing our own ÅF Academy, which really motivates me. Do you think mergers of lighting design practices is something we’ll see more of? Yes, I think so. Lighting has become a very interesting aspect of construction design and bigger firms who previously only focused on their core activities of, typically, consulting engineering and architecture now see the real value that a well-realised lighting deign can bring to a project. It brings prestige to such a company and they want to be able to provide this service as part of their overall business offer. Lighting design does suit a small business profile and is scalable, from one person at a kitchen table, but when you hit double digit designer numbers and into the teens, there’s usually a lack of structure that makes up-scaling difficult. So I think that mergers and acquisitions like this could become more common.


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PROJECT DETAILS Louvre, Abu Dhabi, UAE Client: Tourism Development & Investment Company, Abu Dhabi Architect: Ateliers Jean Nouvel, France Lighting Design: 8’18”, France Daylighting Design: BuroHappold, UK / USA

Pic: Roland Halbe



Rain of Light Designed by French architect Jean Nouvel with lighting design by 8’18� and daylighting by BuroHappold, the Louvre Abu Dhabi has created a buzz of excitement since opening in November. For once, the reality has lived up to the hype. Pic: Justin Ford



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Light is the fourth dimension of architecture

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21.11.17 17:25


Pic: Marc Domage

Above ERCO wallwashers are used to illuminate the artworks in the galleries. Firalux and Artemide Cata fixtures are used in the ‘Flying Carpets’ in the ceilings of the galleries. “Illuminating the Abu Dhabi Louvre required a projector capable to adjust the light-to-shadow ratio, as well as to integrate into the large roofing and produce a well-defined flow of light on the works on display,” commented Artemide vice president and designer of the Cata, Carlotta de Bevilacqua. “The performance requested of Jean Nouvel for the museum was very specific and should satisfy several requirements to both integrate with the project for the large perforated roofing and enhance the museum display. We promptly realized that Cata was the ideal product for this project because, as an open platform, it could provide a comprehensive solution to all needs. Its ability to support different optical units allowed us to obtain the necessary lighting performances.” Opposite Page The ‘Rain of Light’. BuroHappold designed an intricate lattice structure that allows sunlight to permeate the dome and dance across the galleries below in ever-changing dappled patterns.


arely has the opening of a museum

visitors to enjoy the ever-changing relationship

the international media as the Louvre

buildings and land.

created as much excitement among

Abu Dhabi. The project has garnered

as many column inches in the popular press as

it has in the architectural media. And with good

reason. The museum has met with critical acclaim

for its stunning design and dynamic lighting, both artificial and natural.

Pritzker-prize winning architect Jean Nouvel

sought inspiration for the concept of Louvre Abu Dhabi in traditional Arabic architectural culture, and designed Louvre Abu Dhabi as a ‘museum city’ in the sea. Its contrasting series of white

buildings take inspiration from the medina and

low-lying Arab settlements. In total, 55 individual but connected buildings, including 26 galleries, make up this museum city. The façades of the

buildings are made up of 3,900 panels of ultrahigh performance fibre concrete (UHPC).

The museum design is a collaboration between traditional design and modern construction

techniques. The tranquil environment encourages

between the sun and the dome and between sea, The construction of the museum took place from

2013 to 2017. The museum’s growing collection of more than 620 important artworks and artefacts spanning the entirety of human history around the world. It includes ancient archaeological

finds, decorative arts, neoclassical sculptures,

paintings by modern masters and contemporary installations. At opening, 235 works from the

museum’s own collection are displayed in the galleries.

Louvre Abu Dhabi was born from a unique

intergovernmental agreement between the United Arab Emirates and France, signed in 2007.

The agreement embodies a vision shared by

the two countries to develop the first universal

museum in the Arab world. It establishes Louvre Abu Dhabi as an independent institution, and

includes the use of musée du Louvre’s name for 30 years.

The lighting design was completed by French

practice 8’18” headed by Rémy Cimadevilla and

Georges Berne, who is based in the 8’18” Shanghai

“It is rather unusual to find a built archipelago in the sea. It is even more uncommon to see that it is protected by a parasol creating a rain of light.” Jean Nouvel

studio. They worked closely with Jean Nouvel (who also independently developed the Luxiona Troll Paralum fixture for the project) on the lighting

concept and, in the case of the of the vast dome, 180 metres in diameter covering the majority of the museum city, they collaborated with Yann

Kersale (SNAIK) on the artificial lighting sheme using 4,500 Zumtobel fluorescent fixtures. “We feel its mass and we perceive a vision

of thousands of broken lines,” commented

Cimadevilla. “When the museum is closed to the public, the dome radiates an exterior glow from

within. It creates a kinetic effect by the movement of the lights - the dome flickers. The fixtures


Pic: Roland Halbe


4,500 Zumtobel Chromosome Light 2 1/35W transparent diffuser fluorescent luminaires were used to illuminate the 180-metre diameter dome. Each fixture contains one 3000K tube and one 5000K tube, separately dimmable and divided in 128 areas. The fixtures were systematically installed, according to the structure of the dome.

“The dome gleams in the Abu Dhabi sunshine. At night, this protected landscape is an oasis of light under a starry dome.” Jean Nouvel

Pic: Vincent Laganier, Light ZOOM Lumiere


Pic: Marc Domage

Pic: BuroHappold

Pic: Marc Domage

Pic: BuroHappold

Top Lico (Lighting coves), virtual windows utilising Lucibel fittings, create different layers of light throughout the Louvre. Above The display cases were specially constructed incorporating Deltaline and Mooveo fixtures from SPX Lighting. Left Each ray of light penetrates the eight layers before appearing or disappearing. Right Ai Weiweiâ&#x20AC;&#x2122;s Fountain of Light shimmers under the dome.



layers before appearing or disappearing. The result is a cinematic ‘Rain of Light’ dappled

effect as the sun’s path progresses throughout the day. At night, it forms 7,850 stars visible

from both inside and out. This ‘Rain of Light’ effect has been the subject of many models

and mock ups over the years and is one of the defining features of the concept.

The effect is effortless in its beauty, but it took

bold, imaginative and ingenious engineering to allow the sun into the museum galleries while protecting the priceless artworks inside.

Working in tandem with Jean Nouvel, the

BuroHappold team evaluated a number of

concepts by which to bring the element of

water into the building, finally settling on the Pic: Marc Domage

inclusion of tidal pools that reflect the light

that filters through the glazed roof in dappled patterns on the interior walls, creating gentle

movement that correlates and responds to the

“We feel its mass and we perceive a vision of thousands of broken lines. When the museum is closed to the public, the dome radiates an exterior glow from within.” Rémy Cimadevilla, 8’18”

museum’s unique natural setting.

Filtered natural light is present in all the

galleries, either from lateral windows with

views onto the surrounding environment or through ‘zenithal’ lighting. This involves

the use of glass mirrors to capture sunlight and direct it into the gallery spaces while

also scattering rays to avoid glare. There are

seventeen glass ceilings within the museum

galleries. Each is made up of eighteen different types of glass panels. In total, there are over

25,000 individual pieces of glass. These glass

ceilings incorporate both natural and artificial lighting to provide an optimal lighting system for the artworks on display.

Louvre Abu Dhabi’s complex engineering

concept has made it one of the most innovative and challenging museum projects built in


create a multitude of dynamic splashes in hot

recent times.

The dome consists of eight different layers:

requirements within the museum galleries, the

inner layers clad in aluminium, separated by a

lighting, that does not deviate by more than

of 10,000 structural components pre-assembled

humidity range. This guarantees exceptionally

average 50 tonnes.

and visitors.

of a highly studied geometric design by

museum galleries, temporary exhibition

sizes and angles in the eight superimposed

8,600sqm, with permanent galleries covering

and cold white.”

To meet stringent environmental control

four outer layers clad in stainless steel and four

design team developed a system, including the

steel frame five metres high. The frame is made

one degree from 21 degrees centigrade or 5%

into 85 super-sized elements, each weighing on

stable environmental conditions for artworks

The dome’s complex pattern is the result

The interior exhibition spaces, comprising

BuroHappold. The pattern is repeated at various

spaces and Children’s Museum, make up

layers. Each ray of light penetrates the eight

approximately 6,400sqm.

The Light.

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14.11.17 11:46


Pic: Vincent Laganier, Light ZOOM Lumiere

says Berne. “It is flexible in its dimensions

Pic: Vincent Laganier, Light ZOOM Lumiere

in height with a width up to six metres. Its purpose is to bring a vertical lighting of

atmosphere in the spaces under the dome,

the circulations areas, the reception and all the public spaces.”

The third layer of light to the galleries has

been dubbed the ‘flying carpets’. Horizontal windows of direct / indirect lighting

(supplied by Firalux) and Artemide Cata

Lens projectors create flexible solutions for

each gallery depending on the requirements of the exhibits.

“Neutral white fluorescent wallwashers

[from ERCO] are installed at the periphery,” describes Cimadevilla. “Then, the warm white projectors [from Artemide] are

installed in the frame of the carpet of light. Finally, the ceiling lighting is completed

with general indirect/ sdirect lighting [from

LIGHTING SPECIFIED Artemide Cata Lens projectors ERCO TFL 65081 wallwashers Lucibel custom asymmetric LED cove lighting SPX Lighting (Sylumis) Deltaline profiles & Mooveo spots Firalux direct / indirect ceiling fixtures Zumtobel FT 2/35 T16 Chromosome luminaires LED Linear Xoolight & VarioLED linear fittings KKDC SEN 033 linear fittings Prolicht PI² surface luminaires Luxiona (Troll) Paralum luminaire Bega 77681S projectors


In order to avoid the clutter of lighting

masts and projectors that would spoil the

architecture, 8’18” developed a second layer of light - a virtual window utilising Lucibel cove fixtures. Based on the built frame, it

takes the place of a concrete panel “as if a field of light is hidden behind the walls of the museum,” muses Cimadevilla. “This

abstract light, slightly unreal, is designed

with hidden sources with specific optics. We called this the ‘Lico’ specific light window.” “It’s an abbreviation of Lighting cove,”

Firalux] in cold white revealing the texture of the different exhibits.”

Louvre Abu Dhabi is destined to be a

culturally iconic piece of architecture that will transform the image (and the visitor

numbers) of the UAE’s second biggest city, much like the Guggenheim has done for

Bilbao. Even if you are not an art lover, you cannot fail to enjoy the building... and the light.





Stefan Yazzie Herbert Pic: Viki Noviki



Paranormal Activity arc assistant editor Matt Waring caught up with Stefan Yazzie Herbert, founder of the brilliantly named The Paranormal Unicorn, at the inaugural Trends in Lighting event to discuss the Austrian firm’s unique approach to light and design.


here’s a new name in the lighting world that is fast gaining recognition for its innovative approach to design, and for the variety of

projects that already fill its extensive portfolio. And it’s a name that sticks in the mind.

Founded in 2011 by Austrian-American art

student Stefan Yazzie Herbert, The Paranormal

Unicorn describes itself as an ‘audio-visual artist collective’ that

specialises in stage and lighting design. Based in Vienna, Austria,

the firm originally began as a platform for Herbert and two friends,

carpenter Benni Frener and Philipp Gantioler to launch a prospective music career.

“We were hobby DJs who wanted a cool stage show for ourselves,

so we made our very first project together: Stage One,” explained

Herbert. “After quickly realising that nobody really wanted to book

us as DJs but they still wanted the stage, we started renting it out to

raves and festivals. As we got to know people in the industry, we were asked to do more and more commissioned work.”

Now, Herbert runs The Paranormal Unicorn with current business

partner Dominik Hell-Weltzl, and over the years the company’s skill set has expanded to include video and content production. Though Herbert says that their passion is still rooted in light and stage design: “That’s where we shine – no pun intended.”

Herbert’s fascination with light began while helping out friends

at design studio Neon Golden on an installation at Viennese club

‘Grelle Forelle’ during his studies at the University of Applied Arts

in Vienna. “During that project they taught me how to solder, how

dimmers work and gave me a rough understanding of electronics,” he said.


Hidden Noise Pic: Stefan Yazzie Herbert



“I loved this idea of an entirely new world that was constantly around us but that we couldn’t see” Stefan Yazzie Herbert, The Paranormal Unicorn



Clockwise from top left Stage One pic: Matthias Rhomberg; Lighting Painting pic: Jolly Schwartz; Möbius pic: Simon Sais; Ihr Kriegt Mich Nicht Mehr Weg - Appletree music video pic: Daniel Hager

“Later, after the success of Stage One,

at least, the fun ones are – and for several of

smarter and more experienced people.

so lights and projects associated with light

on, I don’t think there’s anybody in the

paramount. If you overestimate yourself, the

people started to know me as ‘the LED guy’, seemed to follow me. The more I worked

with the medium, the more I fell in love with it.

“I had previously done quite a bit of work as a VJ but once I started working with

LEDs, my passion for projected light fell by the wayside. The intensity and emotion of

emitted light was much more powerful to me than what projected light could ever give.” Since the inception of The Paranormal

Unicorn, Herbert has been very open about

his relative lack of experience in the lighting world, but he’s always keen to improve his knowledge through working with others. While this approach brings with it an

element of risk, Herbert believes that such risk is the only way to truly reach the next level.

“Every time anybody wants to do something never done before, it’s a risky move,” he

said. “And besides, if I knew exactly how to

do everything already, life would be boring.

Every new project is a learning experience –


the more complicated projects I’ve worked

world who would have known exactly how to handle it.

“Throughout my career I’ve taken on

projects that others perhaps wouldn’t have. It’s scary doing something bigger or more complicated than you’ve ever worked on

before, but if it takes you to the next level, it’s almost always worth it. Sure, it’s risky

and I’ve taken a black eye or two when I’ve

underestimated the breadth of the project, but if I could do it all again, I would still

rather take the black eye than turn down an amazing opportunity.”

Herbert’s notion that you “don’t need to be an expert in order to make things happen”

is a refreshing approach, but he feels that by

accepting your own limitations, it allows you to develop your skills and progress further. “Embracing your own ignorance gives you

the power to find people who are better than you in that specific field, and that improves the quality of a project,” he explained. “I constantly try to surround myself with

Knowing the extent of your own skills is

project will ultimately always suffer from it.” Indeed this collaborative element of his

work is something that Herbert wants to

see more of in the lighting world. “I hope

to see more collaboration between fields,” he said. “As a society we are tending more

towards specialisation but in my opinion, the most fascinating innovations are happening where multiple areas of expertise overlap.

“All of the technological inventions that are currently being hyped, like smart lighting and wireless technology aren’t really

changing the aesthetics of lighting that

much. Interconnectivity between people is more important than between devices.”

While The Paranormal Unicorn has often taken on jobs without knowing how to

complete them, Herbert believes that this constant drive to find new projects in new

areas helps make them unique. “What really makes our company stand out is that we

aren’t afraid to try out new things, and really enjoy working in new fields,” he said.

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“It’s projects like these that make me want to keep learning and innovating.” Stefan Yazzie Herbert

Gravitas Pic: Red Bull



“We’ve forayed into unknown territory so often at this point that

motors, lights, etc.) and convert those waves into audio signals. It

with new teams. We never shy away from a challenge, and we’re

“My classmate David Osthoff and I loved this idea of an entirely

we’ve become quite good at learning new workflows and interfacing always excited to see what’s going to come next.”

By venturing into the unknown throughout their tenure, The

Paranormal Unicorn has landed a number of really fascinating

projects, including light art installations, music video productions and stage designs for festivals and touring musicians. There are

two projects though that, for Herbert at least, stand out among the others: “From an artistic standpoint, Hidden Noise is by far my

favourite project that I’ve created, and Gravitas was the most fun

from a teamwork perspective because it involved so many different fields of expertise.”

The Hidden Noise project, created in 2014, was one born out of

necessity for Herbert. A failing university student, his professors

was here where inspiration struck.

new world that was constantly around us but that we couldn’t see,” Herbert said. “We wanted to visualise it in a way that immediately made sense to the viewer. So we created a technique using the

transducer, an LED stick, a photo camera and a video camera that made it possible to ‘show’ this hidden world by visualising these audio waves.

“All of a sudden, you could see the hidden processes around us in plain sight. Subways starting and stopping, car motors zipping

by, power lines humming all became suddenly visible. There is no

judgement in the art piece, though it is intended to cause awareness about the ubiquity of this hidden noise around us.”

Hidden Noise is a remarkable, visually stunning art installation, and

had voted to kick him off his course, but after being granted one last

since its creation, it has been exhibited in Austria, China and Cuba.

Luckily, inspiration came to him during a workshop with Christina

kicked out of university, although he revealed that he did later drop

chance, he needed a good idea to keep him in school.

Kubisch, where he was given ‘electro-magnetic transducer headphones’ to work with. These devices could sense the

environment for anything that used electro-magnetic waves (Wi-Fi,

The reception it received meant that Herbert was ultimately not out anyway.

Herbert’s second favourite project, Gravitas, was something

altogether much more high-octane. Following their work with Austrian drum and bass artists Camo & Krooked on their 2014

Zeitgeist European tour, in which The Paranormal Unicorn created a full-scale festival production for the show, including integrating its

Möbius stage element, Herbert teamed up with the musicians, and

the Red Bull Skydive team, for a very special music video that literally lit up the sky.

For the music video, The Paranormal Unicorn was approached by Red

Bull to create a portable lighting system that had all the functionality needed for a full-colour, synchronised light show, while

simultaneously being able to stand the wear-and-tear of skydiving. “It was a perfect project for me because it encompassed so many

different fields,” explained Herbert. “First off was the choreography. Because the Red Bull Skydiving team didn’t know anything about

light, and I didn’t know anything about skydiving, we had to work together to develop a choreography that utilised the best of both worlds.”

After receiving the song to base the programming on, The

Paranormal Unicorn worked closely with the skydiving team in order to come up with an interesting show that would showcase both their abilities as athletes and realise the full potential of the lighting system that they had created.

The technical aspect of the project provided the most difficult

challenge though. Building a system that worked perfectly from a

4,000-metre jump all the way to the floor was no easy feat, thanks to a myriad of factors that they never had to consider before, like

pressure, altitude and temperature. Alongside this, everything had

to be wireless, and work with small batteries so that the enclosure for electronics weighed as little as possible.

After climbing to the required height, the jumpers synchronised

their suits in the plane via remote control. All jumpers had earplugs

so that they could stay synchronised and maintain awareness of what part of the choreography they were in.



Herbert mid-flow at TEDxDornbirn. Pic: Robert Nwaoko

Once the signal was given, the four athletes

design are closely related, if he had to put a

imagine that the next few years will be doing

cameraman, who had a 5kg camera attached

a designer.

from using light in crazy and innovative new

their choreography and then landed on

and continue to do so on occasion, but most

Indeed this quest for innovation is a

The Paranormal Unicorn. Because several

of design,” he said. “But the label I give

philosophical on the subject: “I really believe

jumped out of the plane, followed by the to his head. The jumpers went through an LED landing strip, also prepared by

angles were used in the video, the scene was repeated five times in total. “The weather

label on it at all, he seems himself as more of “I have definitely created art in the past of my creations are firmly in the realm

myself depends on the work I am currently

doing. Sometimes I am a lighting designer,

our best to see what industries could benefit ways.”

driving factor for Herbert, who gets fairly

in true innovation, completely new fields of

thinking,” he said. “I want to use technology

didn’t always agree with us and we had to

sometimes I’m a light artist, but I have

in order to create new ideas, try out things

thin, we pulled through,” Herbert said.

creative director, technical project manager

aesthetically. If I can come up with one truly

much fun was the creative reign that I was

Whatever his title, Herbert is keen to

or otherwise, I can die in peace.”

cancel a few jumps, but through thick and “For me, what really made this project so

donned the mantel of lighting technician, and even lighting consultant.”

never done before, and to do it beautifully,

new idea before I die, in the world of lighting

given by Red Bull. They let me film, edit and

take The Paranormal Unicorn further in

But aside from his approach to lighting

with our friends at Frame Fatale for the post-

boosted over the past twelve months, from

Paranormal Unicorn, there’s only really one

direct the final video as well. We partnered production process and created something that we could all be proud of.

the future, and while his profile has been

speaking at the inaugural Trends in Lighting event, to hosting his own talk at TEDx

design, and what the future holds for The

question left to ask: where does the name come from?

“Having knowledge about all of the different

Dornbirn, in which he designed his own

“The Paranormal Unicorn doesn’t really

is what made it work in the end. It’s projects

“I wish I knew! This year we’ve already had

remember how it came about,” Herbert said,

aspects involved in making a project like this like these that make me want to keep learning and innovating.”

The work that Herbert has done with The

Paranormal Unicorn means that he could

be classed as a ‘Light Artist’, rather than a lighting designer. However, while art and


stage, he’s still unsure what the future holds. amazing opportunities to start working in a few new industries, from set design to product development,” he said.

“What is more fascinating to me though is

the unknown. There are so many industries that are a complete mystery to me and I

mean anything, and none of us can really “but it does represent us quite well. It’s childish, fanciful and fun.

“We don’t take ourselves too seriously and we hope nobody else does either!”

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03/10/2016 13:35



Character Building Throughout his long and distinguished career, lighting designer Martin Klaasen has been involved in a long list of iconic projects in Asia and Australia as well as being at the forefront of lighting education in the region. Words: Robert Such


n the lighting business for almost 40 years,

Martin Klaasen, Principal at Klaasen Lighting

Design (KLD), traces his ability to manage the ups and downs of his career to the influence

of a number of people. Making the top of the list though is his grandmother: Geneviève

Dreyfus-Sée. An architect in France, as well as

a writer and educator, she has been Klaasen’s biggest inspiration.

“What I most admired in her,” says Klaasen, “was her perseverance, belief in herself and her independence. She did not care what people thought of her, whether she was successful or not. She studied and wrote about the history of architecture because she was passionate about it. She wrote about her experiences bringing up her children during the war, wrote children’s books to share the stories she

taught her children, because she believed in it and just wanted to share it.”

And over the past 26 years as his own boss, Klaasen’s own

“persistence and belief have always kept me going,” he says. And passion, too. “While I was passionate creating beautiful lighting

projects at the beginning of my career, I am now passionate about

sharing my knowledge with the new generation,” he says. It is this passion that motivates Klaasen to blog, write articles, and speak at

lighting event seminars about “how lighting can be used to improve



direction of the award-winning lighting designer’s life and career, too. “Of course I do admire

groundbreakers like Zaha Hadid, Jean Nouvel,

Philippe Starck,” he says, “but they are not the essential motivators in my life.”

Gerrit van den Beld was, however, such a person. Van den Beld was his boss and mentor at Philips.

He taught Klaasen how to pace himself and “how to take things one at a time, sleep on problems rather than react emotionally,” he says. “He

was instrumental in forming my lighting design personality.”

Klaasen worked at Philips after graduating with a master’s degree in Industrial Design from the Technische Hogeschool in Delft in The

Netherlands. “As I like building and creating

things,” he says, “I settled on industrial product

Above His Majesty’s Theatre in Perth. The lighting concept was to respect the theatre’s iconic architecture as well as honouring its great theatrical history. MKLD used static neutral white light (3000K) to bring out its architectural façade features such as the balconies and columns. Colour (initially blue only, later RGB) was only brought into the semitransparent canopy awning at street level to express the theatrical side of the venue.


and look after the world we live in,” he says.

design…Industrial design teaches you the process

through projects mostly in the area of hospitality,

today it has been the foundation of my successful

and residential urban developments. “Good

When Klaasen finished his studies he started to

and pleasant environments, easier way-finding,

his final master’s degree project, which was

“Most of all it is the way we achieve it through

could read the laundry and decide the washing

consumption, capital and operational costs. Added

Among the job opportunities on offer to him was

Over the years, other people have influenced the

Design and Engineering Centre in Eindhoven.

His own contribution to doing that is made

of design, from concept to realisation and till

commercial, corporate and public building lighting


lighting design contributes to more comfortable

look for a job at Philips, where he had completed

and beautification of the cities we live in,” he says.

“designing an intelligent washing machine that

our sustainable approach, minimising energy

program by itself,” he says.

value creation through good lighting design.”

one of lighting designer at the Philips Lighting

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The recently completed Alila Yanghsuo Hotel and Resort project in China combines old and new. One of Klaasen’s sketches for Yangshuo was made as a t-shirt, now available at the hotel’s retail shop.

“I was immediately fascinated by this group

Tony Corbett of Anthony Corbett Associates and

for Olympic Games, big commercial hotel

It was only when Klaasen arrived in Singapore and

of people,” he says, “designing the lighting

developments and so much more. I decided there and then on the spot to take this exciting job and never looked back.”

Also making Klaasen’s list of people that have

had the greatest influence on his lighting career is American businessman and author Robert

Kiyosaki. “He gave me insight on becoming more business savvy,” says Klaasen. “Good designers are not necessarily good business people and I

certainly was not when I started my business.” Klaasen started his own business in 1991, after

moving to Singapore in the late 1980s for Philips, who had tasked him to “set up what at the time was called the Support Centre for Professional Lighting in Singapore,” he says.

Experiences and events that eventually motivated Klaasen to leave Philips were an uncertain future at the company and meeting lighting designers


BAA’s Barry Arnold.

met Tony Corbett did he realise “there was such a thing like an independent lighting designer,”

he says. “Inside my protected corporate Philips cocoon, I basically only knew of Philips product

and was limited to using their products to design anyhow.”

By 1990 Klaasen’s job future at Philips was

uncertain as the company “was going through severe restructuring,” he says. At that time,

though, American lighting designer Barry Arnold asked Klaasen whether he was interested in

joining him. Intrigued, and because he had been thinking about starting his own practice due to

his uncertain future with Philips, he decided to

leave the company. However, not to work as an

employee of Barry Arnold, but “in a cooperation with my own company [Lumino Design

International] which I incorporated for that

Alpin Panorama Hotel Hubertus, Bozen, Italy Photo: Alex Filz













D R. U W E


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30.11.17 09:33


Left Klaasen presenting the Lighting Design Agora (LDA), which takes place during the Shanghai International Lighting Fair. The LDA is the combined brainchild of the Chinese Lighting Designer’s Association (CLDA, Lear Hsieh), its International Advisory Council (IAC, James Wallace & Martin Klaasen) and Messe Frankfurt Hong Kong (Scarlet Mak). LDA aims to bring together the lighting designers (international, regional and local), the design and engineering industry (architects, interior designers, electrical engineers), the lighting manufacturers and the key players in the industry like developers, operators, governments and other end users. Each play a role in the final success and quality of a lighting project installation and therefore creating a platform for dialogue, communication and value awareness between all key players is crucial in creating a better general awareness of the benefits of better quality lighting and lighting design. The ‘centre court’ of the LDA is a speaker’s arena where international and regionally well-known lighting experts share their experience with the public in an intimate and controlled environment. The three day event consists of a two day international event organised by the IAC with international and regional speakers and a one day event with well known local lighting designers organised by the CLDA. Below A render (left) of the Atlas Bar (Park View Square, Singapore) and the resulting lighting scheme (right).

purpose,” he says.

of our work towards our client,” he says—and

about how they would be working together meant

opening for business at the start of 2011.

Things didn’t work out though. Conflicting ideas that Klaasen left shortly after.

Working from home, a few projects that Philips had passed on to him, such as the Sheraton

Senggigi Resort in Lombok and the Melia Purosani Hotel in Yogyakarta in Indonesia, and The Raffles Hotel in Singapore, which was in its final stages, kept him going for the first few months.

The company expanded through the 1990s, but

the financial crisis in the latter part of the decade drove Klaasen to set up in Perth, Australia, where

he bought a stake in a local firm, Lighting Images, eventually taking it over in 2000.

Lighting projects in Perth included the Burswood

International Casino’s Main Entrance and Gaming Hall, and the Riverside Drive and Foreshore

along the Swan River. Both projects won later IES Australia and New Zealand Lighting Awards. In 2010 Klaasen decided to sell his stake in

Lighting Images—“I could no longer identify

myself with the direction we were going, quantity over quality of design, so I wanted to regain full control about the artistic and creative quality


rebranded himself as Klaasen Lighting Design, Since then KLD’s lighting design work has

included the Mandarin Oriental Majapahit Hotel

Surabaya; the Eastern & Oriental Hotel Penang in

Malaysia; His Majesty’s Theatre in Perth; the Atlas

Bar at Parkview Square Singapore, and the recently completed Alila Yangshuo Hotel and Resort project in China.

Having been in the lighting business for so long

now means that “lighting has gradually become

an integral part of my life,” says Klaasen. “I live and breathe lighting and lighting design now. It is a constant in my life. Certainly, as a business owner you need to have a constant eye out for

opportunities, to be alert to trends and technology advances, look and learn from what others are

doing. This is not a nine-to-five activity. It is a

permanent and continuous part of life. We learn

from others, good and bad. Over time you learn to

appreciate what others do or learn from what they failed to do. It motivates and inspires me to do better.”

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Bend the rules.

01/12/2017 13:25

Illuminating Work Benz Roos, Senior Lighting Designer at Speirs + Major, offers his opinion on the best ways to illuminate the workspace.


rtificial lighting and the workplace have a long,

entwined history. Such lighting makes it possible

for us to work after dark, and has contributed to the evolution of the design of workspaces – including the now ubiquitous office towers with their large deep floor plates. Today, people work on bright screens, which are light sources themselves:

Tablets, phones and laptops make working a mobile activity, taking

people away from traditional offices, and allowing them to work wherever they find it most productive.

Indeed, while the homogenous open-plan workspace filled with desks is

still the most common paradigm, another series of spaces have emerged. These are designed to accommodate different tasks and the varying needs of workers. On the periphery of the office-floor we now find

meeting rooms, break out spaces, VC booths and concentration areas. The workplace is evolving further, to become not one space, but a collection of spaces designed for different purposes.

If we look at things from a lighting design perspective, ever since efficient light sources made deep open-plan office buildings cost effective, there has been something of a fixation on light levels, energy efficiency and

glare control. Over the past few decades, these three design objectives

have been optimised and harmonised in a reductive design process aimed at creating the perfect office luminaire. With the resulting fixtures often installed in a 3x3-metre grid, the illumination of the open-plan office is now almost flawless: glare-free and softly lit.

This now well-used approach has one major drawback however; it creates a flat, visually undefined and unstimulating space. These

characteristics do not fit with the shifting philosophy of the open plan

with its series of peripheral task-specific areas. It certainly does not suit a dynamic way of working.

While most guidelines are still prescribing illuminance levels of 350 or 500 lux, surveys conducted in the course of our work have shown that most people actually prefer a much lower light level on their desks.

In many cases, workers dim down the lighting if they are able to. This

begs the question: why do these people lower light levels in their work environment? One reason might be related to the visual comfort of

modern LED luminaires and an unsuitable distribution of light within the space. While most office work takes place on screen in a vertical plane, standards and guidelines continue to refer to the main work

surface as the horizontal plane, and luminaires continue to be designed to deliver light there. It might be that desk-based workers do not

necessarily think their environment is too bright, but that the luminaire creates visual discomfort.

To reduce the potential for discomfort, and to create that all important ‘pleasing environment’, the light across an interior space needs to be

carefully balanced and composed as a visual hierarchy. In such a grading, the most critical element contained within a person’s view should be the brightest. For many workers the crucial vista is their screen, and it follows that as a light source it should be the brightest element.

This would then be followed by the essential elements that define any space, such as the ceiling, walls and partitions. Yet, if we look to most

modern office lighting, this hierarchy is not achieved. In one example we measured a series of diffused low glare pendants suspended above

desks and found these luminaires to be approximately ten times brighter than the screens below (3000cd/sqm vs 300cd/sqm). This high contrast in brightness creates an imbalance in the visual hierarchy, causing

discomfort. We believe that it may be factors like this that drive people to Benz Roos, Senior Lighting Designer at Speirs + Major


dim the lighting.

Another example can be found on a current project, where the client

Workspace lighting

The lighting of Rogers Stirk Harbour + Partners (RSHP) office in the Leadenhall building in London was considered a crucial aspect of the design, and long-term collaborators Speirs + Major were asked to contribute to the development of a technologically innovative, visually appealing, and consistent solution. The space features a beautifully detailed ceiling, with exposed services, finished in predominantly dark grey. The team conceived of a circular fitting that would create strong visual impact against this background, while fulfilling the general lighting needs across the varied spaces. Spectral’s Iris, the selected fitting, has a bright semi-transparent crystalline appearance, and is set within a bespoke trimless 750mm white dish, to soften contrast. This solution appears in two forms – suspended (above), or surface mounted (right) version set within a perforated metal ceiling plate. In an unusual detail for general office lighting, these fittings are mounted on a network of 3-circuit track. This solution offered multiple benefits – as well as simplifying installation and controls, it offers the future flexibility to add and move lighting, while keeping the ceiling clean and orderly. As the typical working hours in an architectural practice tend to stretch into the night, RSHP were keen to understand and explore how the use of colour-temperature tuneable white light might provide potential physical and psychological comfort for their team. By using technology that allows the lighting profile - in terms of its warmth or coolness - to be adjusted automatically throughout the day, the internal environment can be more closely aligned to natural circadian rhythms, and to suit the preferences of the people using the space. The initial programming is designed to move the Iris slowly from warm in the early morning (above right), to cool through most of the day (above) - to facilitate concentration - and warming up again late afternoon, providing visual comfort as natural light fades.

determined that visual comfort and low glare were absolutely

In parallel to the need for improved visual comfort and wellbeing,

performance brief for the LED luminaires in our design, and requested

around the world are beginning to restrict energy consumption of

up. Of these, only two met the tight performance criteria set in the

a strict target for energy efficiency as part of its formal approval.

optical systems, which acted to soften the LED distribution such that

1.7W/100lx/sqm. In other cities, like Hong Kong statuary government

would seem to suggest that the soft light of these classic light sources

Today’s smart lighting control and sensor technology are helping to

current raft of LED-based fixtures.

time of writing lighting control cannot often be taken into account

become a central concern for employers – and improved visual

the possible lighting methodologies are extremely limited. In our

luminance intensities between the screen and overhead luminaires

direct light components.

causes tiredness but can also result in eye fatigue, headaches and

consumption, it appears that still the best way to achieve a compliant,

Some research also shows that differences in colour temperature can

approach of yesterday. If this is the case, where are the opportunities

matches cool daylight (6500K), yet many offices are illuminated in

We believe in the need to create a fundamental shift in thinking -

eye continuously work to balance the white tones, which could also

well-balanced and interesting visual environments. Lighting should

Recently companies such as Apple and F.flux have begun making

source; screens. Proven decades-old lighting technology and design

designed to support ‘natural circadian rhythms’ and so improve well

is where we begin to address the difference in functionality and

some time. To date these explorations have been flawed to some

open-plan space. These spaces provide us with the opportunity

included as part of a dynamic lighting system. For circadian rhythm

opportunity to design the energy consumption more efficiently. In

its colour temperature. Now, with this current screen technology there

dynamism to the workplace that is more aligned with our modern way

may support circadian rhythms better – although with the modern

however we can use the periphery to inject brilliance and contrast for

able to manage all the sources of light they are exposed to over the

crucial for their workspace. In response, we set a very challenging

energy saving is becoming more and more critical. Local authorities

samples to test. Six products were considered as part of a mock-

buildings. By example a current office project in London included

design brief. Interestingly, these both featured traditional louvred

The office lighting must comply with an efficiency target of

it resembled that of a classic T12 or T8 fluorescent light source. This

requirements state 7W/sqm for office lighting.

is still more suitable for offices than the hard light emitted by the

make a significant reduction in energy consumption. However, at the

Improving the wellbeing of office workers is something that has

for statutory requirements. Therefore to meet these strict codes,

comfort is certainly beneficial in this regard. High contrast in

experience, the only way to comply with direct regulation is using

makes our eyes continuously adjust. Constant adaptation not only

Given all of the above regarding visual comfort and energy

contributes to eye strain.

pleasant, working environment is to default to the classic lighting

contribute to eye fatigue. The colour temperature of white on screen

for improvement in lighting of the workplace tomorrow?

neutral white light (4000K). This difference in colour also makes the

moving the primary task from illuminating desks to that of creating

contribute to eye strain and tiredness.

be harmonised in colour and intensity with the main office light

screens that adjust in colour temperature during the day/evening,

strategy still have their place, but what is exciting for lighting design

being - something that the lighting industry has been exploring for

atmosphere needed in the peripheral areas around the traditional

degree, given that the primary light source – the screens – were never

to create properly balanced schemes. They can also provide an

lighting to work properly, every light source in a space should change

these areas we can create moments of intense illumination and bring

is a real opportunity to explore a full dynamic lighting scheme that

of working. In the future, office lighting might still be soft and calm,

work force so mobile, it is difficult to imagine the possibility of being

an much more enlivening spatial experience.

course of a day.


Coming into Port Zaha Hadid Architects merge old and new together in this juxtaposing creation, with lighting designs by Ingenium and Inverse.


workspace lighting

PROJECT DETAILS Havenhuis, Antwerp, Belgium Client: Antwerp Port Authority Architect: Zaha Hadid Architects, UK Lighting Design: Ingenium, Belgium (Interior) Inverse, UK (Exterior) Pic: Bart Gosselin


workspace lighting

Pic: Thomas Mayer


aha Hadid Architects have renovated and reimagined the new headquarters for the Antwerp Port Authority, the Havenhuis, with an expressive structure. Positioned above a disused, listed fire station, the multi-facetted façade sparkles with reflections of sunlight and the surrounding water. The new structure is commonly referred to as either a diamond or a shipâ&#x20AC;&#x2122;s hull and provides a fascinating juxtaposition of modern and historic architecture. The mixtures of glass panelling on the exterior of the structure provides a dynamic nature to the architectural merge, emphasising the contrast between the modern glass and the traditional stone box below. Renowned creators of exceptional design, Zaha Hadid Architects have not disappointed with this feat of architecture and have seamlessly


brought together the old and new in this project, transforming the old fire station into a vibrant new workplace for those in the Antwerp Port Authority. The main lobby area of the headquarters is situated in a central courtyard, which has been covered with a glass roof to create an outdoor/indoor room. The fire truck hall now accommodates the library with the lower floors of the new extension connected to the upper floors of the older building through a seamless communicative core, which also holds space for restaurants, meeting rooms and an auditorium. The highest five floors are home to a varied office landscape for approximately 500 employees. With an array of unconventional office fixtures, such as trapezoid shaped desks, curved stairways and angled pillars, it was important for the lighting to fit in a similar vein. For the internal lighting scheme, Ingenium were

Pic: Thomas Mayer

“The focus of the lighting scheme was to emphasise the architectural experience but also to stay strong to the client’s desires of creating a comfortable working environment.”

Previous page Twilight at the Antwerp Port Authority building, the Havenhuis. The blue sky and blue water create the perfect backdrop for the twinkling ship’s hull look-alike. Left The Havenhuis during the daytime shows off the sunlight reflections created by the uneven glass façade. Above Inside the unconventionally shaped office space, a meeting room takes advantage of the quirky shape, with angled furniture and linear lighting.

Joost Verstraete, Ingenium brought onto the project back in 2009 through Zaha Hadid Architects and their Belgian design partners, Bureau Bouwtechniek, who earned their place to provide the main technical concepts via an architectural competition. Ingenium’s Project Manager Joost Verstraete discusses the journey taken to input the lighting design and how the concepts were adapted over time to fit the needs of the clients and the building: “The focus of the lighting scheme was to emphasise the architectural experience but also to stay strong to the client’s desires of creating a comfortable working environment throughout the building, which in turn demanded high technical demands and specs for lighting.” Verstraete explains. “The main challenge was to find a compromise between the high comfort demands of the landlord on one side, and the architectural/aesthetical

wishes of the architect on the other side. These were not always complementary. We solved this by having numerous meeting sessions with both parties, in which both sets of demands eventually grew towards each other.” Despite these challenges and changes they had to work through during the project, they managed to remain strong with their original lighting design and accomplish the final scheme. Using a combination of multiple fittings, particularly from Multiline with Tridonic LED components, Ingenium designed a scheme that would be able to adapt to the unconventional interior design of the new extension. There were some limitations and small spaces to work with in some areas, and exposed structural beams revealed in the older sections where certain fittings proved difficult to put in place, for example the lighting


workspace lighting

Pic: Bart Gosselin

lines in the circulation zones. On top of this, the team had to devise a design that would be as clean as possible for the suspended ceiling, i.e. ensuring the lighting lines are integrated seamlessly to make room for other elements such as fire detectors, water sprinklers and movement sensors. Furthermore, the lighting brief also factored in the support of the outside view of the building at night. Verstraete continues: “All the lighting elements were chosen for their functions that suited the aesthetical demands by the architects, the technical and comfort demands of the landlord and the energy efficiency features. In the end I think we managed to combine aesthetical and technical demands, and that the lighting works very well to accentuate the architectural experience in the way the architects had in mind at the beginning. The only thing that didn’t work out very well in this project was the length of


studies taken to complete the design at the beginning.” Using Multiline, a Belgian luminaire manufacturer, a special solution was developed to create an easily integrated internal lighting system that is a recognisable analogy for the architecture. Utilising Tridonic’s know-how in LED technology, Multiline adapted one of their standard luminaires to fit specifically into this project as part of Ingenium’s lighting design. Creating an elegant scheme for the internal offices, Ingenium were keen to highlight the structural elements of the magnificent building, whilst in keeping with the elegance of the building and it’s smooth, clean lines. To emphasise the contouring of the rooms, strip lighting was integrated into the ceiling, creating graphic patterns regularly repeated throughout the space. Stijn Pittomvils, the project manager for Multiline, describes the process: “We have

already been very pleased with the LED modules from Tridonic that we use in our standard products. It was therefore never in doubt that we would also use them for the special luminaires for the Havenhuis.” As with many large-scale projects, it is difficult to organise all contributing participants of the design and building to simultaneously coincide with each other. Once the luminaire manufacturers came on board with this project, the ceiling structures had already been determined, thus requiring a specific profile width of 90mm. In total, there was roughly a kilometre of Multiline strip lights equipped with Tridonic LED components that were installed to accommodate the individual room geometries. Due to the complex internal design of the building, it was essential to find a flexible LED system that has the ability to integrate into the individual specifications. Furthermore, as with many new builds, it is important to consider the impact of





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workspace lighting

Pic: Thomas Mayer

Pic: Thomas Mayer

Pic: Bart Gosselin

energy usage and how it is possible to reduce consumption levels as much as possible. This was high on the agenda for the lighting in the Havenhuis, so presence and ambient light sensors were installed throughout to ensure the light levels are controlled to suit demand at all times. Run through DALI with LED drivers, the sensors are part of a comprehensive sustainability and energy efficiency concept put in place, which in turn received a ‘Very Good’ BREEAM rating for environmental construction. Lighting the external façade of this building was left to the capable abilities of Inverse. When discussing the project with Nicola Agresta, Project Manager of Havenhuis, he gave us a detailed look into the journey they went on to create the lighting scheme, “Filip Vermeiren, one the of the Inverse directors who is originally from Antwerp, was asked by Joris Pauwels [Zaha Hadid Project Architect] to provide advice on the lighting layout.” Inverse was appointed towards the end of the project when the building was near completion, which gave them three months to install and finish their lighting scheme before the official opening deadline on September 22nd, 2016. This proved a major challenge for those at Inverse, limiting


several possibilities of integrating lighting. Nevertheless, it did allow them to do extensive testing on an on-site mock up, practicing to create the desired effect on the complicated, irregular glass cladding. Agresta continues: “Since the port authority owns the roads around the harbour and the technical team was very hands on, we had the great opportunity to install lights on lamp posts and shooting over streets. We tested conventional floodlights as well as high-powered narrow beam projectors shooting at the building from a distance to make the multifaceted building sparkle like a mirror ball and mimic the effect of sunlight hitting the building during the day. The mock up gave us a reference point for the brightness the client wanted to achieve, and from there we ran computer simulations to finalise the layout. The mock up also helped to choose which light colour temperature worked best on the building in relation to the surroundings.” Not only did Inverse have to tackle the limitations of time, they were also widely restricted with their location options for lighting installations, as it was not possible to put any fixtures onto the surface itself, they were merely allowed to use existing

Previous page A close up of the rear of the building emphasises the intricate panelling of the glass surface. Each panel reflects a different angle of light, creating the twinkle diamond effect unique to this building. Left The underdeveloped port area of Antwerp gives the Havenhuis a blank sky backdrop, allowing its diamond reflections to be cast afar for many to see. Top A close up of the rear of the building emphasises the intricate panelling of the glass surface. Each panel reflects a different angle of light, creating the twinkle diamond effect unique to this building. Below A corner seating area looks out across the port area of Antwerp. Simple, smooth furniture and accessories with curved edges are juxtaposed against the jagged straight lines in the architecture. Next Page Sleek lines and minimal design look clean and chic in this walkway.

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Italian Architectural Lighting

04/12/17 16:50

workspace lighting

Pic: Thomas Mayer

street poles surrounding the area. This in itself also proved difficult, as the poles were restricted to holding a certain amount of weight, which reduced the number of lights they could place on each. The final outcome saw the installation of a combination of fittings from Indelague, Trilux and Zumtobel, to name a few, as well as six Bega floodlights mounted to the roof and 22 on existing poles surrounding the building, resulting in an elegant finish, respectful to the state-of-the-art architecture. Agresta describes how it took a very different approach to other projects they have worked on in the past: â&#x20AC;&#x153;The process was different, much more intense and with a practical approach. Usually we work on projects that are not built yet and we run calculations, renderings and tests to make sure the final result will achieve specific light levels. For this project, we worked almost in the other direction, starting with a mock up on an existing building to achieve the requested light level and then run the computer simulation to finalise the design. This not


only saved us lots of precious time but it was also the perfect approach to convince the client of the correct direction, as a direct visual impression overcomes all renderings and calculation. The client was very hands on and had the power to do things such as mounting lights on street poles, which would normally be very difficult and a long process with a general public authority. For Filip this project was particularly special as it was set in his home town.â&#x20AC;? The scale of this project demanded an extreme amount of collaboration; time and effort from everyone involved, from the client, the architect and lighting designers. The final result of lighting this grand structure by Zaha Hadid Architects compliments the detailed construction, bringing it to life in a fantastical way. It is a glimmering beacon of architecture and lighting brilliance that can be seen from afar and will remain as a iconic stamp on the Antwerp landscape.

LIGHTING SPECIFIED Bega 8826 in-ground Bega 2222 in-ground Bega 8756 in-ground Bega 8602 in-ground Bega 8351 surface washer Bega 77881floodlight Bega 77882 floodlight ETAP UT1860 recessed ETAP E62 batten ETAP E65 batten ETAP E5207 batten ETAP R3 profile ETAP R4861 suspended ETAP emergency lighting HALLA Lina linear Indelague CT-AVT PMP EP 830 waterproof Indelague RT-TRN batten Indelague EX-XSL batten Lightnet Basic M-2 recessed Lumco Lumline batten Lumco LCHA cove Lumco single side LED-strip Multiline Rekta 40-90 suspended pendant strips (incorporating Tridonic LLE-G3-24 modules and LED Drivers) Osram Powerstar HQI-T lamps Sammode emergency lighting Regent Solo circular recessed Trilux Fidesca recessed waterproof Van Lien IND 08 batten Zumtobel Perluce O waterproof Zumtobel ZE batten Zumtobel KXA-2 batten

Photo: Gary Rowsel

Mills & Reeve refurbishment project

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â&#x20AC;&#x153;Help us create a bright, modern and innovative workspaceâ&#x20AC;?. This was the brief Glamox received when the law firm Mills & Reeve wanted to bring their landmark building in Norwich up to date. The result is well received by both customers and employees.

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Painting With Light The new interior lighting design for the ING Bank UK London office, designed by Nulty, blends the old and the new, bringing a modern flair, while delicately illuminating the fine art on display.


Workspace lighting

PROJECT DETAILS ING Bank UK London office, London, UK Client: ING Bank Lighting Design: Nulty, UK Architect: tp bennett, UK Pics: James French


workspace lighting

Previous page On entering the reception area, a large suspended luminaire, constructed from Optelma’s Quad Continuous linear profile, draws the eye through the expansive area, enabling an uninterrupted view of the surroundings. Above Nulty installed XAL’s Move It magnetic track lighting system with minimum visual impact that provides the four key layers of the lighting scheme: down lighting, ambient light, wall washing and spotlighting. Above right In the café area, Nulty partnered with sister company Nulty Bespoke to create one-of-a-kind pendant luminaires above the canteen tables, designed to create intimacy for diners.


ulty has completed the interior lighting design

for ING Bank UK London office (ING), delivering

a concept that balances the bank’s heritage with its drive for innovation, and blends the delicate

illumination of art and craftsmanship with a reference to the vibrancy of today’s modern working practices.

From subtly illuminating the prize pieces of art, to washing light on a flat white, this new office space made use of every architectural lighting design technique in Nulty’s repertoire. The London-

based design firm was given a brief to create a lighting scheme

that worked seamlessly with the tp bennett-designed interiors,

adapting the latest in lighting technology to illuminate the quality of materials while complementing the natural light that floods through the expansive glass frontages of the client areas.

An integral aspect to the lighting concept was to deliver a scheme that carefully balanced the illumination of the impressive pieces of art with precise conservation requirements.

In order to get this just right, Nulty collaborated with ING’s art

curator, delivering an in-depth study on the impact of natural light ingress and light quality on the different potential hanging areas. With the intention to regularly rotate the pieces on display,

Nulty applied its expertise of gallery design to perform a daylight

analysis study, monitoring fluctuations in the direction and levels of daylight throughout the office space across all four seasons, as well as at different times of the day. The findings enabled

Nulty to help ING identify the best positioning of the artwork to align the most appropriate pieces to specific display areas.

An important part of the lighting scheme on this project was to deliver an integrated system using methods in harmony with

the clean lines and high quality of the client-facing spaces. To do







ING London Office | Interiors: TP Bennett, Lighting Design: Nulty, Product Design & Manufacture: Optelma.

â&#x20AC;&#x153;Working closely with Optelma, we created various feature luminaires for use throughout the building. The large pendants in the reception made a fantastic focal point, creating an elegant and dynamic feature.â&#x20AC;? Phil Copland | Senior Lighting Designer, Nulty

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workspace lighting


workspace lighting

“The lighting concept creates a sense of cohesion across all floors and reinforces the ING brand character.” Phil Copland, Nulty

this, Nulty installed XAL’s Move It magnetic

wall design is enhanced by illuminated

four different lighting capabilities, creating

the grooves; an engaging contrast between

track system, adapting it to encompass

flexibility and a vessel where a variety of light sources could be used across the space.

The discreet magnetic system has minimum

visual impact and provides the four key layers

of the lighting scheme: down lighting, ambient light, wall washing light and spotlighting.

The individual spotlights are magnetic and can be repositioned to provide different

variations of light, which can be perfectly matched to enhance the art and provide

ambient illumination to the surroundings.

A challenge for the Nulty team was to create a sense of cohesion across the client, reception and break-out areas, all of which have their own identity. On entering the reception

area, a large suspended luminaire consisting of interconnected rings, constructed from Optelma’s Quad continuous linear profile

draws the eye through the expansive area,

the permeability of the pendent enabling an uninterrupted view of the surroundings.

As the lift doors open on the fifth floor to reveal the entrance to the Zest café, the

craftsmanship of the solid-wooden slatted


Linea Light Group strips embedded within a traditional sense of craftsmanship and materials and bright illumination.

It is within the café that Nulty teamed up

with its sister company, Nulty Bespoke, to

create one-of-a-kind pendant luminaires. Positioned above the canteen tables, the

Previous page The fifth floor café’s impressive wooden ceiling design is enhanced by illuminated Linea Light Group strips embedded within the groves. Top An important part of Nulty’s lighting scheme was to deliver an integrated system using methods in harmony with clean lines and high quality of the clientfacing spaces Above Nulty applied its expertise in gallery design to ING’s new lighting scheme, allowing the firm to effectively illuminate the prize pieces or art on show throughout the offices.

personalised pendants provide intimacy for

diners and the use of company colours in the design reinforces the ING brand to visitors.

Phil Copland, senior lighting designer at Nulty, said: “Working closely with tp bennett and the client, we have designed an energy efficient and visually stimulating lighting solution.

“The variations of light enabled us to create

different identities for different areas and the result is an integrated lighting concept that is at the same time subtle, yet stimulating. It also creates a sense of cohesion across all floors and reinforces the ING brand

character, delivering a London office that, alongside the interior design, creates

atmosphere and engagement from employees, clients, partners and those who visit.”

lighting specified Flos UT Track & Spot Kreon Lighting Down Downlight Range LightGraphix Spike Mounted LED Spike & Inground Uplights Linea Light Group Ice Cut Linear Profile Lucent Lighting Soft Downlight Range with Xicato Chip Optelma Quad Continuous Linear Profile XAL Move it 25

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NEW RANGE OF MINIATURE, SURFACE MOUNTED WALL WASHERS New from LightGraphix is a range of high quality miniature wall washers. The minimal design of the LD95, LD96 and LD97 allow them to blend seamlessly into most project styles, and fit into the smallest of details. A choice of beam angles and LED colours provide the designer with a number of uses, which include window reveal lighting, wall washing and path illumination. The new line up utilises the same light engine and optics as our popular LD56 uplighter, which means consistent lighting effects can be achieved across entire projects. Please visit our website for more information.

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PROJECT DETAILS Executive Office Building, Moscow, Russia Architect: Aukett Swanke, UK Lighting Design: LAPD, UK


workspace lighting

From Russia With Love LAPD has provided a full lighting design for an executive office tower in Moscow, transforming the building into a beacon in the cityscape of the Russian capital.


APD Lighting Design worked on the interior, façade and

landscaped areas of this executive office tower in Moscow. The approach to the façade lighting was to create a cage of light around the building itself, connecting the top

and the bottom of the building. The client wanted the building to have

visibility from afar and so the entire top element was transformed into a beacon-like lantern with prominence within the Moscow cityscape. Cool white linear LED lighting with a carefully selected beam width was used to light down glass fins cladding the building top. Various test were carried out on different types of glass and different LED optics to ensure that the fins held the light as much as possible all the way down their length and lit the entire volume.

Clear glass with a frosted interlayer produced the best effect and the

best structural performance. Eight linear lines of light then ran down

the building, highlighting architectural details around the façade and connecting the lantern top with the base of the building. Cool white light was used to connect the cool white lantern with the cool white lighting around the building base, forming the cage-like structure. The linear LEDs from Insta were colour controllable and, on the client’s request, the lines of light that framed the two-


workspace lighting

Meeting rooms and smaller office spaces use a combination of linear and accent lighting, allowing bright, uniform levels of light for meetings and low levels of accent light for presentations.

coloured expanses of façade were adjusted to match the vivid glazing colours that were chosen.

A control system was specified to enable these lines of light to chase, pulse, change colour and create different effects for special events. Grounding the â&#x20AC;&#x2DC;cage of lightâ&#x20AC;&#x2122; was achieved by highlighting all the

columns around the base of the building, along with the entrance

canopy itself, with a matching cool white light. The columns were treated as architectural elements by using a linear light source

concealed in a detail above the column. Again, using appropriate optics a sheet of light was created travelling down each column. This avoided downlights visually scarring the canopy above and creating unwanted scallops detracting from the pure forms.

The canopy needed to echo the experience of the building from afar. As a result a frosted glass canopy was created that was

backlit using cool white LEDs. This created a similar level of impact at low level to that created by the lantern from afar. These architectural lighting treatments around the base of

the building balanced the strong lantern effect of the building top but also contributed to the landscaping lighting.

General illumination to the entrance area and car parking areas

around the building was provided by using a lighting column from

the Hess City Elements range. These provided a neutral cylindrical form against which the building could be viewed without conflict

from feature elements. The columns allowed asymmetric, symmetric and road optics to be used from a column without a change in its

appearance. A warm, soft level of light was produced with low glare. Feature lighting was provided to the furniture elements around the buildings, while linear hidden lines of light were integrated into the furniture in collaboration with the manufacturer to create a

soft warm glow under each seating area. Feature lighting was also

provided to uplight the trees themselves. These uplights were raised



Pic: © Karin Ahamer Photography

Illuminating history in Austria!

Eckartsau Castle, near Vienna, Austria Lighting designer: Gunther Ferencsin In use: LED projectors from LEC’s Luminy range


Workspace Lighting

Open plan office areas are illuminated by suspending Zumtobel Aero luminaires to achieve the desired illuminance levels on the desks and on the ceiling itself.

above floor level slightly to ensure they still

building. These lines were framed within

of snow resides across the landscaped areas.

The developer moved into the tenth floor

specified, they needed to be able to operate at

office spaces. Lines of light illuminated the

Again, a soft warm colour temperature was

walls in the reception, waiting and circulation

around the building base, and to contrast with

also used to provide accent in key places.

Lines of staggered light mimicking those

a combination of linear and accent lighting

into the ground to lead occupants from the

to provide bright, uniform levels of light for

Once inside the building these strong linear

presentations, along with options for variations

reception area to continue the draw into the

was designed to match in colour temperature.

XAL were used to draw the eye towards the

suspending Zumtobel Aero luminaires

This feature wall was created by using

on the desks and on the ceiling itself.

optic to graze light up the back wall, which

to ensure that tenants within other floors lit

mesh. The front of the wall was constructed

had a homogenous look at night from outside.

The resulting moiré pattern effect between

different orientations of lighting in different

was an intriguing shimmer that continually

design. The strategy included a decorative

Lines of light were also used within each lift

functioned during winter months where a carpet

floating rafts that were covelit along all sides.

As with all of the exterior lighting products

and appointed LAPD to illuminate all of their

temperatures down to -40-degrees Celsius.

naked concrete surfaces and Italian wooden

used to harmonise with the lighting elsewhere

spaces. Square downlights from XAL are

the cool colour temperature on the façade.

Meeting rooms and smaller office spaces use

running down the façade were recessed

within troughs from Kreon. This allows control

roadside right up to the building canopy.

meetings and low levels of accent light for

lines of light flip up onto the ceiling of the

between the two. The linear and accent lighting

building. Four continuous lines of light from

Open plan office areas are illuminated by

feature wall at the end of the reception space.

to achieve the desired illuminance levels

continuous linear LEDs with a six-degree

There was also a strategy written up by LAPD

consisted of a suspended horizontal, linear

their offices in such a way that the building

from cast, layered glass orientated horizontally.

This included requirements to conform to

the backlit mesh and the front layered glass

areas but still provide flexibility within their

changed as the viewing angle changed.

treatment to all interior columns for all floors.t

lobby, continuing the theme throughout the

lighting specified Ecosense linear Exterior HP wash Ecosense linear HP wash GE Lighting Power Grid Hess Lighting City Elements Hess Lighting Livorno iGuzzini LEDstrip iGuzzini Woody Insta 1060 Insta 4010 Kreon Prologue 80 range LEC Lyon Brunei Linealight Loro Viabizzuno Trasparenze Whitegoods Edgeless cove Whitegoods 60 Round Whitegoods 60 Square XAL Edge XAL Invisible Square XAL Minimal Range XAL Mino XAL Tula Zumtobel AeroII Zumtobel Supersystem


Olympic Legacy Located at Here East in Queen Elizabeth Olympic Park, Plexalâ&#x20AC;&#x2122;s innovation centre has been given a dynamic, modern and flexible new lighting scheme, courtesy of Cundall Light4.

Pic: Scott Kershaw


Workspace lighting

PROJECT DETAILS Plexal Technology Innovation Centre, London, UK Client: Plexal Lighting Design: Cundall Light4, UK Architect: Grimshaw, UK


workspace lighting

Pic: Scott Kershaw

Previous page The 68,000-sqft Plexal is a bustling hub designed to support technology enterprises both young and established in a ‘mini-city’ environment. Above The innovation centre features a number of communal workspaces, including Plexal Park, a 200-seat, multipurpose events space.



undall has delivered MEP and lighting

Square, a bustling entrance for visitors,

innovation centre for technology

spaces, a café zone and a 5-metre-high green

design for Plexal, the 68,000-sqft

incorporating high-top flexible hot-desking

entrepreneurs and enterprises located

wall with screens streaming live business data.

at Here East within Queen Elizabeth Olympic Park.

Contributing to the wellbeing of Plexal innovators,

centre for the 2012 Olympic Games, Plexal

green areas with indoor planting, and casual

Games legacy and is designed to support

relaxed atmosphere. Lighting can be programmed

collaboratively as a community in a mini-city.

phone booths dotted along the high street

architects Grimshaw developed a design that

International multi-disciplinary engineering

that lead from a central high street, including

the fit-out of the International Broadcasting

civic areas. Spaces are designed to intersect

broadcasters, photographers and journalists

community, while each zone has its own distinct

Plexal because of its knowledge of the site and

also comes complete with events spaces, an

occupying the former broadcasting centre, Here

The innovation centre is divided into a ground

infrastructure that is unrivalled in Europe.

structure allows open-plan workstation

“This project has seen a clever reuse of an existing

offices. Other office spaces are formed using

in use and additional space, but at the same time

partition system, which can be reconfigured

the future benefit of the occupants. The finished

businesses, or to set up new work areas.

views to the canal, lots of fresh air for occupants

and social areas, including Legacy Place, a

The lighting design for Plexal needed to

Occupying the former broadcast and press

the centre includes ample community spaces,

forms part of the London 2012 Olympic

environments to wind down or work in a more

young and established businesses to work

to match natural circadian rhythms, and private

Inspired by the principles of urban planning,

provide respite from the hustle and bustle.

emulates a cityscape, with mixed-use spaces

consultancy Cundall previously designed

public and private spaces, streets, squares and

Centre, which accommodated more than 10,000

and weave together, contributing to a sense of

during the Games. Cundall was selected for the

identity within the various quarters. The building

for its data centre development expertise. In

indoor park and an interactive living wall.

East (and Plexal) inherited a data and connectivity

and first floor layout, where a street mezzanine

Steve Cook, Cundall Building Services Partner, said:

areas to sit above the ground floor’s private

space and system, not only creating a major change

a high-performance ‘kit-of-parts’ Tecno

retaining the majority of the existing systems for

to accommodate expanding and contracting

Plexal HEIC has great daylight penetration,

The ‘high street’ layout offers a range of quiet

and a visually fantastic lighting scheme.”

contemplative place to work, and Monument

match the dynamic nature of the start-up


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Pic: Darrin Jenkins


workspace lighting


workspace lighting

Pic: Darrin Jenkins

Pic: Quintin Lake

companies that would occupy the space. The

while providing a glare and shadow free planar light.

and inspirational new ideas, creating a space

features civic spaces, a Makers’ Yard (where

Ashleigh Dolan, Lighting Designer at Cundall

an events stage and Plexal Park, a 200-seat capacity

– a start-up, for instance, may require two people

spine of the building and the central installation.

Flexibility in lighting design is about two key

represents the coming together of ideas, which

where they are needed and the ability to quickly

things. The streetscape is supplemented by a

Cundall Light4 opted for Trilux desk-mounted

help to reconnect these internal spaces back to

is needed, but can be moved with the desk as

planters have been softly lit to supplement the

the flexibility of the lighting, integral Passive

the feeling of the space changes dramatically.

Cundall Light4 specified Osram DALIeco Swarm

biodynamic flat-panel lights and acoustic panels

set up with just a screwdriver to select the zone and

inspiration from the glazed north lights found in

company expands they simply need move a wall,

Trilux and Fagerhult hang on an angle adjacent to

or lighting control re-commissioning costs. Plexal

is open to the sky. The solution is well designed

The Trilux desk mounted lights were adapted

for the specialised prototyping and making, while

radio frequency bi-directional communication

The adaption and modification of the existing

“The Trilux luminaires have both the style

centre to form flexible and modular office

this project. The integrated detectors and

facilities called on a number of smart engineering

the end users ultimate flexibility,” added

team, as well as collaborative working.

Another special solution designed specifically for this

priorities, so Cundall sketched up numerous options

fittings. The usually suspended, clean, pure white,

advantages and disadvantages of each engineering

acoustic rafts in the industrial style areas. The result

understand and buy into a common consensus.”

offices needed to incorporate modern technology

As well as private office spaces, Plexal’s design

where people want to spend time and innovate.

rehearsals, events and prototyping can take place),

Light4, said: “The lighting needed instant flexibility

multi-purpose events space, all feeding back to the

one month and 20 people the next as it grows.

The simple triangular motif throughout

elements, the ability to move the luminaires to

strive to inspire its members to create great

and easily re-programme the lighting controls.”

recognisable formal array of lampposts that

task lights as they not only focus light where it

the community beyond. Pocket ‘parklets’ and

the company grows and reorganises. To support

central feature lighting and when night falls,

Infrared Sensors (PIRs) were also specified.

In Makers’ Yard, Cundall Light4 has used standard

adapters for the lighting control. The controls are

to create an abstract factory north light. Taking

luminaire group and means that when a start-up

traditional warehouses, flat-panel luminaires from

desks and desk lamps with no expensive re-wiring

acoustic fibre board to give the impression the ceiling

is currently Osram’s largest Swarm installation.

to provide the high illumination levels required

to integrate the Osram Swarm units, which use

giving the room the feeling of spaciousness.

between the luminaires, sensors and switches.

open-plan space within the original broadcasting

and light qualities which we required for

accommodation, meeting rooms and conference

simple to use and commission controls gives

solutions from the Cundall Building Services

Andrew Bissell, Director of Cundall Light4.

“Everyone wanted different things with different

project used the highly energy efficient Trilux Arimo

with clear graphic representations showing the

slim LED panels have been adapted to attach to the

solution,” added Cook. “This allowed all parties to

creates a minimalist, abstract floating appearance,


Previous page Private office spaces in Plexal are formed using ‘kit-of-parts’ Tecno partition systems, which can be reconfigured to accommodate expanding and contracting businesses, or to set up new work areas. Cundall Light4 specified Osram DALIeco Swarm adaptors for lighting control, meaning that when a start-up company expands, lighting can easily be adapted without any re-wiring or re-commissioning costs. Above left The triangular motif throughout the centre was designed to represent the coming together of ideas, to inspire its occupants to create great things. Above right The streetscape is supplemented by a recognisable formal array of lampposts that help to reconnect the internal spaces back to the community beyond.

lighting specified Ateljé Lyktan HOOD Fagerhult Combilume Osram Swarm control Trilux Arimo Trilux Simga

Open Book New York-based One Lux Studio has created a lighting scheme for the newly renovated headquarters of Wiley Publishing, utilising both direct and indirect light to open up and revitalise the formerly dark, enclosed space.

PROJECT DETAILS Wiley Publishing, New Jersey, USA Client: Wiley Publishing Lighting Design: One Lux Studio, USA Architect: TPG Architecture, USA Pics: xxx


workspace lighting

Pics: Eric Laignel


workspace lighting

“Careful attention was placed on creating interesting arrival and circulation design solutions, and the workstation areas had a ‘neighbourhood’ approach.” Stephen Margulies, One Lux Studio Previous page The new public areas of the Wiley Publishing offices incorporate playful elements such as zig zags, angular and organic patterns of lighting, courtesy of Birchwood, Peerless and EcoSense, to blend into the ceiling system, revitalising the space. Above Keen to move away from ‘monotonous’ lighting solutions, careful attention was placed on creating interesting arrival areas, like the entrance lobby.


iley Publishing, formerly John Wiley &

Studio explained how the new scheme helped

than 200 years, since its inception as a

existing space had enclosed perimeter offices,

Sons, has been in operation for more

to transform the offices post-renovation. “The

small printing shop in lower Manhattan

which affected daylight penetration,” he said.

in 1807. The family-run firm, now into its seventh

“The interior open plan areas were dark, vast

year tenure, from letterpress pamphlets to digital

troffers with little definition or interest.”

now this evolution has extended to its workplace,

was to develop a lighting system that took

Located in Hoboken, New Jersey, with beautiful

However, Margulies was concerned that, in

the interior renovation has transformed the offices

with “monotonous” lighting solutions.

large windows fill the space with natural light.

interesting arrival and circulation design solutions,

Manhattan-based One Lux Studio designed the

approach where the light fixtures are related to

providing new solutions not only for the office space,

at the workstations and darker zones in the

lounge’, elevator lobbies and cafeteria.

intimate within a vast floor plan,” he explained.

fixtures, the new lighting scheme utilises

ceiling tile was used for the workplace. This,

workstations, while linear indirect uplighting

components, created a unique solution.”

The public areas incorporate more playful

circulation areas, provided by EcoSense, adds an

organic patterns of lighting blending with

in office environments, and Margulies explained

Stephen Margulies, founding partner of One Lux

ceiling heights were pretty restrictive,” he said.

generation, has constantly evolved over its 210-

areas with tedious grids of 2x2-foot fluorescent

apps and interactive online learning tools, and

The goal for One Lux Studio, therefore,

following a renovation of its company headquarters.

advantage of the new open plan concepts.

views of the Hudson River and Manhattan beyond,

doing so, they’d end up with large, open areas

into sophisticated, open workspaces, while the

“Careful attention was placed on creating

Working alongside architects TPG Architecture,

and the workstation areas had a ‘neighbourhood’

lighting for the newly renovated headquarters,

the workstation zones, creating brighter zones

but for public areas also, including the ‘collaboration

circulation areas. We created spaces that were

Using a blend of decorative and architectural

“Additionally, a large format, 4x4-foot

both direct and indirect fixtures following the

in conjunction with the indirect lighting

at the core highlights the edges of the space.

The use of indirect uplighting throughout the project

lighting elements, with zig zags, angular and

interesting dynamic to the space not normally seen

the ceiling system, revitalising the space.

why One Lux Studio made this decision: “The



workspace lighting


workspace lighting

“Acoustic tile ceilings needed to be at eight foot,

like the conference centre and food service

“Large open spaces with this ceiling height

higher to enhance the user experience.”

a direct/indirect lighting solution for the

driver for One Lux Studio, but Margulies and his

the space.” Major circulation areas made use

blend of direct and indirect lighting – used very

‘rawness’, while also enhancing the spaces

open office lighting solutions. However, by

Elsewhere, a patterned ceiling effect in the

were successfully implemented and carrying

communal areas bring a sense of playfulness,

successful in getting these solutions in place.

However, while the ceiling proved restrictive

headquarters is a bright, airy, interesting

where the lighting team were able to

previously felt dark and vast, underutilising

the new, open feel of the headquarters.

with how the project has turned out,

in place, which created a few challenges for

“The architect has created a new, unique

workplace lighting hung below the ceiling

“As the space was recreated in an existing office

ceiling to be as high as physically possible.

“Daylight and fantastic views of the

ceilings were removed; however, recessed lighting

Large, tedious spaces were transformed

depth avoided most conflicts. This coordination

change as one walks through the space.”

ten inches to conceal major mechanical systems.

areas, where ceiling heights were pushed even

can feel compressed, so the concept of using

As with most projects, budget proved to be a big

workplace proved to enhance the volume of

team found that their approach – particularly the

of exposed ceilings, adding an element of

few light fixtures when compared to traditional

by providing even greater volume and variety.

referencing other projects where similar solutions

elevator lobby, and lowered, zig zag panels in

out tests to prove the concepts, they were

further differentiating the various spaces.

The end result for Wiley Publishing’s new

in some areas, there were other occasions

workspace, awakening an office that had

elevate them higher, further enhancing

the space available. Margulies was delighted

“The existing mechanical systems were kept

praising the work of TPG Architecture.

some areas,” explained Margulies. “Since the

experience for the Wiley employees,” he said.

we avoided many conflicts, and allowed the

building, the comparisons were immediate.

“There were a few surprises when the existing

Hudson River were magically awakened.

equipment that only required 3.5-inches of recess

into ‘musical experiences’, having the beat

became most important in the amenity spaces


Previous page Although the office space has a vast floor plan, One Lux Studio strived to create intimate areas within this open space. Above The space previously had enclosed perimeter offices, which affected daylight penetration, but now it has been opened up, filling the new look offices with natural light.

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workspace lighting

Pics: Andy White

Strawberry Studios Forever arc magazine has moved into new office space in the famous Strawberry Studios in Stockport, Greater Manchester, a one-time recording studio which was used by Joy Division, The Smiths and The Stone Roses amongst others.


rc has moved into a new office

and arc moved in earlier this year.

famous musical landmarks.

Manchester studio to supply the luminaires.

in one of Manchester’s most

Set up 50 years ago, Strawberry

Studios in Stockport was one of the few UK recording spaces outside London.

Backing from 10cc’s Graham Gouldman and artist-management firm Kennedy Street Enterprises then turned it into a hub of northern recording.

Strawberry Studios was given its name by

Eric Stewart, a member of the Mindbenders and later 10cc, who became a partner in the business at a time when his favourite song

was The Beatles’ Strawberry Fields Forever.

Factory Records producer Martin Hannett

later used Strawberry as his studio of choice, paving the way for a new generation of

post-punk Manchester music. He famously recorded sound effects in the lift (now

preserved behind glass) on Joy Division’s

Unknown Pleasures album.

Artists like Paul McCartney, The Stone Roses, The Smiths, Joy Division and The Buzzcocks recorded there before it shut in 1993.

Having occupied other parts of the building,

Mondiale Publishing (parent company of arc media) bought Strawberry Studios in 2012


arc media called on Enigma Lighting’s

They provided a range of fittings from Dark, the Belgium manufacturer that Enigma

distribute in the UK. All fittings were painted black to fit in with the office’s monotone colour palette (with a splash of yellow).

Two 5800mm Metroline surface-mounted

profiles provide continuous, sleek lighting over the communal OSB (oriented strand

board) workstation. Tubular LED track spots are used to wallwash the yellow feature wall (where a mural of arc and darc front covers is planned) and Coolfin Jnr Boxes provide peripheral illumination. A 12-25 Club 5

lamp cluster provides feature lighting in

the kitchen and a Spaze pendant lights the

meeting room. Control is via a Rako RMT500 compact 500W RF dimmer with three

keypads for the different office zones and an app for smartphone control.

Unibox’s Neonist Machester Bee provides

the focal point at the entrance of the office. Constructed using solid acrylic lettering,

Neonist uses laser CNC- etching processers to create custom letters and shapes.

Enigma Lighting supplied a range of Dark fittings for arc media’s office. The scheme was designed by Enigma’s lighting designer, Faye Frankland. Lighting control is via a Rako RMT500 dimmer and a Unibox Neonist Manchester Bee creates a focal point.


Mood lighting systems recalling a pre-programmed scene at the touch of a button offer sophistication, ease of use and energy saving benefits. Rako can control all light sources, curtains and blinds, including dimming of LEDs. With seamless integration to home cinema, multiroom audio, security systems and â&#x20AC;&#x2DC;holiday modeâ&#x20AC;&#x2122; functions, the Smart Home dream becomes a reality. Retrofittable wireless modules allow systems to be installed with minimal fuss and expanded later, while CAT5 wired options cater for the largest of projects. With wireless/wired bridging even combined systems are possible. Controlled from stylish keypads, remotes, smartphone apps and voice activated systems, the user has the power of control.

For further information please call 01634 226666 or visit

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05/12/2017 14:09

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workspace lighting

Shifting Perceptions The newly furnished rooms for Sydney-based architecture firm Candalepas Associates show in an exemplary fashion how a lighting solution for offices, which is based on perception-oriented lighting design, can be both effective and pleasing.


or an architect with high creative expectations, apart

On the ground floor, where the meeting areas are principally located,

can hardly be a more fitting office space than an old

several purposes; it expands the visual impression of the rather

from their own, self-designed studio building there

industrial loft. The atmospheric quality of these usually

high rooms, which are frequently flooded with light, their rugged charm and workshop character explains why they have attracted creative minds for so long. Architect, Angelo Candalepas, who

moved with his team into a listed commercial building in the heart of Sydney’s bustling Central Business District, also succumbed to this charm.

One of the lighting design challenges of this project was to create distinctively different amounts of natural daylight in individual areas, which required a balance of natural and artificial light.

Therefore 3000K dimmable lights were used throughout the office, so that the artificial light could match the changing daylight conditions. The uneven, highly structured ceilings posed a further challenge,

however, ERCO track lighting was so successfully integrated into this ceiling structure that it can only be perceived as a supplementary element.

Following Richard Kelly’s lighting philosophy that lighting should

be installed only where it is needed, ERCO developed a convincing, differentiated light concept, which was essentially implemented

with three luminaire families. Whereas in the rather dark basement, eight-watt Starpoint downlights with wide flood lenses provide a bright, friendly atmosphere, in the entrance area and offices

spotlights from the Parscan and Pantrac luminaire families with a variety of wattage and light distribution were used.


24-watt Parscan wallwashers produce ambient lighting, which serve tube-like division of the spaces, sets off the substance of the old building and makes the material on the large pin boards legible.

Accent light is provided by 24-watt Parscan spotlights with flood lenses, which have been angled towards the discussion tables.

In the office areas on the first and second floors, where people work at screens – Parscan spotlights with oval flood light distribution are

used for steady, glare-free illumination of the surfaces of the desks. For the ambient lighting Parscan wallwashers were the choice once more – this time twelve-watts. They were supplemented in areas

with particularly high ceilings by Pantrac ceiling washlights with a power output of 24-watts.

With respect to the lighting design, the office used personally by Angelo Candalepas proved particularly delicate, due to its high

ceiling and large windows. Whereas his desk itself has been placed next to the window, the drawing board is located away from the window. Here two Pantrac ceiling washlights each of 24-watts,

provide suitable ambient lighting and a Parscan spotlight directs the light with perfect precision onto the drawing board. For the evening

hours on Candalepas’ desk – almost like the icing on the cake – Lucy, the most recent task light from ERCO, stands and displays its useful advantages: it can be swivelled and directed for individual purposes and in particular, it can be dimmed down to one percent.


w w w . r o x o l i g h t i n g . c o m

HALL 4.2 | STAND H21 18 - 23 March 2018 Frankfurt am Main

workspace lighting

Modern, Innovative, Green With a brief to create a bright and modern, innovative workspace at the historic Mills & Reeve Office Building in Norwich, UK, Glamox supplied a range of modern, visually pleasing yet functional LED luminaires.


he Mills & Reeve Office Building

The project was a collaboration between

the lighting to different scenarios. Area Sales

Norwich is the workplace for

Electrical (Norwich) Ltd, Ingleton Wood,

with the end result and the collaboration

in the historic part of medieval

more than 230 employees. After

fifteen years in the building, the company

decided that it was time to give the facilities

a complete overhaul to create a new, flexible space for staff and clients. According to project manager Adri Van der Colff, the

stated aim of the £3.8million investment was to create an inspiring working environment

for a growing workforce and vastly improved client experience.

“Another stated aim of the project was to

create a greener, more sustainable building that will provide a pleasant working

environment for staff and a comfortable, homely place for clients to visit. The use

of LED lighting throughout the building is

expected to reduce running costs by at least 20% and staff have commented that they

find it much easier to work in a space which

appears like daylight, even after dark,” said Van der Colff.


the architect Feilden+Mawson, Contact

ALH Building Services Design and Glamox.

Glamox supplied a good mix of modern LED products to the project. Extensive use of

recessed luminaires like the Glamox C95, C70 and C15 which all have a minimalist

expression, underlines the clean and modern atmosphere.

“The brief for Glamox as the lighting

provider, was to help create a bright and

modern, innovative workspace,” Van der

Colff continued. “All luminaires had to be of a very high quality and have a visually

pleasing appearance. The choice of lighting had to reflect the gravitas which befits a

law firm by looking professional, but at the

same time we wanted to use lighting to add interest.”

In the meeting rooms, a mix of recessed

C70 luminaires and downlights (D60) has been used. With a multiple group light

management system, it is possible to adjust

Manager Jamie Whitten was very pleased

with the other companies involved: “Mills & Reeve was a very exciting customer to

work with. They wanted products with an

extremely high performance and some of the solutions they asked for were different from what we normally supply,” he said.

“Thus, I had to work a bit with our supply

chain to get what they wanted, but in the end it all turned out very well.”

Van der Colff agreed: “We are extremely pleased with the Glamox products used

throughout the building and visitors and staff alike have commented on the brightness of the building and the quality of the fittings. “Not only has this vastly improved the feeling of working in a bright modern

environment, but the clever use of feature lighting has also added something very

special to the building and turned it into a real talking point.”

AD-[EN]-236x333h mm.pdf 1 2017/8/30 14:55:56









workspace lighting

Neo Classical Extensive lighting solutions from Hacel have helped to give the £8million ‘Neo’ building in Manchester, UK, a state of the art, refined feel, creating a relaxed working environment.


he state of the art, £8million flagship redevelopment, known as Neo, has opened in the heart of

Manchester’s city centre, featuring extensive and creative lighting solutions by Hacel. The twelve-

storey landmark building represents a new generation of

workspaces for commercial specialists, Bruntwood, offering a new typology and strategic positioning to the market.

Specifically designed and developed with a sustainable focus in mind, Neo has been devised to encourage creatively-minded

businesses of all sizes, actively developing health and well-being benefits throughout to create relaxed working environments.

Neo comes well equipped for modern, collaborative businesses,

and is home to high quality workspaces and co-working spaces, lounge, kitchens, screening room, all-inclusive studio spaces and larger open plan offices. The development commanded

refined, architectural lighting and Hacel were at the forefront in

providing a range of LED luminaires to reflect the sophisticated, contemporary interior.

Working alongside consultants Hilson Moran, in-house lighting

designers at Hacel used their own Infinitas LEDs for the reception area to complement the building’s sleek design. Alongside the continuous lines of uninterrupted uniform LED lighting, the flexibility of the Infinitas system allows for optional accent

luminaires to be incorporated for further versatility. Infinitas Manta was specified for adaptability; Manta LED Power Spots

provide distinctive accent lighting, and are available in a choice of lumen outputs with superior colour rendering properties.

Hacel delivered artistic luminaires equipped aesthetically and technically.

Throughout the larger, open plan offices, which offer outstanding panoramic views across the city, Hacel’s Linear Light4 was introduced. Suspended Solo Modules featuring additional

uplighting with integral PIR Sensors and finished in black,

complemented the modern surroundings, promoting the appeal for the specified lighting to be in tune and truly feel part of the fresh design approach of the building.

Bruntwood has transformed Neo in every sense. With the word

‘Neo’ deriving from the Greek word meaning ‘fresh, new, revived form’, Hacel are pleased to have contributed and supported this outstanding, modern and creative building.

LED luminaires, all designed and manufactured in the UK by

Hacel, deliver architectural style and outstanding performance, assisting in the desired outcome of this regeneration being

achieved above and beyond expectations. Neo is undoubtedly a fresh take on what people need from their workplace.




workspace lighting

In The Vault Deep in the catacombs of the historic CHQ Building in Dublin, Ireland, Britelux Lighting has created a remarkable lighting scheme for its newly renovated basement offices, with lighting provided by Linea Light Group.


warehouse for the storage of wine,

Lighting, designed to transform the dark vaults

original function of the historical


whiskey and tobacco: this was the Irish CHQ Building following its

construction in 1820. Located in the Dublin’s

Docklands, nowadays it has undergone renovations to become the home of several institutions and businesses.

Under the old vault of the building, known as Stack A, overlooking the Liffey river, the atmosphere is really striking and unique: an ancient soul

lives in a modern workplace with welcoming

meeting rooms, an original co-working space for use by startups and young digital entrepreneurs,

alongside space for exhibitions and events, shops, cafes, restaurants and – last but not least – the EPIC (The Irish Emigration Museum). In the

basement, the DogPatch Labs act as an accelerator for emerging startups and talents from the Irish

tech community, providing a location where they

can grow and share their know-how, making new connections.

Together with a renewal of the interiors and new, modern furniture, the great protagonist is the

light, which makes a fundamental contribution

thanks to a lighting project developed by Britelux


into an unexpected, bright and comfortable

Britelux Lighting turned to Linea Light Group

for its Professional LED Lighting product line,

a collection that, since 2000, encompasses the

best LED solutions that the 30-year-old Italian manufacturers have to offer.

The vaults and walls of the rooms and hallways

are illuminated with Suelo uplight fittings, which wash the stone masonry, emphasising its rich

texture. The AquaStop system that protects the

luminaires from the humidity levels often found in basements, the light’s excellent performance and

visual comfort guaranteed by the special anti-glare screen are the features that make Suelo ideal for installation in these particular spaces.

Pound fittings installed in the ceiling illuminate the desks of the meeting rooms and of the

offices available, blending seamlessly with the lit environment thanks to their essential and clean design. Extremely versatile, with its arrayLED

light source, Pound features an excellent lighting

performance along with a minimalist sleek design that can be matched to any type of setting.

Workspace Lighting

The Zig Zag Zone As the trend of ‘Human-Centric Lighting’ continues to gather steam, Luxonic was on hand to create a ‘happier, healthier’ lighting scheme for the Zig Zag building in London, boosting both its energy efficiency and employee wellbeing.


he last few years have witnessed

It was Land Securities’ desire to blend these

installation in the irregular layout of the Zig

designing properties to improve

inspiring work environment which saved

partnership and collaboration with SAS

to a CFO Survey Europe Report from 2013,

Luxonic with a challenge to light up the Zig

office’s high-spec SAS 330 ceiling tiles.

employees ‘happier, healthier and over 15%

tasked with constructing the Zig Zag, the

professional aesthetic and comfortable

Gensler Faulty Towers Report noted that 72%

building. Every inch of the 187,000sqft office

performance fit the Zig Zag building’s

are footing the bill of poorly designed,

consideration of its eventual occupants, and

independent testing showed SKYLUX’s

Optimal office design then, will successfully

construction and use.

previous in-house lab results. The range

offices havens of wellbeing. As such, there’s

experience of operating in the commercial

and the building is now BREEAM ‘Excellent’

property market to seek out lighting

challenges, Wherry continued: “The office

As well as its incredible efficiency, Luxonic

energy efficiency, for optimal office design.

to fit out for new tenants without major

claim its title as a thoughtful building; its

ruminated on this increasing interest:

to ensure we selected the right kit to make

engender a comfortable and fresh working

efficient products in the industry for over

the line.”

priority throughout construction.

we’ve been fine-tuning technology that

angular, jagged shape, also presented

part in this project,” Wherry said: “The

building occupants – which is already being

specifying the ideal lighting scheme.

Securities’ commitment to enriching the

some UK offices. It’s helped us occupy this

shape and office space upgrade, Luxonic’s

sustainability has set a real precedent

can provide sustainable lighting schemes

engineers recommended the SKYLUX

a boom in developing and

two central themes of constructing an

Zag, and, given Luxonic’s long-standing

employee wellbeing. According

on energy output that saw them seek out

International, was compatible with the

enhancing the work environment can make

Zag building. When Land Securities was

SKYLUX maintained the office space’s

more productive’. At the same time, the

goal was to create the ultimate ‘thoughtful’

lit environment. The range’s high energy

of property directors believe that businesses

space had to prioritise the comfort and

energy efficiency needs, and Land Securities’

energy-inefficient buildings.

achieve ultimate efficiency at each stage of

energy performance was higher than

marry sustainable design with making

Despite the British lighting firms’

has helped cut the Zig Zag’s overhead costs,

increasing desire within the commercial

sphere, the project was not without its


schemes that blend WELL standards with

space was to be upgraded from base build

has also had a hand in helping the Zig Zag

Martyn Wherry, director at Luxonic,

modification to the lighting layout – we had

sustainable lighting systems have helped

“We’ve been making some of the most

sure this didn’t pose a problem further down

space, with the wellbeing of occupants the

three decades, and in the last few years

The Zig Zag building’s layout, an unusual,

“We’re incredibly proud to have played a

promotes these natural responses to light in

Luxonic with somewhat of a test when

building itself is so striking, and Land

used to improve alertness and comfort in

Taking into account the distinct building

office for employees and improving its

sweet spot in the lighting market, where we

creative team of designers and light

amongst London offices.”

that also promote wellbeing for occupants.”

recessed LED. The range was suitable for


Korea Progression KKDC has officially opened its new R&D Centre in the company’s hometown of Seoul, South Korea. Designed in house, the move is part of a wider expansion plan for the LED manufacturers and will see the company run in-house luminaire testing for the first time.


ED manufacturer KKDC kicked

protocols, among other areas.

“The showroom is laid out with three main

the opening of a new, specially

all silicon and PC aspects, ensuring that

partition walls: the main showroom space,

off its 2018 expansion plans with build R&D Centre in Seoul,

South Korea.

The new centre, a nine-storey, 4,850sqm complex designed by Korean architect

Seho Choi sees KKDC come full circle as a

company, returning to its birthplace with a

new workspace located just 200-metres from the small offices they started out at in 2003. Since its inception, the company has

expanded on a global scale, with thirteen

sales branches and three factories around

the world, along with KKDC Design House in

the UK. Now, founder and director Jack Choo said: “I feel like a fisherman returning back to port with a full load of fish.”

The new R&D Centre will be the base

of operations for KKDC’s hardware and software team, as well as its chemical

engineering department. The hardware

team works on PCB design, LED calibration

and hosing design, while the software team focuses on dimming programs, protocols for other dimming units and LED cluster


The chemical engineering team works on they meet KKDC’s stringent requirements

for UV stability, water resistance, adhesive properties and heat dissipation. All teams work together closely with the Oxford-

based KKDC Design House throughout the development process.

Lighting for the entire building was provided by KKDC itself, with the SEN-F, SEN, POKI

and Duo Luna profiles used on the exterior

lighting, while a bespoke, surface-mounted downlight, the FLAT-MG Special, provided the general office lighting inside.

The ground floor of the new centre features a flexible, open-plan showroom, showcasing the latest KKDC products in situ, with a

lighting scheme imagined by KKDC Design House.

Tim Young, Creative Director at KKDC Design House, said: “It was a clear point of the

design brief that this space needed to be a

flexible, multi-use area that can be adapted

according to our product changes and various events.

open plan areas, separated by adaptable

a relaxing seating and drinks area, and a

front ‘Gallery display area’. There’s also a

small tactile product room for visitors to get ‘hands-on’ with the various KKDC product profiles and components.”

For the primary lighting of the space, KKDC used its own soon to be launched KOH

Suspended System: a continuous general

linear lighting solution for direct/indirect

lighting. They also produced a custom spiral shape with diffused downlight and dynamic RGB uplighting.

The showroom features two notable design features within the space: firstly a ‘colour

temperature demo wall’, designed by Young, that features rotating panel boards to act as

a room divide, meaning they can be ‘opened’ or ‘closed’ depending on how KKDC required the space to be partitioned.

Secondly, there is a dominant module

shelving ‘box wall’ constructed from a metal frame with integrated LED lighting, into

which wooden box modules fit. This wall

workspace lighting

then acts as a partition between the main

which will no doubt benefit KKDC in the

used for displaying KKDC product launches,

house luminaire testing ability and specialist

promoting student works and competitions.

endeavour to produce LED lighting solutions

configured into various positions to create


on requirement. The whole wall is also

centre with a special launch party, in which

Alongside this, Young designed a special,

were invited to Seoul to see the centre, and

with embossed and debossed KKDC logos,

Those that made the trip were clearly

grazed with light.

Wendel of MBLD said: “For me, it allowed

of unoccupied floors at the moment, there

a highly developed industrial country with

implementing new technologies and

Graham Rollins, Associate at LDI, added:

The move to construct a new, purpose-built

great hospitality from KKDC – a fantastic

of innovation in South Korea, as the city

Finally. Patricia Lopez Yanez, Associate at

giants Samsung and LG. And Young believes

like to thank KKDC for giving me such

benefit the company greatly moving forward.

opening and factory visit. Being there meant

the Korean R&D team are very happy to have

develop their products, and to understand


space and a ‘front gallery’ area, which will be

future – and with the expansion of more in-

exhibiting artist and design collaborations or

knowledge, this can only benefit KKDC as we

The wooden boxes within the box wall can be

for the international architectural lighting

either an open or closed feel, depending

KKDC celebrated the opening of the new R&D


lighting designers from around the world

CNC-machined wooden feature wall,

visit KKDC’s factory in nearby Paju.

specified to create a textured wall finish,

impressed with what they saw. Christian

Although the building features a number

me to get an impression of South Korea as

are plans to expand the company further,

strong cultural roots.”

production lines in the space.

“The best aspect of the whole trip was the

R&D centre in Seoul puts KKDC at the heart


is also home to huge R&D centres for tech

Delta Lighting Solutions, said: “I would

that the LED manufacturer’s new centre will

an amazing opportunity to be part of the

“These are exciting times for us and I believe

I had the chance to take a look at how KKDC

so much space and room for expansion,” he

the manufacturing process.”

“Seoul is a hot-bed for engineering talent

Far left The ground floor showroom of the new R&D Centre boasts two notable design features: a ‘colour temperature demo wall’ and a module shelving ‘box wall’, both designed to showcase KKDC’s integrated LED lighting. Above left The exterior of the R&D centre, illuminated by KKDC’s own SEN-F, SEN, POKI and Duo Luna profiles. Top KKDC’s bespoke, surface-mounted downlight, the FLAT-MG Special, provided the general office lighting inside the building. Above The new R&D centre allows the LED manufacturers to run in-house luminaire testing for the first time. Below Also in the showroom, KKDC Design House designed a special, CNC-machined wooden feature wall with embossed and debossed logos, specified to create a textured wall finish, grazed with light.



Pics: Davis Carter Scott

The Greenhouse Effect The Cooledge TILE was installed into the White & Case law firm, based in Washington DC, during its latest renovation, to effectively bring the perception of natural light from outside indoors.


ooledge has introduced its

daylight harvesting. A particularly notable

as the primary source of the lighting design,

as the primary light source to

onyx wall in the reception area. The TILE

The paper-thin TILE provides an easily

surfaces TILE wall illumination American law firm, White &

Case, in order to create a feeling of daylight inside its modern interior.

In this particular case, natural light plays an integral role for the renovation of the law firmâ&#x20AC;&#x2122;s Washington DC office.

The interior architectural project, designed by Davis Carter Scott of DCS Design,

demonstrates the rejuvenation of light in the workplace, and this office demonstrates how the remodelling of a corporate interior can

maximise the opportunities for incorporating

luminous surfaces that seamlessly blend with


feature is the installation of an illuminated was specifically chosen for its ability to fill

the space with a uniform light distribution

and its unique translucent qualities allowing the onyx pattern to come through, all whilst limiting the depth of the wall cavity within

76mm, and provide a uniform distribution of light that replicates the feeling of daylight. Carefully positioned glass panelling in the

inner atrium diffuses natural light spilling

through from a central courtyard. Wanting to carry on this seamless, transparent

dispersion of light, the Cooledge TILE creates this, what appears, effortless lighting effect

to create the desired ambient illumination.

applied installation without the need for heat sinks and ideally resolves the need for large surface illumination coverage for this firm.

The warm palette of natural colours and tones creates an atmosphere of contemporary hotel luxury in the foyer that welcomes in staff and international clientele.

The TILE is an adaptable solution for

scalable and sustainable lighting applied to a

workspace without compromise to the design aesthetic.

18. – 23. 3. 2018

Smart and comfortable: At the heart of the building Our everyday lives are becoming smarter and more digital. Discover at first hand how intelligent buildings are becoming key elements of smart cities – at Light + Building. Inspiring tomorrow. Tel. +44 (0) 14 83 48 39 83

65882-008_LB_technisch_Mondo_Arc_106x310_SSP • FOGRA 39 • CMYK • jw: 09.10.2017

The world’s leading trade fair for lighting and building services technology

DU: 13.11. 2017


Frankfurt am Main

The Perfect Light


t is said that all good documentaries start with a

question. We are not saying that we have made a good

documentary but we have definitely asked a question… The historical development of light and lighting has

always been about the search for the ‘Perfect’ Light. With each

new light source development trying to better the one before in terms of efficiency, size or usability, and occasionally in quality

(halophosphor to triphosphor in fluorescent technology and quartz

At the start of this year, Light Collective set off on a mission to find the Perfect Light and on the way to capture the thoughts and characters of leading lighting designers around the globe. Supported by Citizen, the end product is a non-project specific narrative that voices the thoughts of 22 of the world’s leading lighting designers at a unique time in the development of light and lighting.

to ceramic in metal halide for example). The current state of the art in terms of lighting technology, however, means that most

designers currently specify almost 100% LED on their projects. We wanted to question the almost ubiquitous use of LEDs

in current lighting design and specification. We wanted to question why LEDs have superseded all other sources and

potentially rendered them obsolete, unlike any light source

development before. We wanted to ask, therefore, is LED the

Perfect Light? Are we in the middle of the greatest revolution since the invention of Swan’s (or Edison’s) light bulb?

Our documentary asked lighting designers around the globe

for their thoughts, memories and opinions on light sources,

lighting design and how they would define the Perfect Light.

In order to do this we were lucky to be able to enlist the support of Citizen, a company who has been making LEDs for 20 years. They

supported the project with a view to introducing themselves to the

lighting industry having realised that for many years they have been manufacturing LEDs based on increasing efficiency and decreasing

cost. They realised that these should not be the only factors by which LED is developed and our idea for a critical appraisal of the use of LED aligned well with this realisation. By meeting, and listening



xxx xxx

Opposite from left to right (row 1) Christopher Bauder, Serena Tellini, Francesco Iannone, Howard M. Brandston, Stewart Alexander. (row 2) Louis Clair, James Carpenter, Paul Gregory, Professor George Brainard, Mark Major, Leni Schwendinger, Don Slater. (row 3) Lisa Ishii, Professor Andreas Schulz, Motoko Ishii, John Lau, Karou Mende, Giovanni Traverso, Moritz Waldermeyer. (row 4) Roger Narboni, Enrique Peiniger, Gerd Pfarre, Kai Piippo.

to, the opinion of international designers we were able to find a

down as they said the quality of the footage was too amateur.

collate the thoughts of a varied set of characters and influences.

that includes sirens in New York City, building work in Munich,

our comfort zone and making a full length film is no exception.

Having screened the film to an invited audience of lighting

way to give a voice to the wider lighting design community and

Light Collective are always taking on new challenges and stretching

Against the odds, we got there in the end despite a soundtrack rain in Paris, car alarms in London and birds in Vincenza.

We spoke to 23 people in six countries… Christopher Bauder, Don

designers, artists and architects in London, Berlin, Paris,

Brainard, Gerd Pfarré, Giovanni Traverso, Howard Branston, James

have achieved and incredibly grateful to the lighting industry

Lisa Ishii, Louis Clair, Mark Major, Moritz Waldermeyer, Motoko Ishii,

supporting it and for everyone who was involved.

Slater, Enrique Peiniger, Francesco Iannone & Serena Tellini, George Carpenter, John Lau, Kai Piippo, Kaoru Mende, Leni Schwendinger,

Paul Gregory, Andreas Schulz, Roger Narboni and Stuart Alexander. From this we ended up with eleven hours of interview footage and

Milan and New York we are immensely proud of what we

for helping us to make this film - especially to Citizen for This is an industry that passionately cares about what it does and wants to share knowledge with competitors to

about another fifteen hours of night-time B-roll footage, which

raise the game for everyone. Every interview would have

After making loads of You Tube videos over the years on our

have created this snapshot of time and opinion.

all needed to be edited down to make a short film of 35 minutes. iPhones, we knew that we needed to upgrade our equipment and to up our game. We packed iPad Pros, iOgrapher cases,

made a short film in its own right and we are pleased to

We would also like to extend our thanks to all the lighting

designers out there whose work features in this film. We are

a DJI Osmo mobile and some tuneable LED studio lights

unable to credit all of you as we don’t know who you are but we

On the journey to make this film, we realised that we are definitely

of the urban environment and the support cast of this film.

(kindly lent to us by Rosco) into a suitcase and set off.

salute you and the work you have done. You are the unsung heroes

lighting designers not filmmakers and learnt a lot of lessons along

The making of the film has made us remember thats it’s lighting

equipment, missing capturing the sound, wonky, wobbly footage,

speak out. We hope it invites critical thinking and consideration of

really clever interviewees, worrying that people would not be in the

hope it makes you wonder as to what if any is The Perfect Light…

Overwhelmed by the amount of footage we ended up with at

Contact Citizen to arrange a screening or request a DVD:

the way. We had to navigate the pitfalls of forgetting to charge the

asking the wrong questions, embarrassing ourselves in front of our

film enough and of course revealing the end product to an audience. the end of our filming/interview stage which ran from May

to July, we asked someone to help us edit but they turned us

designers that need to drive change, need to innovate and need to

the impact of LED on the way we design from all that watch it. We also

Let us know your thoughts:


Winter Wonderland With lighting designed by Lichtteam and provided by Wibre, the Iglootel, located in Swedish Lapland, provided visitors with a magical hotel experience unlike any other.


n January 2017, Iglootel Lapland

to provide the lighting. Benjamin Pfendt,


time, offering visitors a truly

us and asked if we’d like to illuminate this

provided a different kind of consideration

opened its doors for the fourth unique hotel experience.

Located in Arjeplog in Swedish Lapland, the hotel is constructed completely out of snow and ice, and includes an ice bar, four ‘event igloos’, ten individually designed sleeping

igloos and an ‘Aurora’ area outside, complete with three whirlpools, each heated up to 40-degrees Celsius, as well as a wooden

sauna heated by a fire. Elsewhere, a cosy

bonfire surrounded by white snow walls in

the ‘fire igloo’ provides guests the chance to sit down, relax and spot the Northern Lights during a clear night.

German-based Lichtteam, who had worked on the first Iglootel, located in Aborträsk in 2012, designed the lighting for this unique resort, and called on manufacturers Wibre


of Wibre, explained: “Lichtteam came to spectacular project with our fixtures, as

a sponsor. There has never been such an

exciting project on our list of references, so the issue of our participation was never in doubt.”

The hotel’s location just south of the

Arctic Circle meant that this project was

completely different to anything that Wibre or Lichtteam had worked on previously. As Stefan Möller of Lichtteam explained, the

project occurs “in a symbiosis with nature”. “The entire project, including the time

sequence, relied totally on the weather,” he

said. “What makes this project exceptional is that it started without any prior experience,

as nobody has built and illuminated an igloo of this magnitude. No one knew what to

Pfendt agreed, adding that the cold weather from a manufacturer’s perspective: “The

biggest difference for us is the requirement from the spotlights,” he said. “The harsh

conditions of cold, snow and ice, of course, demand more and different functionality

from the spotlights than in central Europe.”

“In addition, we had far less experience with these conditions than we did for example, at

high temperatures in the Middle East, where far more experience has been gathered.”

These harsh conditions meant that lighting became an integral part of the project’s

success, not only in providing illumination, but in creating the right atmosphere, as

Möller continued: “The topic of lighting

is very important for the project, because without the corresponding situation-


adapted lighting, the Iglootel would just be

served perfectly in the snow and ice of

involved meant that the project could be

comfort. The residence time would certainly

technology is extremely robust and is

“It took a very long time to get as cold as it

a cold pile of snow without any warmth or be very short.”

Using the motto of ‘tuneable white’,

Lichtteam and Wibre worked less with

colours than in previous years at other

locations, instead utilising the changing

effect of warm and cold white light. “It was

very fascinating how a contrast in the rooms was created and how people react to it,” said Möller.

“The whole thing created a kind of suspense, so that the guests are led from outside to inside, from the cold white to the warm

white colours. Most visitors did not expect that.”

Wibre’s main application area is usually lighting under water, and as such, the

German manufacturer’s recessed spotlights

the Iglootel. Pfendt explained: “Our LED protected against any external influences by

the absolute permanent watertight enclosure from the ‘outside world’.

“Thanks to the sophisticated heat

management and various protection

components on the LED boards, the spotlight can withstand extremely low or even high

temperatures. What we also found special

is that the LED colours used are much more effective in ice than under water.”

While the obvious appeal of the Iglootel is to experience the frozen conditions of the Arctic Circle, preparations for this year’s location were halted due to surprisingly

warm weather, leaving the team with less time to prepare the hotel. However, as

completed on schedule.

normally would at the Arctic Circle, and we were sometimes faced with temperatures

on the plus side until December,” he said.

“This caused the entire project to be delayed, especially as the hotel was once again

significantly larger than in previous years. “We ultimately still managed to finish the

Iglootel by the opening date though, with a lot of work and fantastic teamwork within the team.”

The Iglootel was open from January to March 2017. Preparations are currently underway for Iglootel 2018, which will once again be

open from mid-January through to March.

Möller explained, the teamwork from those


All pics: Patrik Gunnar Helin Left Page Site 6. Blue light washes the tree lined pathway and bridge surrounding the pump house, illuminating the nearby residential area.

Step into the Light The seventeenth edition of Lights in Alingsås delighted the streets of the small Swedish town near Gothenburg. Proving to be another great success, the Light Trail took visitors all across the town to experience an array of emotions through light.


n its seventeenth year, the Lights

The key to success came from Hult allowing the whole

event for the little Swedish town

amount of limitations resulted in a lot of flexibility,

in Alingsås was another spectacular just north of Gothenburg.

In the beginning, students from the Light Centres

together with Alingsås Energi, under the guidance of Torbjörn Eliasson and Kai Piippo, started

experimenting with lights in Alingsås during 1998. Following on in 1999, students from Ljuscentrum

and Jönköping Lights School collaborated to create lighting installations at different stations. The

official Lights in Alingsås project began in 2000

in collaboration with ELDA, after the interest in

lighting design grew rapidly in the town, with Kjell Hult at the forefront to ensure it happened.

With great success, the following year, the town municipality entered into an agreement with

the Professional Lighting Designers’ Association (PLDA) to create an annual educational event

for lighting designers and students, (the event is now in association with the IALD).


town to be free for the designers to work on. A small allowing the event to grow rapidly into an annual

occasion, whilst respectfully remaining in keeping with the town’s aesthetics and functionality.

Sadly, this year saw the last of Kjell Hult from

the front lines as he announced his retirement. Nevertheless, ownership will be transferred to

Alingsås Energi and the reigns will be taken over by the trusty all-female team, Angelica Larsson, Maria Björsson and Margaretha Stenmark. Lighting has become such an integral part of the community in Alingsås, bringing

international visitors, (approximately 80,000 each year) and locals together for five weeks to brighten the dark autumn months.

With 60 students from all over the world (Belgium, Norway, Spain, Mexico, Argentina, Egypt, Sweden,

Israel, Portugal, Guatemala and South Africa), Lights in Alingsås 2017 was not a year to disappoint. The


Site 3: Creating the light lifeline between the milestone trees of life.

Site 5: Construction of the light gazebo next to the river, creating a warm homing beacon to the people of Alingsås.

Site 3: Site leaders Birgitte Appelong and Mats Bergström.

Site 5: Lara Elbaz, Spanish lighting designer with team member from Room With A View

Electronics student installing cables into the tree tops.

line-up of lighting designers included James Wallace

chances of employability following the event.

Gagnon-Lebrun from Canada, Miguel Angel Vázquez

seven lighting designers, this year saw the addition

from Australia, Lara Elbaz from Spain, Louis-Xavier

Calanchini from Mexico, Birgitte Appelong and Mats Bergström from Norway, Veronica Chernets from

Ukraine and Magnus Almung and Simon Malmström from Sweden. Each team had a mixture of cultures, backgrounds and skills that were merged together to formulate a cognitive group that produced the

lighting installations. This proved an interesting

social situation for each of the individuals, as not

only did they have to work together to produce an installation, the different cultural backgrounds

demanded an intense commitment to co-operation. Furthermore, each site team integrated top-of-

the-class electronics students from the local high school, which provided them with invaluable

industry experience. When speaking with the

electricians mentoring the high school students,

they remarked working on this project would, and has done in the past, dramatically increase their

Differing from the usual format of seven sites run by of an extra site specifically aimed at children. A local playground on the light trail was transformed into

an illuminated circus, created by Swedish designer

Malin Wallin. An interactive and playful scene where children could engage with light and sound was

created across the small park. “The response we got was really great and is in line with our ambitions to involve the whole family. That also applies to

our partners, which this year includes Sparbanken

Alingsås, Alingsås municipality and Alingsås Energi to name a few”, adds Angelica Larsson, Event Manager. An important theme, which was brought to

attention next to the children’s site, was where

TRINE had set up a pop up exhibit to highlight the issues of a world without electricity; a world that

1.2 billion people live in today. Much like the darc room participants, Little Sun, TRINE is working hard with solar energy to create and bring light



Site 6. Fire flies hovering over the river next to the pump house , creating mesmerising reflections in the water.

“The response we got was really great and is in line with our ambitions to involve the whole family. ” Angelica Larsson, Event Manager

luminaires journey over. The story goes, six friends made a pact

when they were eighteen to return to Alingsås for the Lights event

after they grew up and moved away. Each person brings with them an emotion as the train pulls in and departs again, whether it’s one they find when they arrive or one they have left behind; accomplishment, frustration, fright, tenderness, sorrow, eagerness and safety.

Site number two was titled Weaving Emotions. A collection of slim

wooden poles were assembled in a grassland area close to the railway station and pedestrian pathway, and were used to represent the

historic past of textiles in Alingsås. Initially, curiosity draws the

audience into the installation and encourages them to walk amongst the poles. Then, depending on which angle you’re standing in will

determine what colour you see, and thus evoke a different emotion depending on the individual’s interpretation of that colour.

Site three progresses on to one of the main residential roads in the south of the town. This large site covers the length of the tree-

lined road, illuminating one side, connecting all of the trees with a pulsing lifeline of light. Point of You delves into the forbidden feelings and emotions experienced during your adolescence,

to those in countries where electricity is not readily available. The theme for the lighting installations, this year, was

‘Emotions’. Each site had to take an emotion and derive a story behind that particular feeling, which could then be

conveyed through lights, music, composition and colours.

Site one, run by Team Aussie with lighting designer James Wallace, had the task of tackling the Alingsås Train Station. The team

created a story of friendships moving along the Track of Emotions

– a wooden track used as an architectural addition to the façade

of the building - to represent a railway track that the Philips LED


such as loneliness, ego, jealousy, insecurity, religious conflict

and infidelity. Each tree represents a milestone in the timeline

of life, starting at birth and childhood all the way to retirement

and death. Each end of the street displays two different lighting effects; the first side being darker with more isolated colourful

spot washes, which represents the stories of life, whereas when returning at a different point of the light trail after some other sites, we get the opportunity to look back on the street where

each of the trees are illuminated in a punchy, bright blue wash. Site four, The Walk of Concern, is located at the Alingsås Court

House. Working in collaboration with Magnus Almung, the architect

Leake Street, UK • Lighting design by Nulty • Luminaires by W. Meyer, supplied by sole UK distributor Commercial Lighting Systems Ltd • Photography by James French • Light source by Xicato Artist Series

Color is Everywhere Xicato Artist Series®


AD 171201 Graffiti.indd 1

12/4/17 8:40 AM


Site 1

Site 2

Site 3

Site 4

Site 5

Site 6

Circus Playground

Children enjoying the lights around the circus themed installation in their local playground.

Site 7

of the new extension of the building, the

that are soft and subtle to make the viewer

our professional career), a very productive

depicted through the emotional journey

Happiness is the emotion reflected in site

positive attitude - smiling and enjoying

lighting team derived a story of concern

someone goes on when summoned to court. The story guides you with lights to the front door, a point of no return, and mimics a

heart beat pulsing. Then it travels across

the building to a wire mesh sculpture of a

crouched figure illuminated in red and blue,

representing anxiety. The adjacent windows flash alternatively to and fro to suggest a

heated debate within the courtroom before we finally move around the corner to a

couple of constructed screens with spots of moving colours to represent a resolution.

Room With A View is the title for site number

five, located close to the river. During the darker months, a Swedish tradition is to

feel relaxed and connected to nature.

six, located at the Pump House and bridge. The trees lining the river are washed with bold blues and reds and a collection of

fireflies hover above the flowing water.

This represents the circle of life through

the cycle of water and the transfer of energy between the water and the pump house. The last site brings us back to the

town centre at the historical museum

building. When walking through a linear light-gate, hanging glowing baubles

surrounds us, with colour washed trees and an illuminated statue that prints its shadow onto the museum walls,

suggesting their emotion, Reflection.

put a small lamp in the window facing the

A non-official installation in the window of

a little warmer and easier. Lara Elbaz’s

lighting student alumni from previous years.

street, which makes finding your way home team recreated this scene transforming

the streetlights with large lampshades. A

small wooden pavilion is illuminated where you can sit and watch water reflections and ripples as the river is gently lit, to

create the atmosphere of ‘calmness’ as

their emotion. A home from home, Elbaz wanted to use warm autumnal colours


the town library was produced by a group of Katia Kolovea described the experience as a student from 2016 and what it meant to her: “The biggest advantage are the tools that I developed during the workshop

week. The power of team work (it’s super important to respect and build concepts

and ideas with a multidisciplinary team),

the multitasking (which is very useful for

organisation and, most importantly, a

every single creative day of the workshop week. It’s an unforgettable time that

every designer should experience”. Upon her return in 2017, Kolovea was reunited with friends and colleagues to produce

the smaller alumni installation on a more intimate scale. “This year, a group from KTH Royal Institute of Technology were

invited by Lights in Alingsås to create an

indoor light art installation for the festival. I was very excited to be part of this team and go back to meet all of my friends

after a year in Alingsås. It was great to be back and work again with this inspiring

team and the passionate experts from HQ (the technical support and programmers etc), Angelica, Anna, Camilla, Maggie and the best guide Birgitta. I am sure

that I will go back to Alingsås for a third time very soon! It works like a magnet, once in Alingsås...always in Alingsås!” Now the Light Trail is closed again for

another year, preparations are beginning

already for next year with the new female team to carry on the Kjell Hult legacy.

value engineering

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custom optic

LED selection to meet efficacy & CRI targets

A fresh approach to your solution In need of a showstopper? We’ll take on your technical challenge with new concepts, value engineering and a focus on your budget and performance targets. Walk away with a solution that not only looks amazing but delivers on performance too.

Tell us what you want and we’ll deliver your ideal LED solution.

we’ll design it

manufacture it

test it

and deliver it

See us there. Hall 4.2 Stand B90

The Case for Managing Performace Holly Reed, IALD Human Resources Consultant, offers up some advice on how management teams can help employees through a proper performance management system.


s we head into 2018, some firms are deciding how to review and reward their employees. This is often an important time to consider the reasons and process for managing

performance. Managers can make their pay

decisions as an outcome of results achieved in the past year.

One of the most significant aspects of performance management is providing employees an opportunity to receive direct and

specific feedback. Through this process, employees will gain an understanding of how they are performing and be able to

react constructively. Your communication results in developing your high performers, retaining your top talent, ensuring fair treatment for all employees, and creating an engaging and professional work environment.

This process also allows managers to exhibit leadership. Managers play a very important role in coaching, developing and retaining employees. A strong employee retention tool is the relationship with the manager or supervisor. Andrew Chamberlain, PhD, is

chief economist at jobs site Glassdoor and director of research at Glassdoor Economic Research.

Using reviews and salary surveys, he wrote in the 17 January 2017 issue of the Harvard Business Review: “One of the most striking results we’ve found is that, across all income levels, the top

predictor of workplace satisfaction is not pay: It is the culture

and values of the organisation, followed closely by the quality of

senior leadership and the career opportunities at the company.”

Managing employee performance is best accomplished by setting goals for employees. Goals drive performance toward results and

help employees clearly understand what needs to be accomplished – and who is responsible. They allow us to recognise great

performance and manage improvement areas. Without goals, we don’t know what success looks like.

Starting with the organisation’s strategic and business goals,

managers should develop cascading goals for each department and then for individual employees. Aligning departmental and

employee goals to organisation goals helps employees understand how their work matters. Ensure employees understand the

activities they are expected to perform and how their performance will be measured.

To help craft goals, consider S.M.A.R.T., a popular goal-setting tool used globally for describing the necessary elements of meaningful job objectives:

• Specific: concrete, detailed, well defined

• Measurable: numbers, quantities, comparisons • Achievable: feasible, actionable

• Realistic/Relevant: using current resources • Timely: timelines defined

Consider the overall objectives of the organisation and then

develop objectives for your employees that support that work. Focus on what you need the employee to achieve instead of



describing what someone is going to do. Objectives should reflect the level and range of job responsibilities that the employee has. Keep objectives under review throughout the year.

A vague goal would be “increase number of new proposals”. A

S.M.A.R.T. goal would be “increase number of new proposals by

15% this fiscal year”. Behavioural goals can also be represented as

S.M.A.R.T. goals, such as “working with others 100% of the time in a professional, respectful way that is cooperative and collaborative”. It’s also important to manage high and low performers. Hold

quarterly or mid-year update meetings with individuals to monitor progress against goals, realign priorities and discuss individual

development priorities. Document what was discussed and provide regular coaching throughout the year.

Managers are responsible for developing relevant objectives for

existing employees annually, and for new employees soon after start date.

The S.M.A.R.T goal-setting tool is used globally for describing the necessary elements of meaningful job objectives, and Reed believes that by utilising this tool, managers can give employees more detailed, specific targets. By doing so, it becomes easier to track low and high performers, and offer more realistic developmental targets.

As a manager, you want to spend as much time as you can with your top performers who are achieving the most results. You want to

work with high performers to keep them engaged by giving them

stretch assignments, cross training opportunities, and projects to

develop new skills and include their long-term career goals. With a

high performing employee, pursue conversations about continuous improvement.

With a lower performing employee, determine what issues exist

that limit the employee’s ability to perform the task or accomplish the objectives. Four common barriers are time, training, tools, and behaviour. Determine how to remove these barriers.

Focus on the problem or behaviour that needs improvement, not on

the person. Use descriptions of the behaviour with examples. Ask for the employee’s view of the situation.

Describe the performance problem to the employee. Discuss

potential solutions to the problem or improvement actions to take.

Ask the employee for ideas on how to correct the problem or prevent it from happening again.

Being clear and straightforward in your communications regarding performance is a top priority for a manager. Provide frequent,

early feedback to identify any issues. Ensure there is consistency

between verbal feedback, performance rating, salary and incentive

Managing employee performance can be a lever to help your business

When it comes to written reviews, some tips to think about are:

results-oriented. Coaching employees throughout the year will keep

recommendations, and the written review.

• All ratings should be able to be supported by specific and measurable criteria

• Differences between and among individuals can be explained, justified and supported

• Documentation exists on events and incidents related to an employee’s performance (both positive and negative) • Focus on results and behaviour

reach your goals. Using S.M.A.R.T. goals makes objectives clear and their progress on track and keep them engaged with their work and the organisation.

Additional resources on Performance Management can viewed at the following links:

• Topics should be job related only

and discrimination

Chamberlain’s Harvard Business Review article can be found at:

• Different countries have different labor laws regarding employment • Complete review on time


IALD Enlighten Americas 2017 IALD Enlighten Americas 2017 arrived in the Mile High City, Denver, this October, bringing together designers, manufacturers, students and friends from all over the world together to celebrate light. Editorial Assistant Sarah Cullen joined the fun.


he seventeenth edition of the Enlighten Americas landed in Denver, Colorado between the 12th and 14th October this year. The IALD hosted convention was set in the Grand Hyatt Hotel in Downtown Denver, which became home to the hundreds of attendees from many international backgrounds over the following three days. Set in the mile high city of America, Denver provided an epic backdrop to the venue. Its vast grass plains are abruptly jagged with the foothills of the Rocky Mountains. The event covered conferences and networking opportunities on a large scale, bringing together lighting designers and manufacturers from all over, together under the one roof, to encourage new working relationships and re-affirm existing ones. The opening Keynote was given by Roberto Schaefer ASC/AIC Cinematographer, and was sponsored by LED Linear. In this informative talk, Schaefer discussed the use of and importance of lighting on a Hollywood film set. He focused on numerous projects, past and present that he has worked on and explained a running theme of shadows and their power to capture a scene, sometimes less is more and as Schaefer claims, “the key to light comes from within the darkness”. Examples of his most strikingly lit films are The Paper Boy and Quantum Of Solace. Taking inspiration from music and artwork, Schaefer described writing with light as an art form that is in place to evoke an emotional or practical feel. This is something that is also all too familiar in the architectural lighting industry; as light and architecture go hand in hand to create these vivid visual effects. In the following days, the conference timetable was full to the brim with interesting talks and discussions from many notable industry figures, as well as networking opportunities and student workshops. Craig A. Bernecker from The Lighting Education Institute Parsons School of Design, kicked things off with an open discussion of Commissioning Lighting System Performance:


Practical Tools and Techniques for Measuring Lighting in the Field. This hands-on session began with a heated discussion amongst the audience; debating the necessity to return to a project to verify and double check your installation is as it should be. So, should you? Discuss… The Lighting Industry Resource Council (LIRC) proceeded with this year’s meeting giving thanks to the continuous support that comes from many directions, financially through donations and through the ever-growing participation support from all those involved in the organisation. The IALD team were also please to announce Reiko Chikada into the College of Fellows. Chikada has been a lighting designer for the last 40 years, establishing her own design practice and being an active member in the IALD Membership Committee and Board of Directors, organiser and host of IALD Enlighten Asia in 2013, 15 and 17. She is also the vice-representative of IALD Japan. Following on with talks from day one, we delved into the process of the new IALD Awards submission with Ardra Zinkon, who proved invaluable with helping designers who are going through the application process, as she was talking from a first hand perspective. John Martin, Senior Design Associate at the Los Angeles architectural lighting design firm KGM Architectural Lighting, opened the floor to discussion on Public Policy: Global Issues and Local Actions. Looking into some of the biggest topics brewing conversation in the lighting industry, Martin challenged the audience to talk about the changes in MEPS policy standards in Australia as well as IoT technology and how it is having or going to have an impact on our industry. Furthermore, the floor was opened to discuss ideas such as the impact of light in the care and health industry, the structure and process of writing codes, human function factors, human centric lighting and the psychology of the quality of light. Lighting designer Sabine De Schutter held a talk on the importance of holding light festivals, as it is both a marketing


Pics: Alexander Morozov

tool for a city to draw people in and together as well as light being an important tool for creating the identity of a space. For example, a geographical divide can be seen in Berlin through lighting, showing a definitive divide between East and West. â&#x20AC;&#x153;Managing the darkness has to be an integral part of conservation,â&#x20AC;? claims De Schutter. In a more technical genre, Andre Mackinnon discussed the importance of longevity of lighting and its maintenance. He strives for the industry to produce a form of training in lighting maintenance operators to aid in the forthcoming years of installations. Nancy Clanton and Dr Rick Mistrick led an inspiring discussion on Spectrum and the human circadian rhythm. How important is the spectrum of light in architectural lighting design? Visual and Circadian quality are the focal point of this issue, as well as personal or aesthetic preference, but achieving the optimal spectrum of light throughout the course of the day and night is an important design planning factor. Edwin Smida from Licht Kunst Licht delivered an uplifting talk on the importance of light, colour and happiness. Using memorable images of a sunset and what that image evokes in individuals is a universal response. Light has the ability to lift our moods, but how? And is it possible to integrate this into the architectural world? One example Smida explores is the ability light holds in the medical world and the impacts colours and intensities have on our moods as a recovering patient. Another intriguing concept that was explored at this conference was that of light and textiles. Alison Fielder, Associate IALD and Denise Fong, IALD, CLD, both from Stantec discussed the use of portable lighting that is integrated into fabrics and carpets. Samples of illuminated clothing were shown throughout the talk as discussions on the application of lighting onto textiles vary and what effects can be achieved, from woven, sewn or embroidered, and what purpose does lit clothing hold? From a historic perspective, Ted Mather and Rachel Gibney

from Available Light delivered a talk on their work for the Museum of the American Revolution in Philadelphia. When working with a fragile piece of history, not only is the lighting essential to showing off the exhibit in all of its glory, it is also vital for its preservation. After each day, we were offered a welcome break of evening events hosted by numerous sponsors. Thursday evening was the Presidentâ&#x20AC;&#x2122;s Evening Reception sponsored by Eaton at the Grand Hyatt Pinnacle Club. The top floor bar with panoramic views of the city and the Rocky Mountains were the perfect backdrop to the evening of networking and drinks. Friday night we kicked back and relaxed at the fun Punch Bowl Social full of bowling and darts, hosted and sponsored by Acuity Brands. The final dinner on Saturday night was set in the picturesque Denver Aquarium where we had dinner and drinks under the sea, a fantastic and quirky venue for a farewell to the new and old friends we made in Denver. Closing the event was the keynote from Electronic artist Rafeal Lozano-Hemmar. With years of experience under his belt in light artwork, Lozano-Hemmar gave a truly inspirational talk on his projects from across the years. With a distinct style and interpretation of light and its ability to communicate on a social platform, he delved through political installations to private business commissions that explored strong themes of social comments and personal comments on human society. A thought provoking and motivational talk to leave on.


PLDC Paris 2017 Editorial Assistant Sarah Cullen attended the 2017 edition of the Professional Lighting Design Conference, which was held in the City of Light itself, Paris.


t’s been two years since the lighting community collectively explored Rome, Italy for PLDC 2015 and how time flies as we have just returned from Paris for PLDC 2017. Familiar and new faces arrived at the Palais de Congrés in central Paris for three days of inspiring lectures, exciting experience rooms and engaging exhibition stands. Shift Happens was the running theme for this year’s conference, and it was evident in conversations and professional talks that the lighting industry is on the brink of mass change through approaches to design, construction and technology. As well as the invaluable opportunity to network with manufacturers and designers, attendees were also inundated with choices of lectures. With the running theme of change in the lighting industry, many of those on the lecture line up discussed this movement and what their expectations are for the future of the lighting world. Tapio Rosenius, Lighting Design Collective, touched on numerous topics that explores the idea of lighting design as an ‘open ended’ profession existing at the creative edge of the built environment consultancy services, and delves into topics such as the anti-disciplinary approach and the relevance of architectural lighting design as a profession. Colin Ball, BDP, takes on a different angle of discussion and looks into the Paradigm Shift. Exploring the use of light and projection, Ball explored the relationship between video, architecture and space, and how they are merging together to form light projection installations that evoke a psychological response. Mark Major, Spiers and Major, looked at the future of city lighting and how it’s changed throughout history from individual functional lights to light pollution as a result of over compensating with street lighting, to a technological, futuristic


development in night vision and the use of VR in lighting design. Paul Traynor, Light Bureau, discussed an academic approach to the change of lighting design and the road to take to professional credibility in the industry, beginning at the history of architecture and light, then moving forward to the ÅF Lighting Academy that explores a future proposal of education. Over the three days in Paris, attendees were welcomed to attend many exciting excursions. arc magazine was lucky enough to join Linea Light on a fascinating trip to Les Arts Dècoratifs, located inside the Louvre Palace. In collaboration with lighting designer Emmanuel Clair, Linea Light worked closely with the lighting system restoration team to renovate the medieval and Renaissance wing. With previous lighting systems dating back to the 1970s, it was essential to re-evaluate the halogen sources and intervene with new LED replacements that would dramatically reduce energy consumption as well as being a safer, less damaging light source on the paintings. On the Friday, eldoLED organised for the Château de Versailles to open its doors to a group of lighting designers for an exclusive viewing of the Château, its grounds and lighting designed by Éclairagistes Associés. The façade of the Castle Versailles is illuminated by eldoLED PowerPIX and the park, access road to the palace and fountains are lit at night by POWERdrive 562/S LED drivers with the aim to mimic the thousands of candles used during the reign of Louis XIV. Lighting designer Armand Zadikian hosted the third excursion to the Notre Dame Cathedral. Starting in 2011, Zadikian realised and developed a lighting design that would alleviate the cathedral from the burdens of the older lighting systems. To replace the dated luminaires from the 1970s, LEDs were incorporated into a respectful, discreet scheme that would tie in with the spiritual building. The LEDs ensured energy-


saving results that were also reliable and safe, and provided the flexibility to create different lighting scenarios for events and installations that take place in the house of worship. At the conference, three experience rooms provided an immersive and engaging activity for audiences to enjoy between lecture times. Sponsored by LEC Lyon, Synesthesia delved into the relationship between light and colour association with numbers through a sensory experience. An interesting psychological exploration into the pairing of colours with certain numbers and how those colours make you feel. What emotion they evoked to an individual made an interesting discussion point for how coloured light can have an impact on the viewer. Proximities took a different approach and looked at the potential of light to enhance or limit visual and interpersonal connections with others looked through the medium of modern interpretive dance. With some giving feedback of feeling extremely uncomfortable around the alien-like dancers, and others that reveled in the interaction. PLDC concluded its three busy days of business and networking with the celebratory Gala Evening, where the winners of the PLDR awards were announced. Kicking off the awards ceremony was the winner of the young designers’ speaker competition, The Challenge. With 1000 euros at stake, the winner for the final presentation round was awarded to Zhuofei Ren from Suoshi Lighting Design Studio, mentored by Paul Traynor, for a piece titled ‘Living in the colours of the colourblind’. The Future of Urban Lighting competition showcased its ten best entries during the Professional Lighting Design Week. Of these ten, three of them were awarded first, second and third monetary prizes. First went to the Urban Senses team with 5000 euros, second with 3000 euros went to Kerem Asfuroglu

and third with 1500 euros went to LiDS lighting design studio. The winner of Best Newcommer for the PLD Recognition Award went to Carlijn Timmermans for her creative visions and concepts, active designs and dedication to the lighting community. Award for the Best Partner in the Industry went to iGuzzini for their funding and support of Dr. Elettra Bordonaro’s Visiting Research Fellowship in the LSE Sociology Department. The winner for the Research Award went to Prof. Carlo Ratti at the MIT Boston/US for his future-orientated research on real-time cities. The Education Award winner was given to Aalborg University, Copenhagen for their transdisciplinary Master’s programme in Lighting Design. The Daylighting Project award went to The L.A. Courthouse, US and was accepted by by Skidmore, Owings and Merrill US who represented their close collaborator HLB Lighting, US. The Best New Project was awarded to The Façade Lighting of the Kunstmuseum, Basel by iart for its innovative integration of a media façade into the architecture. The At Large award went to LightAware project for their effort to raise awareness of the impact of artificial lighting on human health and wellbeing and encourage discussion and investigation in to the same with the goal of making a difference. Last but not least, the long anticipated Lifetime Achievement award went to Japanese lighting designer, Kaoru Mende, for his life’s work in architectural, environmental and interior design lighting. He also heads the ‘Lighting Detectives’, a collective that specialise in the culture of lighting. A recent announcement has confirmed the what was biannual PLDC event will now become an annual event and is expanding across to Asia and America.




PLDC A round up of this yearâ&#x20AC;&#x2122;s 2017 product releases at PLDC Paris 2017.

The PLanin LED Luks The Plain LED suspended luminaire, designed by Kai Piippo of Ă&#x2026;F Lighting, produces a medium beam downlight, a wide beam uplight and achieves up to 135lm/W. Being one of the early adopters of Sunlike LEDs from Seoul Semiconductor, it delivers light close to the sunlight spectrum with CRI97.



3 4


GoboLED 7 - Pro Unlimited Outdoor Image Creation Griven Brighter than a traditional 575W discharge lamp and packed with multiple effects and patterns, GOBOLED 7-Pro will offer broad creative design integration for permanent exterior installations projecting a bright and accurate rendition of graphic designs or logos in outdoor and indoor locations.



Surfaces Cooledge SURFACES is the fusion of architecture and light-delivering immersive illumination that replicates natural light, creates more human-centric environments and accentuates architectural materials that define spaces. Photometric files are available for all standard product options to make specification simple and ensure adherence with design requirements. It can be created anywhere from surface-mounted, suspended or flush mount ceilings to walls. Tunable white capability in a scalable platform optimised for large areas and designed for simple installation.


Lumenalpha Lumenpulse Lumenalpha Cylinder is a high-performance LED lighting solution for commercial, retail and hospitality applications. The cylinder architectural family offers a wide range of sizes, mounting options, lumen outputs, as well as fieldchangeable accessories and optics (15/25/40 and 60 degrees asymmetric wallwash and double asymmetric distribution).



Aila Ansorg Aila, the new aisle lighting solution by Ansorg, delivers energy saving and cost efficiency to food retailers. The LED luminaire has a flat design and is available in a surface-mounted and recessed version. It features a pivoted lens system with different beam characteristics for asymmetrical light distribution and fast adaption. It effectively showcases shelf products, and the wide beam version additionally ensures high quality centre aisle lighting, as a result of its flexibility, Aila is also suitable as basic, POS or gondola top lighting.



Efro Luci Efro is a meticulous structural design for humidity-resistance and will provide assurance of electrical safety in bathrooms. It has a dot-free surface for reflective surface material and a high efficacy LED package with three steps Macadam 607 lm/m, 8.4 W/m in 2700K, Ra>93. Five colour variations 4200K, 3500K, 3000K, 2700K, 2400K. Five length variations 162 mm, 302 mm, 582 mm, 862 mm, 1142 mm. It has an optional aluminium channel for wall mounting and is ideal for vanity lighting purposes with high colour rendering and smooth lighting distribution.

Quality-driven European Manufacturer of Technical and Architectural LED Luminaires Led by passion and inspired by the dialog with you, we create our standard product lines as well as custom-made lighting solutions, standing out for their uncompromised quality, functionality, efficiency and appealing design. Located in Slovenia, our value is to manufacture and sell products 100% made in EU for applications such as offices, educational and administration buildings, industrial plants, sport and event halls. HALL 4.2, STAND A02

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Palladiano L&L Luce & Light Palladiano is a family of fixtures, designed by Francesco Iannone, whose distinctive design can offer multiple configurations. It is enormously versatile, thanks to its harmonious shape, featuring two distinctive semi-circular arms and adjustable optics. Its personality really comes to the fore in combination with the optical accessories – colour and shadow-effect that bring to mind natural environments and create unique settings.




Yori Evo Ghostrack Reggiani Yori Evo Ghostrack lets you create unique lighting schemes and configurations. Thanks to its brand new patented technology it features an invisible adapter and driver for single or clusters installations on a standard 3-circuit track. The series includes new optics that allows outstanding light output, beam angles and intensity peaks. The range now offers a wider choice of accessories for flexibility and ten brand new finishes to make a unique scheme.




Invisible Light Linea Light Invisible light is a multi-optical spotlight to be installed in false ceilings and available in three direct light versions: rectangular with three and six spots, square with nine spots. It has a matt white painted aluminum frame and is suitable for accent lighting. Special cut-off cells grant visual comfort for users as well as the magnetic fastening, recessed and screened LED source.


11 Atto Precision Lighting New to the display lighting market, Atto is a tiny lockable spotlight that delivers clean light distribution from modular designs so inconspicuous they’re barely noticeable. Delivering 105lm with just 1W, Atto is available with a wide range of optics, finishes and mounting options, allowing architects and designers to select by aesthetic, beam distribution and colour temperature, to suit any type of display.



CITILED Citizen The application of dramatic light installations to make an illuminated object look more beautiful has been growing, and the demand for ‘quality of light’ has become increasingly more diversified. In response to these needs for lighting, Citizen Electronics has developed the high chromatic LEDs and the CITILED Vivid series.



Milestone Heper The Milestone module introduces an indirect lighting concept for LED light source. It has better glare control and thermal management, more homogeneous lighting distribution, easier maintenance and perfect cut-off with no uplight. Specially designed multifaceted reflectors send the light to wider places where standard lenses fail. An IP66 graded light itself, Milestone module is much like a lamp. By adding more modules to a fixture, you can get different lumen outputs as well as different light distribution.

Fitted LED design solutions – for interior and exterior for business houses and private residences, façades, parcs, gardens, museums, public spaces, churches, shopping malls, showrooms, film and television studios, hotels … above: magnetic minispot LED-LUC | below: LED-LIGHTLINE


by TTC Timmler Technology

TTC Timmler Technology GmbH Christian-Schäfer-Str. 8 D-53881 Flamersheim T E

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arc on ARC David Morgan takes a closer look at the ARC accent range from Soraa, a new line of luminaires built around its LED engines and optics.


nly nine years after Soraa was originally set up

to commercialise the production of white LEDs based on Gallium Nitride on Gallium Nitride

(GaN on GaN) LED technology, the company has now launched a range of luminaires

incorporating their LED light sources and light control components.

The Soraa story started in 2007 as a team of pioneering professors from the worlds of engineering and semiconductors – Nobel Prize winner Dr Shuji Nakamura, inventor of the blue laser and LED, Dr

Steven DenBaars, founder of Nitres, and Dr James Speck of U.C. Santa Barbara’s College of Engineering – came together with funding from Vinod Khosla to develop and commercialise GaN on GaN technology for LED lighting.

In the short period since Soraa was formed, the company has been

very successful at creating awareness and demand for the superior light quality of their retrofit lamps and light engines that give a lit effect very close to halogen lamps.

Soraa is now a recognised and established supplier of high quality retrofit LED lamps and concentrates its marketing activity on

lighting professionals to specify Soraa for retail, hospitality, gallery and premium residential projects.

Having launched the company and demonstrated that the GaN on GaN technology works well, Soraa has now decided to go beyond

providing light sources and has developed a range of luminaires built around its LED engines and optics.

The initial offering includes a limited variety of both ambient and

accent lighting luminaires. The Soraa ARC accent range, which I am reviewing here, includes spotlights, downlights and a double-wire

pendant system. Two sizes are available, based around the diameters of the Soraa MR16 and AR111 light sources. All the existing Snap

beam shaping, colour temperature adjustment and glare control accessories can be used with the versions fitted with the Snap 10-degree lenses.

In terms of light quality, output and lit effect there are no big surprises from these products since the various luminaires

incorporate the same light sources and folded prism optics used in the Soraa retrofit lamps and light engines. The light quality is as

close to halogen as I have seen from any LED source and the lighting specifiers I work with all have good things to say about the lit effect of Soraa lamps.

The range is modular so that the same heat sink casting, light engine and Snap accessories are used on all products of that diameter. The

heat sink is a nice quality die cast aluminium component instead of the machined extrusion provided with the Soraa light engines and

the size has been reduced to the minimum size while still ensuring safe operation of the LED source. The running temperature of the

20-watt 100mm spotlight heat sink was still comfortable to touch David Morgan Associates, a Londonbased international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting. Email: Web:


after a few hours. The light output from the smaller size light engine fitted with a 50mm lens is 1,000 lumens at 18 watts, except for the

10-degree Snap version, which is around twice the level from a Soraa MR16 9-watt lamp.

The European versions of the spotlights incorporate a side-mounted


Soraa ARC track

Soraa ARC track

Soraa ARC adjustable

Soraa ARC track

Soraa ARC pendant

Soraa ARC pendant

integral mains voltage driver enclosure. They are supplied with

However, the overall design of the individual luminaires has a

installed tracks, particularly those found in retail applications.

range to be used in a wide variety of applications, in fact it does little

phase dimmers but it is understood that DALI dimming versions will

lighting market. Maybe a â&#x20AC;&#x2DC;Soraa Insideâ&#x20AC;&#x2122; sticker would help to point

and angle-cut types can be fitted to the spotlights after any Snap

The luminaire market is unlike the light source market and often

The downlights are available in only one size, based on the 50mm

distinctive and vanilla designs for the same type of product are often

mounting options. Only adjustable angle versions are available at the


and wall-wash trims fit into the housings and are available in four

the superior light quality and are looking for a simple range of

goldish effect.

that the downlight range will need to be expanded to offer more

and are also based on the same light engine sub assembly used for the

splash in this particular overcrowded market.

recessed into the ceiling, hiding the driver enclosure to create a slim,

products in need of a wider family.

moment, only phase dimming is available for this series.

customers who are currently using their integrated light engines.

with the driver housed in the ceiling plate and two insulated wires

and versions if Soraa has now become a direct competitor in the

how the length of the cables can be adjusted but I am assured that

The Soraa ARC range is well designed and engineered and is likely to

The ARC range appears to have been carefully developed to

to project the Soraa brand more effectively with a more refined and

components, which is pragmatic. This results in numerous versions

generation of Soraa luminaires.

a global track adapter, which will fit into a wide range of existing

somewhat bland appearance. Whilst the aim may be to allow the

Dimming the spotlights at the moment can only be controlled by

to promote the Soraa brand or differentiate it in a crowded display

be available in due course. Clip on anti-glare snoots in both straight

out that is not just another spotlight range.

accessories have been first installed.

requires many variations on each theme to match each niche. Both

light engine, in square and round versions with trimmed and trimless

required from the same brand in order to satisfy specifiers and end-

moment, with a maximum aiming angle of 35-degrees. Downlight

For lighting specifiers who are already familiar with Soraa, recognise

colour finishes including Tangerine, which I assume provides a

spotlights, then the ARC range may well be suitable. However, I feel

The adjustable surface-mounted projectors are supplied in two sizes

sizes, higher output and other options in order to make much of a

spotlights and other products. The cylindrical design can be partially

The pendants and adjustable luminaires are both fine but are orphan

fully adjustable projector that can angle up to 90-degrees. At the

It is hard to gauge the impact of this product launch on Soraaâ&#x20AC;&#x2122;s OEM

The pendant versions are also available in two sizes and come as a kit

Will these customers continue to invest in developing new products

supporting the light engine. It is not clear from the Soraa literature

luminaire market?

this happens in the ceiling canopy

succeed in specific markets but it may be that there is an opportunity

produce the widest range of options using the minimum number of

distinctive design. Perhaps that should be the plan for the second

that can be used in a wide variety of lighting applications.







Middle Eastern Promises


We take a closer look at some of the latest innovations on show at Light Middle East 2017.

TRINOS Zumtobel The TRINOS industrial LED luminaire combines the flexibility and functionality of a trunking system with the durability of an IP65 solution. As a result, precise and high-quality work is supported in locations that demand higher protection against moisture and dust. A three-piece sealing concept ensures the highest levels of resistance, safety and performance at all times. The proven splitlens technology from the TECTON C portfolio is also used in the TRINOS luminaires, which are protected from contamination and moisture from above, below and at both ends.


ZENO NSP Targetti ZENO NSP is the first projector in the Targetti portfolio equipped with the Narrow Spot optic system, developed to create a defined and precise beam. ZENO NSP is suitable for museum or retail lighting where a perfect visibility and illumination is needed. The NSP optic works by reflection: the lamp is hidden from sight and aimed towards the parabolic reflector, which collimates the beam and emits a particularly defined cone of light. The discrete and elegant design of the product makes it able to perfectly integrate in every environment.



3D LED Flex 40 IP65 System Radiant Lighting The 3D LED Flex 40 IP65 System is a three-dimensionally flexible, high power, modular, linear LED lighting system, incorporating a patented articulated ball-joint system between the heatsink modules, allowing it to follow building surfaces that are non-linear with curved profiles and façades. Each 100mm module incorporates four Luxeon Z red LEDs, a highly efficient 8-degree Gaggione lens, and custom anti-glare snoots. Each module is individually addressable via DMX.


P-10 SGM The SGM P-10 low-profile, yet extremely powerful, full colour LED luminaire carries the functionalities of a washlight, a strobe light, a floodlight, a pixel light, and a blinder with a non-fading continuous output. It incorporates 48 high-power RGBW 24W LEDs with eight individually controllable segments and a staggering output of 40,000 lumens. With all this crossover technology combined in one single luminaire, SGM’s P-10 is truly the perfect multi-purpose LED fixture and a solid long-term investment.


OVO 18UN Nexo Luce OVO 18UN by Nexo Luce is designed to create a dramatic ultranarrow light beam on façades and architectural surfaces. It is equipped with 3.5-inch optics for accurate projection while able to reach up to 59lux at 80-metres distance. This LED projector has an adjustable beam position; aluminium and stainless steel body AISI 316L; and is suitable for outdoor installations thanks to IP65 waterproof protection and thermal shock-resistant tempered safety glass.



Beacon Muse XL Concord The Concord Beacon Muse XL provides total control and adjustability of both beam angle and light levels combined with typical Ra97 colour rendering, offering a truly flexible product for gallery and display applications. The Beacon Muse XL features intelligent LED technology and ancient lens principles to create a fully adjustable spotlight. Boasting an increased output over the original Beacon Muse, the luminaire provides a flexible, high quality solution. The beam angle can be adjusted from ten to 70-degrees as well providing a dimmable range between 5-100%.


Hydroeclipse IP65 PUK A new range of outdoor wall-mounted appliques, including ten different models of round, square and rectangular shapes. Used mainly for decoration of outdoor areas, once switched on the Hydroeclipse range creates a beautiful luminous halo, discrete and elegant, that highlights the wall texture. With a depth of just 33mm and surface-mounted, the most representative shape is the round luminaire, that seems to recreate a lunar eclipse effect.

DRX5 Remote Controlled Lighting With a cut out of just 145mm, DRX5 is also small behind the scenes so it’s suitable for low ceiling voids. A variety of powerful beams enables pin spotting or flooding without breaking the ceiling line. The four-degree beam is the most precise option of its kind, even when positioned on grand high ceilings. DRX5-S offers wider options, all of which are single optics. All have motorised, remote controlled full 360-degree pan and 35-degree tilt and are compatible with DALI, DMX and RCL’s award winning iDirect app.

TILE Exterior Cooledge Imagine the infinite design possibilities to create and build with light. Cooledge’s TILE Exterior frees light from the constraints of fixtures to illuminate any architectural geometry, scale with ease, and give designers entirely new ways to accentuate buildings. Unlike traditional light sources such as standard wash, flood or grazing applications used to light buildings, TILE Exterior’s IP65 rated system sets uniquely new standards for outdoor applications to enable whole building façades, canopies and entrance-ways to come to life with light.




Single Source series Precision Lighting Precision Lighting have taken the Retro, Evo and Microspot and given them a healthy injection of new light engines, impressive optics and neat modifications. The Single Source series has been developed specifically to replicate the best characteristics of a halogen light source whilst maintaining the efficacy improvements from LED. The single TIR optic light engines produce clean, crisp shadows, with high peak intensities down to a six-degree beam angle. Each family is available in two output packages of 405 and 700 delivered lumens.




STX2.50.BLE Mike Stoane Lighting Mike Stoane Lighting’s smallest Xicato-based spotlight at Ø50mm, the STX2.50.BLE accepts XTM and the XIM in numerous variants. Optics are easily interchangeable, and there is provision for further accessories including new framing projector. Its BLE capability opens up a wealth of control options, as well as the expected deep and smooth flicker-free dimming. MSL are seeing this and others in the family used for intelligent lighting applications that enhance the user experience, can be used in intelligent art work conservation scenarios and all without the need for costly and complicated wired control system installations.


LD95 Lightgraphix The LD95 is a miniature floor or ceiling mounted LED spotlight, designed for applications where a recessed fitting cannot be installed. Designed to blend into its surroundings, it features a deep recessed LED and optional glare shield, removing the need for a large cowl. Using the latest in LED technology, with a typical 93 CRI in 3000K warm white, the LD95 offers an excellent diffused beam shape from a range of optics. The LD95 incorporates an integral anti-wicking barrier for added protection.







Light.ication Version 2.0 This year’s Light Middle East saw the return of Light.ication, an event that invites architecture and design students to work with lighting designers on special, one-off installations.


ight.ication stands for lighting design through

education. Founded by Sakina Dugawalla, Principal at

Light.Func – a boutique lighting design studio based in

both UAE and Tanzania, Light.ication, now in its second

comprised of students from Heriot Watt University Dubai Campus, Manipal University Dubai and American University in Dubai. The theme for this year was Holi Festival – Interpretation of

Light. “Following on last year’s Culture of Light theme, the

year, serves as the first platform in the Middle East to combine

Holi Festival seemed apt for what it represents – culture,

Each team was made up of architecture/interior design/engineering

“The whole idea behind Light.ication, is to infuse an otherwise

education, professional design and technicality in lighting design. students, a lighting design studio and manufacturers/suppliers exhibiting at Light Middle East, with the aim to each create a

lighting installation to be displayed for the duration of show. For the studios, mentorship is key, showing students the complete

design process, and raising awareness on the importance of lighting design; for the students, a hands-on experience is gained, and for the suppliers, their involvement clearly shows the dynamics of

how important a relationship between designers and product is. Four teams, mentored by Nathan Savage Lighting Design, Heba

Hani, CD+M Lighting Design Group and DPA Lighting Consultants,


colour, excitement, fun, interaction,” said Dugawalla.

serious take on lighting design, with fun and mentorship, and to

raise awareness for the creativity that the lighting design community strives for. I am so proud of the students for their hard work, the

manufacturers for their tenacity and support, and for the studios who gave back so much to the community and really went the distance.” Team one’s CD+M and Heriot Watt University’s concept was to have visitors experience the Holi Festival.

People dressed in white, throwing colour around in celebration signals the start of the Holi festival.

Initially, white light is used to depict calmness. A white sheet and


Previous page Nathan Savage Lighting Design and Manipal University’s concept, examining the issue of depression. Left The Moment of Celebration concept, developed by DPA Lighting Consultants and American University in Dubai (AUD) Team B. Below The winning concept, developed by CD+M Lighting Design Group and Heriot-Watt. Bottom The final concept, Frame of Light, designed by Heba Hani and AUD Team A.

artefacts dabbed in colour become visible, bathed

coming from the lotus flower. This particular

colour illuminate the booth blue, red, yellow and

The team also felt the lotus combines with

in total white. Music progresses and washes of

green, merging to the point that you can no longer tell them apart. Using different effects, visitors

are immersed within a shadow play, rushing lines of light that chase all around the booth, finally glowing remnants of the festival are visible as

flower represents purity and spiritual perfection. water to blossom from mud to a pure flower, which is the symbol of resurrection.

Team four, DPA Lighting Consultants and AUD

Team B, used light, colour and graphics to create a

Moment of Celebration. Unity in Holi is identified

handprints, pebbles and markings. Music and

by the non-descript silhouettes that conveyed

play, flurry of excitement, to the aftermath.

and creed, thereby teaching us how to celebrate

light are used in tandem moving from calm,

Team two, Nathan Savage and Manipal University, threw light on the scourge of depression. As one enters a dark space, dim warm light reveals a

crouching figure. In succession, two silhouettes with light behind, reveal a figure rising from a

crouching to half standing, and finally full standing position. The first crouched position represents a depressed person, his shrunken posture

speaking of a state of mind assailed by negative emotion and self-doubt. The situation is not

irreparable, motivational words rupture his shell of gloom and despair; gradually the figure rises infused with hope until he is fully transformed into a state of dynamism and positivity.

The story was told through staged lighting and music where first a cool white light becomes

warm and dim, silhouetting the figure, as he

rises, words are spoken, the light gets brighter

with a final burst of colour enveloping the figure, lifting him up towards the twinkle of heavens above. Their concept focuses on how positive

human intervention, the most important element of the Holi Festival, can prevent depression. AUD was so pleased with their participation in last year’s edition that they had two

teams participate in this year’s edition.

Team three’s Heba Hani and AUD Team A

focused on the Frame of Light, with inspiration

how Holi breaks the barriers of age, gender, class happiness, joy and fulfilment as a single entity. The vibrancy created with the sync of light and graphics within the installation depicts the playfulness and freedom which is the essence of Holi.

The judges, comprised of Martin Valentine,

Lighting Expert at Abu Dhabi Municipality and

now Global Design Director at Ligman, Brendan

Keely, Secretary at the Society of Light & Lighting, and Simon McNally, Director at McNally Design International, named CD+M and Heriot-Watt

as winners of the competition. The judges were

impressed by how simple their concept was, the attention to detail, and very realistic immersion

of each visitor within their installation that gave

the experience of being a part of the Holi Festival. DPA & AUD Team B got highly commended for their modern and mind-testing installation. Dugawalla was very pleased with the second

instalment of Light.ication, and is already looking ahead to next year. She said: “The bar has been

raised. In such a fast-moving industry, it is only apt that we have another surprise coming up

for next year, so watch this space. The only hint we can give, is that the professional realm of

involvement within Light.ication, will broaden!”




Dark Source Stories created by Kerem Asfuroglu




Event Diary Industry events where youâ&#x20AC;&#x2122;ll find arc in the months ahead

ARCHITECT@WORK 24-25 January London, UK

EXPO LIGHTING AMERICA 27 February - 1 March Mexico City, Mexico

LED EXPO THAILAND 10-12 May Bangkok, Thailand

LIGHT 31 January - 2 February Warsaw, Poland

LEDUCATION 13-14 March New York City, USA


SURFACE DESIGN SHOW 6-8 February London, UK

LIGHT + BUILDING 18-23 March Frankfurt, Germany

GILE 9-12 June Guangzhou, China

INTEGRATED SYSTEMS EUROPE 6-9 February Amsterdam, Netherlands


INTERLUMI 11-13 July Panama City, Panama







REGI STERAT: www. expol i g ht i ng a mer i c a . c om a n dbepa r tofE L A2018! J oi nu s @e x pol i g h t i n g a me r i c a / E x poL i g h t i n g Ame r i c a @E x poL i g h t i n g A E x poL i g h t i n gAme r i c a S h a r ey ou re x pe r i e n c e #ELA2018

Th eE L AE x p oL i g h t i n gAme r i c al og oi sat r a dema r kofRE L XI n t e l l e c t u a l Pr op e r t i e sS A, u s e du n de rl i c e n s e .

“ Cupa l l o, porS t udi oDa v i dP ompa ”


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ADVERTISERS INDEX ADO............................................................ 157

Hacel............................................................ 6-7

Nordic Light....................................................2

Anolis........................................................... 4-5

Heper Group................................................ 33

NormaGrup................................................. 17

Applelec...................................................... 121

Hermes Trading........................................ 169

Optelma....................................................... 95

Architects@Work......................................... 16

Huda............................................................. 15

P.U.K............................................................. 89

Astro............................................................. 43

IALD............................................................ 129

Prolicht......................................................... 61

Barrisol......................................................... 35

Illumination Physics.................................... 19

Rako............................................................ 123

Cariboni................................................... 27,47

Imperial........................................................ 67

Rise............................................................. 147

Chromateq................................................. 157

InterLumi................................................... 127

Rising Dragon Technology......................... 12

Citizen Electronics..................................... 171

KKDC............................................................. 75

Roxo Lighting............................................. 127

CLS................................................................ 10

LEC Lyon..................................................... 103

Spectral........................................................ 79

darc awards / decorative ......................... 8-9

LED Linear.................................................. 172

StrongLED.................................................... 87

David Morgan Associates......................... 123

Led Luks..................................................... 155

Studio Due................................................. 103

Dial.............................................................. 137

Lee Filters .................................................... 71

Studio ZNA................................................. 169

ERCO............................................................. 50

Light & Building......................................... 137

Surface Design Show................................ 133

Forge Europa............................................. 147

Lightgraphix................................................. 99

Teknolight.................................................... 14

Forma........................................................... 23

Linea Light Group....................................... 41

Trilux........................................................... 109

Fuhua Electronic ...................................... 113

Luxonic......................................................... 25

Unilamp........................................................ 13

Gewiss........................................................ 117

Match Lighting Studio............................... 169

Vode.............................................................. 39

Glamox......................................................... 91

MBN.............................................................. 18

Wibre............................................................ 77

Griven........................................................... 21


Xicato.......................................................... 145

Guangzhou International Lighting Exhibition...131

Nicolaudie.................................................... 11

Zumtobel...................................................... 59

ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK arc (ISSN No: 1753-5876, USPS No: TBC) is published bi-monthly by Mondiale Publishing Ltd, and distributed in the USA by Asendia USA Inc., 701 Ashland Ave, Folcroft PA. 19032. Periodicals postage paid at Philedelphia, PA and additional mailing offices. POSTMASTER: send address charges to arc, 701 Ashland Ave, Folcroft PA 19032

Lighting Development Manager We have a fantastic opportunity opening up in our Lebanese lighting department for a Lighting Development Manager. Based in Beirut, and covering the Lebanese lighting market. Hermes Trading is committed to providing completely original and ‘out of the box’ lighting products through meticulous manufacturing and close attention to detail. We represent some of the most prestigious European brands in the architectural industry as well as the finest decorative residences.

Your responsibilities

Your Profile:

- The main role will require you to coordinate with external engineering firms, such as the interior designers and architects, to specify the lighting for a project at the early stages of development and discuss technical issues related to the design. - You will promote the company products and provide technical assistance, whilst maintaining and developing existing and new customers and their projects in Lebanon. - You will manage project markets as well as residential markets, keeping updated lists and statuses of future opportunities.

- You will have a Bachelor’s Degree in Architecture from a reputable university. - A minimum of 5 years experience in the lighting industry dealing with project designs and/or sales. - You will have a strong grasp of the residential and luxury lighting sector. - Excellent written and spoken skills in English. Italian would be an advantage, but not essential. - You will have a passion for architecture, design and lighting techniques and you will be enthusiastic and creative when solving technical problems. - Being a team player and selfmotivated are also important.

Our Proposition:

We are looking for a driven and organized individual, from a design or construction related background to join our growing London design team. The full-time position includes assisting with project deliverables, develop and grow as an dividual along with the company. The candidate shall show willingness to learn, be pro-active, have good communication skills and demonstrate they can manage their own time to deliver project tasks. Responsibilities will include but not be limited to: • Undertaking design tasks under the guidance of the project leader. • Production of lighting reports, plans, details and luminaire schedules. • Production of lighting calculations and model building. • Hand sketching lighting concepts and details. • Photoshop image manipulation. • Liaising with lighting manufacturers and suppliers. Requirements • 0-2 years of working experience in lighting design. • Proficient in AutoCAD, Adobe Photoshop, Microsoft Work & Powerpoint. • Knowledge of Adobe Indesign, Dialux / Evo, SketchUp would be advantageous. • Portfolio demonstrating previous work and experience. • Good communication and presentation skills. • Good written and spoken English language. For further details about Match Lighting Studio, please refer to our website: Please e-mail your application letter and CV along with your portfolio/samples of work to Direct applicants only, no recruitment agencies.

For the successful applicant, we are pleased to offer a great apartment in the heart of Beirut in close proximity to the office, if you are a non-Lebanese resident. Salary is to be determined on previous experience.

Application Process: To apply, please email your CV to: with your name and ‘Lighting Development Manager’ in the subject line. We look forward to receiving you application.

JUNIOR DESIGNER Studio ZNA is a creative lighting design practice. We have extensive experience in museum & gallery, high end retail, commercial & residential buildings, theatre, opera and film. We are looking to take on a designer at junior level, who will have already been working in a similar field for a year or who is at least passionate about this discipline and keen to learn more. The ideal candidate should have either formal training in lighting design or some relevant experience in the industry. Candidate requirements: • • • • • • •

Fluency in English A strong lighting design portfolio Previous experience working for independent lighting design consultancy or similar. Knowledge of Autocad and Creative Suite essential Some knowledge of lighting suppliers Knowledge of lighting design packages preferable (Dialux, Relux, etc) Some knowledge of further computer software packages, including 2D/3D (Rhino/etc) and graphics software

Please e-mail your application letter and CV along with examples of completed projects where you have had a significant contribution to Julie Riley

Looking for Creative staff? We’ve got it covered. mondo*arc has the most targeted circulation of any international lighting magazine. Look at our International Lighting Design Survey to see what we mean. Reach our comprehensive circulation of 12,000 lighting designers, consultants, architects, manufacturers, distributors and end users in 107 countries. Adverts are also included in the digital issue and website. Call Andy White on +44 161 476 8350 or email


#01 Light Collective

Curated by

“You can’t wait for inspiration. You have to go and find it with a club.” Jack London What: Swim in Mosquito Bay Where: The southern shore of the island of Vieques, Puerto Rico. The bioluminescence in this bay has been officially declared the brightest in the world by the Guinness Book of World Records. How: When the dinoflagellates that live within the water of the bay come into contact with another organism, or become excited, they produce a bright burst of blue light. When: This amazing natural phenomenon is best experienced during a “New Moon” phase. Why: Do you have to ask? Who wouldn’t want to swim in light?


Make your Daily life more Vivid I t â&#x20AC;&#x2122;s n o t a b o u t a d d i n g o r f a k i n g c o l o r s .

I t i s a b o u t b r i n g i n g o u t t h e s u b t l e b e a u t y.

Standard LED

CITILED Vivid Series

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Brilliant Type 1-23-1,Kamikurechi, Fujiyoshida-shi, Yamanashi-ken 403-0001, Japan Tel:+81-555-23-4121

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CITILED is a trademark or a registered trademark of Citizen Electronics Co., Ltd. Japan

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Profile for Mondiale Publishing

arc December/January 2017/18 - Issue 101  

arc is the leading international magazine in architectural lighting design. Targeted specifically at the lighting specification market, arc...

arc December/January 2017/18 - Issue 101  

arc is the leading international magazine in architectural lighting design. Targeted specifically at the lighting specification market, arc...

Profile for mondiale